A Collection of Common and Specific Traditions of the Italian, Lithuanian and Romanian People

School no. 5 “Princess Elena Bibescu”, Bârlad, Romania Grigiskes „Sviesos” Secondary School – Vilnius, Lithuania Istituto D’Istruzione Superiore “Sibilla Aleramo” – Rome, Italy Vocational High School „George Apostu” – Bacău, Romania.

"UNIFIED IN THE DIFFERENCES” MULTILATERAL COMENIUS PROJECT

A COLLECTION OF COMMON AND SPECIFIC TRADITIONS OF THE ITALIAN, LITHUANIAN AND ROMANIAN PEOPLE

EDITURA SFERA, iulie 2011 ISBN 978-606-573-136-3

Mrs. Carmen Silvia Ouatu – book coordinator Authors: team members of School no. 5 “Princess Elena Bibescu” - Bârlad, Romania Grigiskes „Sviesos” Secondary School – Vilnius, Lithuania Istituto D’Istruzione Superiore “Sibilla Aleramo” – Rome, Italy Vocational High School „George Apostu” – Bacău, Romania.

Descrierea CIP a Bibliotecii Naţionale a României Tradiţii comune şi specifice popoarelor italian, lituanian şi român = Common and specific traditions of the Italian, Lithuanian and Romanian People / coord.: Carmen Ouatu. - Bârlad : Sfera, 2011 ISBN 978-606-573-136-3

I. Ouatu, Carmen-Silvia, coord.

This project has been funded with support from the European Commission.

This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

Editorial staff: Aurelia Melania Juverdeanu – chief editor; Diana Elena Bicher – designer; Carmen Silvia Ouatu, Mihai Boholţeanu – translators

EDITURA SFERA, iulie 2011 ISBN 978-606-573-136-3

Mrs. Carmen Silvia Ouatu – book coordinator Authors: team members of School no. 5 “Princess Elena Bibescu”, Bârlad, Romania Grigiskes „Sviesos” Secondary School – Vilnius, Lithuania Istituto D’Istruzione Superiore “Sibilla Aleramo” – Rome, Italy Vocational High School „George Apostu” – Bacău, Romania.

"UNIFIED IN THE DIFFERENCES” MULTILATERAL COMENIUS PROJECT

A COLLECTION OF COMMON AND SPECIFIC TRADITIONS OF THE ITALIAN, LITHUANIAN AND ROMANIAN PEOPLE

EDITURA SFERA, iulie 2011 ISBN 978-606-573-136-3 3

School no. 5 “Princess Elena Bibescu”, Egle Luciunaite - student (8A) Bârlad, Romania Justas Sinkus student (7A) Team members: Merseda Srubenaite - student (8C) Carmen – Silvia Ouatu - project coordinator Egidijus Rapsevičius - student (8A) Maricela Popa – school headmaster Arturas Burba - student (8A) Aurelia – Melania Juverdeanu - teacher Istituto D’Istruzione Superiore “Sibilla Diana Elena Bicher - teacher Aleramo” – Rome, Italy Mihai Boholţeanu - teacher Team members: Niculina Liliana Arteni - teacher Ilario Finis – team coordinator Jenica Năstase – teacher Raimondo Marco - teacher Lucica Adam - teacher Chiara Letizia Rosanna - teacher Crina Bârgău – teacher Musci Angela – teacher Petru Vasilache - teacher Patricya Bobak - student Valerica Lupu - teacher Mioara Madalina Leocà - student Eugen Iftene – teacher Martina Saccomandi - student Brumă Alexandru - student Vocational High School „George Apostu” Creţu Alexandru - student - Bacău, Romania. Ichim Alexandra - student Team members: Ursachi Katerina - student Mihaela Cojocaru – team coordinator Bănuţi Andrei - student Dana Birzu – school headmaster Dorofte Florina - student Leahu Antonela – assistant school Onica Petronela - student headmaster Rusu Beatrice - student Burlacu Ioan - teacher Stan Adelina - student Geliman Iuliana - teacher Şuşnea Mădălina - student Blaj Florin - teacher Grigiskes „Sviesos” Secondary School – Petrescu Ionela-Livioara - teacher Vilnius, Lithuania Milon Laura - teacher Team members: Radu Luminiţa – teacher Dalia Tarosaite – team coordinator Petrescu Ionela - teacher Jonas Komicius – school headmaster Cristina Popa - teacher Vijole Petrosiene – teacher Claudia Vasilache - teacher Sigita Makniene - teacher Popa Mariana - teacher Gabriele Tarosaite - student Delia Florica - student Monika Backyte - student Ioana Fartadi - student Mindaugas Pukelevicius - student Păduraru Georgiana - student Justinas Valatkevicius - student Sava Alin - student Silvija Sadovskaja - student Preser Alexandra - student LizaTofan - student Rotaru Miruna - student Mantas Boronilscikovas - student Botezatu Mădălin - student

CONTENT

I. Folk tales and legends...... 7

I.1. Foundation legends...... 7

ROMULUS AND REMUS - THE LEGEND OF ROME FOUNDATION...... 8

VILNIUS - THE LEGEND OF VILNIUS CITY FOUNDATION...... 9

DRAGOŞ, THE VOIVODE AS LOFTY AS THE SUN - LEGEND OF MOLDOVA FOUNDATION 10

I.2. Specific folk tales/dramatization...... 11

THE PRINCESS AND THE FAIRY...... 12

EGLE, THE QUEEN OF SERPENTS...... 13

THE SALT IN THE FOOD……………………………………………………………………….. 16

THE LEGEND OF OLD DOCHIA – THE HAG……………………………………………………. 19

II. Common and specific traditions …………………………………………………… 22

A CALENDAR CONTAINING THE OFFICIAL, RELIGIOUS AND TRADITIONAL HOLIDAYS 23 WITH SHORT DESCRIPTIONS OF THE ROMANIAN POPULAR CUSTOMS………………………

ROMANIAN CHRISTMAS………………………………………………………………………. 25

LITHUANIAN CHRISTMAS……………………………………………….……………………… 28

CHRISTMAS IN ITALY...... 29

INFIORATA BOLSENA…………………………………………...……………………………… 31

KAZIUKAS FAIR……………………………………………………………………………….. 32

24th OF JUNE – SÂNZIENELE /DRĂGAICA…………………………………………………. 33

III. Common and specific food ……………………………………………………………. 34

“COzONAC” – A TRADITIONAL ROMANIAN CAKE...... 35

PANETTONE – THE ITALIAN “COzONAC”……………………………………………………. 36

CABBAGE ROLLS (SARMALE)...... 38

BALANDĖLIAI (“LITTLE PIGEONS”)...... 38

ITALIAN PIZZA………………………………………………………..………………………… 40

ŠAKOTIS. ANTHILL…………………………………………………………………………….. 42

“TOCHITURĂ”. JELLIED MEAT…………………………………………………………………. 43

IV. FOLK SONGS, DANCES AND COSTUMES………………………………………………….. 44

FOLK COSTUMES OF ROMANIA………………………………………………………………. 45

TRADITIONAL LITHUANIAN COSTUME……………………………………………………… 47

LITHUANIAN FOLK MUSIC………………………………………………………………………. 48

ROMANIAN TRADITIONAL MUSIC……………………………………………………………. 50

ITALIAN FOLK DANCES…………………………………………………………………………. 53

LITHUANIAN DANCE…………………………………………………………………………… 54

ROMANIAN TRADITIONAL DANCE……………………………………………….………….. 55

ROMULUS AND REMUS THE LEGEND OF ROME FOUNDATION

Near the banks of the Tiber, in a poor hut, there lived an old shepherd, Faustulus, and his wife, Laurentia. One evening, tired Faustulus sat in the doorway of the hut while Laurentia was preparing the lack of food in the evening. Suddenly, in the woods, he heard a rustle, and there, towards the river, a dark shadow drifted to the shore... Faustulus thought of going to see what had happened; he told his wife to wait and walked cautiously towards the bank of the Tiber. For the recent rains, the river had flooded the fields and the ground was strewn with large pools of water. In one of the pools, at the foot of a tree, Faustulus saw a huge wolf, lying on its side and two children who were nourished by her milk. He thought he was dreaming. He retired quietly, and returned to the hut where he began to tell the unbelieving wife of the wolf suckling the twins and took her by the arm and dragged her out into the river. Shortly after, the two little orphans were taken by Faustulus and Laurentia. They grew quickly and, in a few years, they became two strong guys, a little wild, but good. Faustulus had called them Romulus and Remus and they respected him as a father; every day they pushed further from the hut in search of new adventures. The legend says that, once grown, Romulus and Remus knew their history and they returned to Alba Longa, and punished the cruel Amulio and freed Numitore, their grandfather. Then, they got their grandfather’s permission to leave Alba Longa and to go on the banks of the Tiber and to found a new city. But which of them would have given its name? They decided to observe the flight of birds and the one who would see more of them, he would give the city its name. The fortune favoured Romulus, who took a plough and, on the Palatine Hill, drew a furrow to mark the boundary of the city, which he called Rome. April 21st was the day, 753 years before the birth of Jesus Christ, which marked the birth of the new city but, unfortunately, also the end of the life of Remus. It was established that no one, for any reason, could go beyond the groove without the permission of the head. But Remus, envious, or in jest, crossed it with a leap and, laughing, exclaimed: “See how easy it is!” Romulus, full of anger, took out his sword and killed him, saying that, anyone who insulted the name of Rome must die. Romulus, left alone, ruled the town wisely, then one day, during a storm, he disappeared, kidnapped by the god Mars in the sky.

Recorded and translated by prof. Ilario Finis – the Italian Comenius team coordinator

VILNIUS THE LEGEND OF VILNIUS CITY FOUNDATION

Once Grand Duke Gediminas, with his servicemen and his courtiers, went on a big hunting trip. All day long they spent it in the woods blowing their horns and chasing wild animals. At night, all the tired hunters gathered on a high hill – close to the Neris and Vilnele rivers junction. They brought all of the catch there – moose with Long Branch – like horns, wolves, shaggy bears. Gediminas had shot the biggest aurochs. Everyone wondered at its size for no one had ever seen such a giant animal. The night was calm and warm and Gediminas decided to stay on the hill for the night. He liked the spot very much – the hill was overgrown with old oaks and white birch trees; the Neris waters rushed at the foot of the hill. In the morning Gediminas told of a marvellous dream he had. There was a great iron wolf on the top of the hill and its howl was so loud that it seemed a hundred wolves were howling at once. No one could explain what the dream could mean, so Gediminas courtiers brought the high priest Lizdeika. He told Grand Duke that an iron wolf was the sign of a great city that the Duke should build on this hill, and the city would be as strong as iron. The enemies will attack the city many times, but they would not occupy or demolish it. The loud howl means that the word about this powerful and rich city will go out all over the world. Gediminas built a city on that hill and named it Vilnius. Afterwards Gediminas himself moved to Vilnius. During the ages the words of the high priest about city’s wealth and strength came true and Vilnius became the capital of Lithuania.

Translated by Egle Luciunaite, 8a Illustrated by Justas Sinkus, 7a Students – the Lithuanian Comenius team members

DRAGOŞ, THE VOIVODE AS LOFTY AS THE SUN THE LEGEND OF MOLDOVA REGION FOUNDATION

Once upon a time, many, many years ago there lived four kings: Gelu, the Romanian from the Someş River, Menumorut from Crişana and Basarab from Argeş, in the Romanian Country. The fourth one was Dragoş and he lived in the part of the country named Maramureş. He was a good householder and a skilful ruler, but also a deft hunter. He liked to hunt aurochs, bears, stags, deer, wild boars and grey wolves very much. The story says that once, while he was hunting, he heard that his brothers, the Romanians living in the Eastern part of the Carpathian Mountains, on the Valley of the Rivers Siret and Prut were suffering a lot because they were being robbed and killed by the Tartars. The Tartars couldn’t be outrun in horse-riding by anyone. They used to rush into our country riding their horses which were as fast as the wind. They would hit everything with some curved swords named “yathagans”. And the arrows shot from their bows sprang as quick as thought and reached the target immediately. On their heads they wore big caps made of sheep’s fur, and they defended themselves with some round iron shields. Together with his brave men from Maramureş, Dragoş crossed the mountains towards East, in order to help the Moldavians fight the Tartars. An aurochs, as big as a bull, with spiky horns and fierce eyes appeared in front of Dragoş’s in the mountains. Molda, Dragoş’s bitch felt him first. And feeling the animal, she ran after him, barking harshly. Dragoş shot an arrow at the aurochs and stung it with his spear. Hurt and full of blood, the beast kept running through the forest. In addition to all this, the aurochs also crossed over a broad river. Molda was running after the animal with all her Illustrated by ICHIM ALEXANDRA, cls. a VII-a A might, in order to catch him. But because the river was deep and fast waved, poor Molda drowned. Being badly grieved by the death of Molda’s, but at the same time pleased with his having defeated the aurochs, Dragoş named the river “Moldova”, in the remembrance of his loyal bitch, Molda. Coming back victoriously from the battle, when he returned on those parts, the voivode named that region MOLDOVA. Recorded by Mrs. Aurelia Melania Juverdeanu and translated by Mrs. Carmen Silvia Ouatu Teachers – the Romanian Comenius team members (School no. 5, Bârlad)

THE PRINCESS AND THE FAIRY

First Scene Princess: May I walk to the wood, father? King: No, you’re too young. It is dangerous, daughter! Stepmother: You have to do the housework, move! Narrator: Secretly the Princess flees into the wood, crying, and meets some animals: the rabbit, the panther and the horse. Second Scene Rabbit: What happened to you? Panther: Don’t cry! Don’t be afraid! We are here to help you! Horse: I am very strong. I and my master, who is a handsome and good Prince, will help you. Come with me! I’ll take you to him! Narrator: The horse carries the Princess in the kingdom of the Prince. The Prince sees her. He is fascinated by her beauty and falls in love at first sight. Third Scene Prince: Why are you escaping, pretty girl? Princess: Because my stepmother is wicked and keeps me locked in the house! Prince: You are so beautiful that I would like to merry you. If you like, I’ll organize the ceremony for the next week so you won’t be subjected to such humiliations. I have an idea, wait! Daniela! Maid: Yes, Prince! What do you command? Prince: Fetch soon the Fairy! Maid: Well! I go and I come back immediately. Fourth Scene Narrator: The maid goes to call the Fairy and comes back with her to the Prince. Fairy: Don’t worry, darling. I know your situation; I’ll help you to solve your problem! Narrator: The Fairy looks in the mirror with her magic and turns the stepmother into a wild boar. She takes it into the wood and leaves it there; then the hunter arrives and kills it. Hunter: Bum! Bum! Bum! Fifth Scene Narrator: All gathered at the Prince’s castle. The king embraces his daughter and gives full consent to marriage. Prince: Oh! Finally we can get married! Princess: Yes, my love! All the characters: Oh! What a wonderful day! Narrator: A big party is celebrated and everybody lives happily ever after. The End Dramatised by Mrs.Chiara Letizia Rosanna and translated by Mr.Raimondo Marco – teachers - the Italian Comenius team members

EGLE, THE QUEEN OF SERPENTS

Once, somewhere in Lithuania, there lived a family that had three daughters and nine brothers. The youngest of the sisters, Egle, was the most beautiful of them. One day, Egle and her sisters went to a beautiful lake for an evening swim. They left their clothes on the shore and ran into the cool water. Having swum and bathed as much as they wanted, the maidens left the water and started to dress. Egle discovered a serpent in her clothes. The serpent started speaking to her in a human voice. He asked Egle to marry him. Egle couldn't imagine herself marrying a snake, but she just wanted the snake to leave and promised it to become its wife. The serpent slithered out of the folds of her dress and disappeared. Seven days went by, and Egle forgot about her strange promise. One morning, she heard a great rumbling noise and saw that it was made by a carriage pulled by hissing grass-snakes. Frightened, Egle told her parents all that had happened that night at the lake. Egle's parents could not accept the thought of losing their daughter. They dressed a white goose as the bride, adorned her with white flowers and lifted her into the carriage. The grass-snakes departed swiftly to the nearby forest. There they heard a cuckoo saying that this was not the bride they should have had, only a white goose. Furious, the Illustrated by Merseda Srubenaite, 8c snakes returned thundering to Egle's house. They returned to claim the real bride. Egle’s parents, who still did not want to lose their daughter, gave them a sheep dressed all in white. The cuckoo warned the snakes once more. They started threatening to burn the house down if they were deceived once more. This time Egle had to keep her promise. The grass-snakes brought Egle to the sea shore where she found a handsome young man waiting for her. He revealed that he was that same serpent she had seen at the lake shore. He was also the king of the snakes - his name was Zhilvinas. Zhilvinas escorted Egle to his underwater castle. Egle spent her days happily with her loving husband. They had

13 four children - Azhuolas (Oak), Berzhas (Birch), Uosis (Ash) and a little daughter Drebule (Aspen). Days went by, and Egle longed for her home and the sunny beach. Zhilvinas promised her a trip home if she would wear out the iron shoes he gave for her. Egle walked on the rocks and pebbles, but the shoes did not have even a tiniest scratch on them. In despair, Egle turned to an old sea witch for advice. The witch told Egle to have a smith put these shoes in his forge - the shoes would wear out soon after that. The next day, Egle returned the worn shoes to her husband; then she received another challenge from him. She had to spin a tuff of silk. It seemed to be an endless job, for it did not shrink no matter how much she spun. Egle turned to the sea witch once more for help. She told Egle to throw the silk into the fireplace. The silk blazed up for a moment and the fire went out because it had a magic spell cast upon it. Afterwards she could quickly finish the spinning. Zhilvinas had then a third request and asked Egle to bake some bread to bring home to her family. If she completed this task, then she would be free to go. He then hid every dish in the kitchen except an old sieve. Tears ran down Egle's bright face, for she did not know how to make bread without any pans. The old witch helped Egle once more. Egle was told to go to the spring of fresh water, find some soft clay and stuff the holes of the sieve with it - then she could bring home some water and make a dough for the bread. After she completed this chore, there was nothing else to keep Egle from going home. Zhilvinas told Egle and the children not to stay longer than 9 days and upon returning to the seashore to call him by name and say: if you are alive, come as milk foam, if you are dead, come as blood foam. Egle left with her sons and the daughter. Her kinfolk had never expected to see their dearest daughter alive again and had a great feast to celebrate her visit. Egle's brothers had no desire to lose Egle again and plotted to kill her beloved husband. At night they took the oldest son Azuolas and started asking him how they were to call their father when they wanted to return home. But Azuolas was a stout boy and did not betray his father. Neither did Berzas and Uosis when they were asked by Egle's brothers on the next two days. On the fourth day, the brothers took little Drebule to the pasture. The little one was afraid of her angry uncles and their whipping switches. Afraid they would hurt her, she cried as she told them all about the song. The brothers at once set forth to the sea and called Zhilvinas. They saw that the waves had a milk foam and Zhilvinas coming on them and attacked Zilvinas with their scythes.

After nine days Egle set out to journey back home. On the seashore she sang the song she was told to sing by her husband. She then looked for the milk foam on the sea. But instead, what she saw was the bright crimson blood foam. Deep pain shook Egle's heart; she cast a spell on her children and they all turned into great Lithuanian trees. The sons became trees that are valued even today for their great strength. The little daughter turned to a frail aspen tree that shakes in the mildest wind. Egle herself turned to a fir tree and stayed close to the sea shore to mourn for her husband forever.

Translated by Egidijus Rapsevičius and Arturas Burba, 8a Students – the Lithuanian Comenius team members

THE SALT IN THE FOOD (a dramatized Folk Tale) CHARACTERS: . The Emperor; . Emperor’s three daughters; . The Prince; . The Narrator; . The Servant; . Courtiers.

ACT I The Emperor and his three daughters are standing in one corner, surrounded by Courtiers. The Narrator comes from the opposite corner in front of the Audience: NARRATOR (very emphatic): - Once upon a time there was a mighty Emperor (he shows to the Emperor who steps forward, very proud) and he had three beautiful daughters (in turn, they come near their father: the first two surround him very affectionately, the third one stays a bit far from them). One day, the Emperor asked his daughters: (the Narrator steps away) EMPEROR: - My dear and beloved girls, do you love your father? (all the girls answer: - Yes, of course!). Then tell me how great your love for me is! THE FIRST GIRL (humble, comes in front of her father): - My dear father, I love you so much …. I love you like honey! EMPEROR: - Very good! (he makes a sign and she comes near him). Now, you, the second born of my children, how is your love for me? THE SECOND GIRL (also humble, comes in front of her father): - Oh, my dearest father, I love you even more than my sister: I love you as sugar! EMPEROR (very satisfied, patting her): - You made me very happy! (looking full of love at his last daughter) And you, my little one, how great is your love for your father? (he still smiles at her) THE THIRD GIRL (very shy, bows her head): - Oh, my dear father, it is difficult to measure someone’s love! I think I love you as salt in the food! EMPEROR (becomes furious): - How dare you say such nonsense! You heard your sisters: they love me as honey and sugar and you …, you love me as salt in the food!?! I don’t want to see you anymore! Leave the palace; you are no longer my daughter! (he shows her the door. The other two girls giggle while the little one begins to cry and goes to the door). 16

The Emperor together with his two daughters goes back to the corner, near the Courtiers. ACT II The Little girl makes a few steps. The Narrator, from his corner: NARRATOR (very sad): - And the girl walked and walked …. And she crossed seven seas and seven lands and she arrived to a big castle. (Two students make the castle). She stopped there and knocked at the door. (The Girl stops in front of the “castle”, “knocks” and someone goes out): SERVANT (very harsh): - Who are you? What do you want? GIRL (very shy): - I am a poor girl and I’m looking for work! SERVANT (looking at her in despise and taking a broom): - Take it and clean the palace yard! (he/she turns his back and walks away). The girl takes the broom and begins to clean the floor. The Prince appears from one corner, stops in front of her and looks attentively at the girl. PRINCE (in a very kind way, takes the broom from the girl’s hands and puts it away. The Girl bows her head): - You are too beautiful to stay here in the dust. (Looking at her hands) Your hands are too soft for such a work. Come with me and be my Princess, be my wife! (The Courtiers gather around them and bring two chairs. They both sit down). NARRATOR (very happy): - Everybody was invited to their wedding, her father and sisters included. But they didn’t recognize her. (Meanwhile, her Father and Sisters come and greet the Prince and his bride). They all sat at the table to eat and drink. (A table is brought; the Emperor and the two Daughters sit down. On the table there are two jars: on the first jar it is written “Honey” on the other – “Sugar”) EMPEROR (while the courtiers eat, he and his daughters look at the plates and show their dislike of the food): - What is this? Our food has no taste at all! (He stands up, very angry, and goes to the Prince) Excuse me, my Lord, but I think you invited us here only to make fun of me and my daughters! All the other guests enjoy their meal, but ours is the worst food I’ve ever eaten!! PRINCESS (stands up and looks smiling at her dad): - Don’t you recognize me, dad? I am your little daughter! Remember? You banished me because I dared to tell you that I love you as salt in the food! I cooked the food especially for you: I put only honey and sugar in it! (Her father bows his head)

FATHER (shamefully): - My dear, please forgive me! (The Prince stands up, near his Princess, and everybody gather around them, facing the Audience). You’re right! Food has no taste if you don’t put a bit salt in it! PRINCESS (smiling): - And so is LIFE! It has no meaning if … PRINCE (looking at her): - If you don’t put some LOVE in it!! All the actors make a reverence in front of the Audience.

Dramatised and translated by Mrs. Carmen Silvia Ouatu - the Romanian Comenius team coordinator (School no. 5, Bârlad)

THE LEGEND OF OLD DOCHIA – THE HAG

Characters: - a pupil -the teacher -Dochia -the daughter-in-law -12 gnomes, symbolising the 12 months of the year

Pupil: Hello, Mr Ionescu! Teacher: Oh, hello, dear! How are you today? Pupil: Oh, fine, Mr Ionescu, very well indeed! Teacher: I hope you had a nice holiday! Pupil: Yes, sir, short but fruitful. My parents took me and my brother to see the beautiful Romanian mountains. We were impressed by many things, but most of all we liked the Bucegi mountains, with their great scenery and…by the way…there’s this group of stones, high up in the mountains…it’s called “Babele” (=old women, hags).They’re so nice and strange…My parents told me there’s a legend about them. Can you tell me about it, Mr Ionescu? Teacher: Oh, sure, George! I’d be glad to tell you all about it! Why don’t we sit down? Listen up: They say that in this country there lived an old woman, Dochia. Her son got married. Yet, Dochia did not get along with her daughter-in-law. Being a wicked woman, she was constantly tormenting the girl. One day, toward the end of February, trying to upset her once more, Dochia told the girl: Dochia: You shall go to the forest and bring me some fresh wild strawberries! Oh, dear, how I crave for some of those! The daughter in law: Mother, but it’s frosty outside, it’s so cold that one could ice water in his veins, how am I supposed to find wild strawberries, when they haven’t even blossomed yet? Dochia: I won’t hear about it! Hurry up and do as I say, otherwise I’ll tell your husband what a bad and disobedient wife he has got! Teacher: What could the poor girl do? She could not stand against her mother-in- law and so she took the wooden pail and set out for the forest. Reaching there, she started looking everywhere, searching for wild strawberries, but all her efforts were in vain. Wandering through the forest, crying bitterly, she met 12 gnomes. 19

The daughter-in-law: Good afternoon! The first gnome: What are you doing, young girl, on such weather? Catch your breath and tell us, why are you weeping? The daughter-in-law: But how am I not to cry, when I can never please my mother-in-law and whatever I do won’t make her happy? Today she felt like eating wild strawberries and, to please her, I had to leave and look for them. Only so far I haven’t seen any! Could you please tell me where I could find some wild strawberries? The second gnome: Don’t worry, my dear, there’s plenty of time for that! Why don’t you rest for a while, have something to eat and have no fear, you’ll soon find the strawberries you’re looking for! Teacher: The daughter-in-law paused for a while, pulled herself together and the next thing she knew was the wooden pail just in front of her eyes, all wrapped and tied tightly on top. The third gnome: Farewell home, my girl, but you are not to open the pail before you reach there! The-daughter-law: Thank you, from all my heart! The teacher: Having wished them well, the girl took the wooden pail and presently set back for home, to take the strawberries to her mother-in-law. Seeing her, Dochia asked in a sharp voice: Dochia: Why are you so late? Have you or have you not found the strawberries I asked for? The daughter-in-law: Please look in the wooden pail, mother! The teacher: Old Dochia grabbed the pail from the girl’s hand and, to her surprise; she could see the fresh, ripe strawberries. Here and there, among them, there were green leaves, as well. She started eating greedily and told the girl: Dochia: Oh, my dear! How good they are and how I like them! But…If there are strawberries out there, there must be grass for my goats as well! The teacher: After eating the strawberries, the hag took her fork and, followed by her goats, started for the grassland, having put on 12 winter coats made of sheep skin, as it still was very, very cold. But suddenly a terrible snow-storm started out, harsher than you can ever imagine. And the snow soaked Dochia’s first coat, and tore it to pieces. Dochia: Oh, my! This coat got really heavy and it’s all shreds! I’d better take it off, so that I can move farther!

Teacher: As the snow would not cease, every day, at dusk, Dochia took off one of her sheep skin winter coats, one every day, until she had no one left. Only in her shir, she started shivering with cold, and, kneeling down, she burst out crying… Dochia: Dear God, I’m so cold…I can’t bear it anymore! I feel that I’m freezing… The teacher: And that moment, as she was literally freezing, Dochia turned into a stone, which one can see even today, on top of the Bucegi Mountains. Beneath this stone, there flows crystal-clear water…and the goats…they also turned into small stones… The teacher: The legend has it that the days of changing weather at the beginning of March are due to old Dochia, who’s shaking her winter coats, wet with rain and snow. Ever since that day, the custom has remained that, on the first days of March, everybody should choose one day, which is called his/her “baba” (=old woman, hag). And as the weather is on that day, the same will be that person’s luck or fate throughout that year…

Dramatised by Mrs. Ionela - Livioara Petrescu and translated by Mrs. Laura Milon Teachers - the Romanian Comenius team members (Vocational High School, Bacău)

A CALENDAR CONTAINING THE OFFICIAL, RELIGIOUS AND TRADITIONAL HOLIDAYS WITH SHORT DESCRIPTIONS OF THE ROMANIAN POPULAR CUSTOMS

v† 1st of January – New Year's Day and Saint Vasile’s Day. Popular tradition – large group of people go from house to house to greet the villagers; v† 6th of January – The Epiphany – The day when Jesus was baptized by Saint John. Religious tradition: the water is hallowed, the priests go in every house to prepare the households for the New Year; a cross is thrown in a river or lake and some young men are trying to find it and bring it back. Popular tradition: predictions of the weather and harvests of the New Year; † 7th of January – Saint John’s Day; 24th of January – 1859 Union Day – in this year Moldavia and Wallachia united in a single state; v 24th of February – Dragobetele; v 1st of March – Mărţişor – the celebration of spring. Popular tradition: amulets with red- white thread are offered to women to wear them for a few days; v 1st – 9th of March - Babele (the Old Lady Days). Popular tradition: everyone chooses one of these days; the weather in that day shows how the year is going to be for the person who chose that day. Source legend: as she was climbing a mountain, old lady Dochia threw one by one, day by day, all the 9 sheepskin coats she was wearing. In the last day, the 9th, she died and turned into a rock; v† 9th of March – Mucenicii – All Saints’ Day. Religious tradition: a special food is prepared, is recommended to drink 40-44 glasses of wine (one for every saint martyr) and in this day the gates of heaven are opened and the souls of the ones who passed away are among us. Popular tradition: this is the day of the vernal equinox (after the old calendar) and fires are set in every yard in order to purify the land and the lights help the sun to defeat the darkness; † 25th of March – The Good News – In this day, Virgin Mary is announced that she will give birth to Jesus; † EASTER – holiday without a fix date – usually one week after the Catholic Easter. Religious tradition: special foods are prepared – especially using lamb and eggs are painted (with or without phytomorphic or zoomorphic motifs). The colours that are used

23 are red, yellow, blue, green and black. The most important is red which symbolizes Jesus’ blood when He was crucified; † 23rd of April – Saint George’s Day; 1st of May – International Workers’ Day; † 21st of May – Saint Constantine’s and Saint Helen’s Day; 1st of June – International Children’s Day; v 24th of June – Sânzienele (Drăgaica); † 15th of August – Holly Virgin Assumption † 8th of September - The birth of Virgin Mary † 14th of September - The Cross Day. Holiday dedicated to the gathering of the last remedying plants, rockets and others. People say that on this day the flowers complain one to another that they will dry up and also say that those that blossom after this date - the autumn crocus - belong to the dead. This holiday is the sign for the beginning of the gathering of the crops from the vineyards and of the nuts; 1st of December – National Day (1918 Union Day). In this year all Romanian provinces united in a single state named Romania (Moldavia, Wallachia, Transylvania, Bukovina, Bessarabia, and Dobrudja); v† 25th of December – Christmas Day – celebration of baby Jesus birth. Popular tradition: special foods are prepared (especially with pork). On Christmas Eve, and the next two days, young people go from house to house and sing carols with religious themes (the three Kings journey, the birth of baby Jesus); † 26th of December - the second Christmas Day v 31st of December – New Year’s Eve – the end of the year. Popular tradition: “goat dance” and “plough” – performances in which young boys go a wassailing through the village. These are meant to conclude the year that just ends and to wish all the best for the year to come. Symbol Implied: - Official holiday v- Traditional holiday † - Religious holiday

Created and translated by Mr. Mihai Boholţeanu – the Romanian Comenius team member (School no. 5, Bârlad)

ROMANIAN CHRISTMAS

Romania's culture is the product of its geographical position and of its distinct historical evolution. It is fundamentally defined as the meeting point of three regions: Central Europe, Eastern Europe, and the Balkans, but cannot be truly included in any of them. The Romanian identity formed on a substratum of mixed Roman and Dacian elements, with numerous other influences. During late Antiquity and the Middle Ages, the major influences came from the Slavic peoples who migrated and settled in nearby Bulgaria, Serbia, Ukraine and eventually Poland and Russia; from medieval Greeks and the Byzantine Empire; from a long domination by the Ottoman Empire; from the Hungarians; and from the Germans living in Transylvania. The most striking thing about Romanian culture is the strong folk traditions which have survived to this day due to the rural character of the Romanian communities, which has resulted in an exceptionally vital and creative traditional culture. Romania's rich folk traditions have been nourished by many sources, some of which predate the Roman occupation. Traditional folk arts include wood carving, ceramics, weaving and embroidery of costumes, household decorations, dance, and richly varied folk music. Christmas holiday is considered, just about worldwide, the most important holyday of the year. It’s celebrated on December 25th and, according to the Christian people, this day Christ's birth date is worshiped. A very important Christmas custom practiced in Romanian villages is 'Ignatius', the sacrifice of a pig in every house in the honour of Saint Ignatius. A pig is specially chosen for this purpose and fed to make it grow fat, often around 300 pounds. Five days before Christmas, on 20th of December, a very sharp knife is used to cut the throat of the pig.

This sacrificial ceremony is performed in the back yard of the houses. Thereafter, the matriarch puts the straws in the pig's snout, covers it with burning straws and singes it. Then, the patriarch makes a sign of the cross on the pig's head and announces to the family: "Let's eat the pig!” Then, a small portion of the pig's meat is immediately fried

25 and a feast is held. All the extended members of the family, friends and neighbours are invited to the feast and the meat is then shared with them, along with bacon and plum brandy. This feast is known as the pig's funeral feast. The 'Ignatius' ceremony is looked down as a barbaric custom in countries like U.S., but Romanians insist that it is performed to ensure that the soul of the pig receives ample gratitude for the nourishment that it provides to all in the family. But the real celebrations begin with the decoration of the Christmas tree on "Ajunul Crăciunului" (Christmas Eve). Fir trees happen to be the main Christmas trees here. Gift exchanges take place in Romania in the evening of Christmas Eve, contrary to the American way of opening gifts on Christmas morning. Romanian children believe that “Moş Crăciun”' (the Romanian equivalent of Santa Claus) is the one who delivers them their presents. Unlike in the U.S., the Romanian children do not leave milk and cookies out for “Moş Crăciun”. Economic conditions are harsh in the country and the gifts vary too. While urban children receive expensive gifts and money, those in the villages have to settle with sweets, fruit, nuts, and pastries as Christmas gifts. A common and popular gift is knot-shaped bread, which, in Romania, symbolizes an abundant harvest. The singing of carols is a very important part of Romanian Christmas festivities. Throughout the Christmas season, little Romanian children (especially those in the villages) visit every house in the locality singing carols such as Steaua (“The Star”), Trei Păstori (“The Three Shepherds”) and Moş Crăciun (“Santa Claus”) and reciting poems and legends tied to the festival. On the first day of Christmas, many carollers walk through the streets of the towns and villages, holding a star made of cardboard and paper on which are depicted various scenes from the Bible. The leader of the group carries a large wooden star called "Steaua", which is wrapped up with metal foil and adorned with bells and coloured ribbons. An image of the Nativity is pasted on the centre of the star, and the entire handcraft is attached to the end of a broom or stout pole. The singing is taken up first by young children, then the adolescents and lastly the adults, who join in often after midnight). In return for such performances, carollers receive apples, nuts, traditional cakes (“cozonac”') and sometimes even money from each house. Romanian folklores abound with Christmas carols which lend a religious mood to the festival. Churches specially organize concerts to celebrate the occasion.

In the morning of Saint Basil Day, groups of little boys and girls (about 3-5 in a group) visit their relatives and neighbours with the "Sorcova" and the "Sowing" wishing them health and richness in the New Year. Children wear the symbol of celebration in their hands: a bouquet used for the New Year's wishes called "Sorcova". Usually Sorcova is made of blooming, fertile tree branches (the ones put to bud on Saint Andrew Day) adorned with red tassels. Nowadays, Sorcova is made of artificial flowers tied on a little branch. In Romanian families, all the women cook for three days leading up to “Crăciun”. Christmas dinner in Romania is a rich, multi-course meal. On the top of the menu come various kinds of pork sausages, along with plum brandy and home made pickles. “Sarmale”, an indispensable item for the festive dinner, comes next. This dish consists of pickled cabbage leaves stuffed with a combination of pork and beef, along with rice, pepper, thyme and other spices. Other dishes to follow are roasted pork and turkey with red wine. The wine is consumed to celebrate the birth of Jesus. The last item is “cozonaci”, a cake filled with nuts and raisins. All the members of the extended family enjoy the feast together.

Recorded by Mrs. Aurelia Melania Juverdeanu and Mrs. Liliana Niculina Arteni Translated by Mr. Mihai Boholţeanu Teachers – the Romanian Comenius team members (School no. 5, Bârlad)

LITHUANIAN CHRISTMAS

Christmas, the ancient festival of the return of the Sun, was known in most pre-Christian European nations. It celebrates victory over the winter’s darkness, the virtual start of the New Year. Beginning with Christmas, the day begins to lengthen in Lithuania. The dark gloomy days of November and December begin to end. When the festival of the Sun’s return was changed to the feast of Christ’s Nativity, Lithuanians adopted it with enthusiasm and celebrated it with equal Solemnity. In today’s Christmas we still find many old customs, especially charms and predictions. Preparations for Christmas Eve take all day. The house is cleaned, the food is prepared. People fast and don’t eat meat. Christmas Eve supper is the sacred family ritual which draws the family members closer, banding everyone and strengthening warm family ties. Twelve different dishes are served on the table because Jesus had twelve apostles. All the dishes are strictly meatless. When everyone is assembled at the table, a prayer is said. The father then takes a wafer and offers it to the mother wishing her a Happy Christmas. She offers the father her wafer in return. The father then offers his wafer to every family member or a guest at the table. After that everybody eats Christmas Eve supper.

Recorded and translated by Mrs. Dalia Tarosaite – the Lithuanian Comenius team coordinator

CHRISTMAS IN ITALY

At the centre of a festive Italian Christmas is ... "faith, food, and family." During the period proceeding the real holidays is a tradition to set up the "Presepe" (Crib) and the Christmas tree. The "Presepe" (Crib) is the exact reproduction, by means of small statues, of scenes regarding Jesus birth, while the tree is a fir, real or fake, decorated with colour balls and multicoloured lights. Always as a tradition the "Presepe" (Crib) and the tree are set up on December 8th, the day of the Immacolata (the day the Virgin Mary is celebrated) and put away in the evening of next year on January 6th. For families in the entire world Christmas is the chance to get together, eat and exchange presents as sign of mutual affection. Italian family is no exception in which the cult for food reveals itself in all its might, in an eating marathon which sees us engaged in tasting all kind of dishes, from sweet to sour, from fish to meat, all obviously in more than abundant portions. The menus could vary, with recipes handed down from one generation to the next and/or typical from the region of origin, to refurbished or new "trend", influenced by typical ingredients coming from other parts of the world. A major highlight of holiday religious devotion is the Christmas nativity crib, or presepe, depicting the night in Bethlehem when Jesus was born. It is often an elaborate scene including the Magi and a host of heavenly angels, and a fixture in many homes and churches. Elsewhere, Italy is ablaze with the sights, sounds and smells of Christmas with music provided by the zampognari, or pipers, who are traditionally seen performing in such places as Rome or in Naples's Christmas markets. And then, of course, there is the food. A wonderful tradition in some areas is the Christmas Eve dinner consisting entirely of fish, a substantial meal accompanied by pasta, along with traditional Christmas treats such as panettone or pandoro cake, and struffoli, a sweet confection of friend dough soaked in honey. Le Befana Le Befana is the old Christmas witch who has become the female counterpart to Santa, delivering extra candy and gifts to children who are good, and coal to those who are bad. As legend has it, Le Befana was asked by the Three Magi for directions to Bethlehem. Upon hearing the story of Christ's birth, she was invited to accompany the wise men, but she refused. Later, regretting her decision, Le Befana now atones for her mistake by flying on her broomstick to deliver gifts & toys to Italy's children on the very day that honours the Magi, the Feast of the Epiphany on January 6th. In an amusing tribute, the now-famous Befana regatta (race) features professional oarsmen - dressing up in wigs and old dresses - to race around Venice canals in an annual tradition which takes place on January 6th. The Christmas season is three-weeks long in Italy. It starts at

Novena that falls eight days before Christmas. During the holiday season, the shepherds play musical instruments and sing Christmas songs in the villages. Children collect in groups, dressed up as shepherds, play pipes and recite Christmas poems and sing Christmas songs door to door. In return, they receive money to buy presents. There is a strict 24-hour fast observed before Christmas Eve, which is followed by a special celebration meal that features chocolate and a light Milanese cake called Panetoni. Lucky Dip game is played after this meal, in which people draw from the Urn of Fate and may receive presents or empty boxes. Usually, there is at least one gift for each person. By twilight, candles are lighted around “Presipio”, the family crib, and prayers are said. Then, there is poem recitation by children. On Christmas day, crowds gather in the huge Vatican Square by noon, where the Pope blesses them. Italian children receive their gifts on Epiphany or 6th of January, which are delivered by the ugly but kindly witch called Befana, who flies around on a broomstick. According to the folklore, Three Kings visited her to ask directions and told her that Christ was born. She was busy cleaning and didn't reply to them. When she was finished, she finally registered the truth but, by then, the Kings had already left. She regretted her delay. It is said that since then, she flies around and leaves presents for children, hoping that the Christ child will receive them. She slides down chimneys, leaves good things in stockings and shoes for good children and coals for children who have been naughty. On December 24th, Christmas Eve dinner is based on fish. Appetizers, fundamental in the Italian more important lunch/dinners, could be made of canapes with various kinds of pate (olives, artichokes, eggplants, etc.), sea salad, small artichokes and other vegetables preserved in oil (best if home made), toasted bread with butter and anchovies, if you got more to add - go right ahead!! First course could be "Pescatora Rice" (rice with sea food) or spaghetti with clams, to which a chickpea soup, Abbruzzese style, can be added. Going on to the second course: mixed fried fish, sea bream and bass cooked in the oven with potatoes and side salad, are the top of the line. Fried vegetables (artichokes, cauliflower, zucchini), which are instead part of the Roman tradition, are never missing. December 25th lunch, therefore on Christmas day, it’s permissible to eat meat. First course is Lasagna, Cannelloni or a timbale of pasta, while for second course we see mixed roast or roast beef. In both cases, to complete it all, various types of cheeses, then fruits, dried fruits and lots of sweets, everything soaked by a good wine, red or white, and rivers of sparkling wine, coffee and coffee killers (Grappa, Whiskey and other hard liquors). Even if the menu varies from region to region and that is absolutely possible, you will always find on every Italian table Panettone, Pandoro and Torrone. The Panettone and Pandoro are their "excellencies" as far as Christmas cakes are concerned. Panettone, made in the region of Lombardy, is characterized by containing raisins and candied fruits. People who don't like these ingredients choose the Pandoro, made in Verona, which has a soft dough and golden colour and it is served with a veil of sprinkled sugar.

The Torrone, the most typical of the Christmas sweets, is available with honey or chocolate almonds or pistachios, and it also comes in a mini version, mono dose, called "Condorello", named after the manufacturer. In conclusion, beware of fakes and be careful!! Not everything that it’s shown on various networks dedicated to food it’s made in Italy like they say, but they are only substitutes for the Italian tradition. Recorded and translated by Mr. Raimondo Mario – teacher – the Italian Comenius team member

INFIORATA BOLSENA The “infiorata” is homage to the flowers. The infiorata is 3 km long, there miracle that took place in Bolsena, known are magnificent pictures made by the all over the world as the “Miracle of young and the not so young people of Bolsena”. In 1263 a Bolsena; they become Bohemian priest, travelling artists for a day: the to Rome to resolve his scenes are chosen doubts over the doctrine of months before the transubstantiation, feast, though the celebrated mass in the realization of the town: the communion host pictures is quite quick. turned to literal flesh at the Rose, hydrangea and consecration and drops of carnation petals are human blood spilled onto used, and those of the altar cloth. He tried to brooms and bluebottles, hide what had happened but also less valuable but stains remained on the flowers offer their cloth and on the floor. wonderful shades such As a result of this as the wild onion, Pope Urban IV in 1264 acacia, chestnut and instituted the feast of Corpus Christi all cane inflorescences to complete the over the world. Every year for the feast unequal harmony of colours and technical there is a procession that passes over the execution. infiorata, created with different kinds of

Recorded and translated by Mr. Ilario Finis – teacher – the Italian Comenius team coordinator

KAZIUKAS FAIR

Kaziukas Fair is a large annual folk arts and crafts fair dating to the beginning of the 17th century. It was originally held at the two main markets in Vilnius, Lithuania, as well as in the city streets. The fair is traditionally held on the Sunday nearest to St. Casimir's Day, March 4th, the day Saint Casimir died. In Lithuanian, Kaziukas Fair means "Little Casimir's" Fair (Kaziukas is a diminutive of Casimir). The pavilions of the fair occupy streets and squares in the Old Town of Vilnius. They begin in Gediminas` Avenue, traverse Cathedral Square, and branch out into Pilies Street, B. Radvilaites Street, passing St. Anne's Church… In recent years the fair has also been held in Kaunas on the Laisvės alėja and Town Hall Square. Similar festivals are also held in Hrodna, Belarus, the city where St. Casimir died, as well as in some cities in Poland following the fall of Communism in Poland. The arts and crafts at the fair include hand-made goods from local craftsmen, such as apparel, knitted clothes, footwear, toys, utensils, metal crafts, souvenirs, and paintings. Foodstuffs like rye bread, bagels, honey cookies, meat and diary products, natural honey, beer, and gira are sold as well. Another popular product at the fair is the "muginukas", an often heart-shaped cookie, decorated with colour sugar flowers, zigzags, dots, and birds. It is a customary tradition to bring back some cookies for anyone who had to remain at home. Lithuanian people like this festival and all the fun waiting for SPRING!

Recorded and translated by Mrs. Dalia Tarosaite – teacher – the Lithuanian Comenius team coordinator

24TH OF JUNE – SÂNZIENELE /DRĂGAICA

Sânziană is the Romanian name for gentle They are instructed to remain alone fairies that play an important part in local and unseen, especially by any males. Using folklore, also used to designate the Gallium the flowers they picked during the day, the verum or Cruciata laevipes flowers. Under girls create wreaths as floral crowns which the plural form Sânziene, the word they wear upon returning to the village at designates an annual festival in the fairies' nightfall. They are then supposed to have honour. turned into sânziene fairies, and dance in circle around a bonfire, into which all remains of the previous harvest are thrown. People are prevented from speaking to the girls during this ceremony, as it is presumed that the sânziene spirits possessing them might otherwise be angered or distracted.

People in the western Carpathian Mountains and other parts of Romania celebrate the Sânziene holiday annually, on June 24th. This is similar to the Swedish Midsummer holiday, and it is believed to be a pagan celebration of the summer solstice in June. According to the official position of the In addition, if they place the wreath under Romanian Orthodox Church, the customs their pillow the night right after Sânziene, it actually relate to the celebration of Saint John is possible that they would have a the Baptist's Nativity, which also happens on premonition of the man they are to marry June 24th. (ursitul, "the fated one"). Another folk belief is The folk practices of Sânziene imply that during the Sânziene night, the heavens that the most beautiful maidens in the open up, making it an adequate time for village, dressed in white, spend all day making wishes and for praying, as God is searching for and picking Gallium verum. more likely to list.

Recorded by Mrs. Aurelia Melania Juverdeanu and Mrs. Diana Elena Bicher Translated by Mrs. Carmen Silvia Ouatu

“Cozonac” – A TRADITIONAL ROMANIAN CAKE

One of the things most Romanians are proud of is their hospitality. Although Romania is not a rich country, people take pride in the fact that they are able and willing to offer strangers the best they have. And hospitality is often expressed through food. Romanian women are the ones that do the cooking in the family, at least in the traditional sense and in rural communities. Although most women from the countryside cook as part of their daily chores, city women mostly cook out of hobby. The diversity of the Romanian cuisine is quite high; because of this, even a careful observer will notice traces of many international cuisines in the Romanian traditional cuisine. Starting with the dishes brought by the Roman invaders and continuing with influences from other nations such as the Turks, Russians, Germans and Hungarians, the Romanian cuisine tried to pick up the best dishes and adapt them to the local traditions. What is great in Romania is that the food is 100% natural. The tourists will clearly feel the difference between the fruits and vegetables bought from their local grocery and the ones freshly picked from a Romanian garden. This happens because the local growers avoid using herbicides/pesticides to grow their crops. Especially in the rural areas, tourists can taste some home made cheese and bread, fresh milk or fresh meat as Romanians like everything tasty and all natural.

Cozonac (Romanian pronunciation: [kozonak]) is a traditional Bulgarian and Romanian sweet bread. It is usually prepared for Easter in Bulgaria and mostly for every major holiday (Christmas, Easter, and New Year) in Romania. Cozonac is sweet bread, to which milk, sugar, eggs, butter and raisins are added. In Romania, the recipes differ rather significantly between regions in what concerns the trimmings. The dough is essentially similar throughout the country: plain sweet bread made with flour, eggs, milk, butter, sugar and salt. Depending on the region, one may add to it any of the following: raisins, Turkish delight (Rahat Lokum), grated orange or lemon rind, walnuts or hazelnuts, vanilla or rum flavour. Cozonac may be sprinkled with poppy seeds on top. Other styles dictate the use of a filling, usually a ground walnut mix. The dough is rolled flat with a pin, the filling is spread and the whole is rolled back into a shape vaguely resembling a pinwheel. In the baked product, the filling forms a swirl adding to the character of the bread. 35

Romanian Walnut Panetone (Cozonaci cu nucă) Romanian Panetone dough: 2 lbs/1 kg flour, 10 oz/300 g sugar, 1 ½ cups milk, 6 eggs, 2 oz/50 g yeast, 7 oz/200 g butter, 2 tablespoons oil, vanilla stick, salt, egg for washing the dough, grease for the pans. Make a starter from yeast and a teaspoon of sugar. Mix until the consistency of sour cream, add 2-3 tablespoons tepid milk, a little flour and mix well; sprinkle some flour on top, cover and let sit in a warm place to rise. Boil the milk with the vanilla stick (cut in very small pieces) and leave it on the side of the range, covered, to keep warm. Mix the yolks with the sugar and salt, and then slowly pour the tepid milk, stirring continuously. Place the risen starter in a large bowl and pour, stirring continuously, the yolk-milk mixture and some flour, a little at a time. Then add 3 whipped egg whites. When you finish this step, start kneading. Knead, adding melted butter combined with oil, a little at a time, until the dough starts to easily come off your palms. Cover with a cloth and then something thicker (like a blanket).

Recorded by Mrs. Aurelia Melania Juvedeanu and Mrs. Popa Maricela Translated by Mrs. Carmen Silvia Ouatu Teachers – the Romanian Comenius team members (School no. 5, Bârlad)

PANETTONE – THE ITALIAN “COZONAC”

Panettone (pronounced /pænətoʊnə/) is a type of sweet bread loaf originally from Milan (in Milanese it is called panaton), usually prepared and enjoyed for Christmas and New Year in Italy, Malta, Brazil and Switzerland, and one of the symbols of the city of Milan. It has a cupola shape, which extends from a cylindrical base and it is usually about 12-15 cm high for a panettone weighing 1kg. Other bases may be used, such as an octagon, or a frustum with star section shape more common to pandoro. It is made during a long process that involves the curing of the dough, which is acidic, similar to sourdough. The proofing process alone takes several days, giving the cake its distinctive fluffy characteristics. It contains candied orange, citron, and lemon zest, as well as raisins, which are added dry and not soaked. Many other variations are available such as plain or with chocolate. It is served in slices, vertically cut, accompanied with sweet hot beverages or a sweet wine, such as Asti Spumante or Moscato d’Asti. In some regions of Italy, it is served with crema di mascarpone, a cream made from mascarpone, eggs, sometimes dried or candied fruits, and typically a sweet liqueur such as amaretto; if mascarpone cheese is unavailable, zabaglione is sometimes used as a substitute.

In the early 20th century, two enterprising Milanese bakers began to produce panettone in large quantities in the rest of Italy. As a result of the fierce competition, by the end of World War II, panettone was cheap enough for anyone and soon became the country’s leading Christmas sweet. Northern Italian immigrants to Argentina and Brazil also brought their love of panettone, enjoyed for Christmas with hot cocoa or liquor during the holiday season, and which became a mainstream tradition in those countries. In some places, it replaces the King cake: in Argentina, Brazil, Chile (see: Pan de Pascua), Ecuador, Venezuela, Bolivia, and Peru (known in Spanish as “Panetón” or “Pan Dulce”). Peru’s Antonio D’Onofrio, son of immigrants hailing from Caserta, Italy, spawned his own brand using the Alemagna formula, which he licensed along with the packaging style. This brand is now also owned by Nestlé and exported throughout Latin America. In recent years, Brazilian Panettoni have increased in quality and in popularity due to their low cost and abundance. Although panettone is quintessentially Milanese, it is more popular today in central and southern Italy, which accounts for 55% of sales, than in the Milan region in the north, with 45% of sales. Italian bakers produce some 117 million panettone and pandoro cakes every Christmas.

Recorded by Mrs. Angela Musci and translated by Mr. Ilario Finis Teachers – the Italian Comenius team members

CABBAGE ROLLS (SARMALE)

Minced meat (usually beef, pork, veal, or a combination thereof, but also lamb, goat, sausage and various bird meat such as duck and goose), rice, onions, and various spices, including salt, pepper and various local herbs are mixed together and then rolled into large plant leaves, which may be cabbage (fresh or pickled), chard, sorrel, vine leaf (fresh or pickled) or broadleaf plantain leaves. The combination is then boiled for several hours. While specific recipes vary across the region, it is uniformly recognized that the best cooking method is slow boiling in large clay pots. A special ingredient, flour browned in fat (called “rântaş” in Romania, where it may also contain finely chopped onion), is often added at the end of the process. Other fine-tuned flavours include cherry tree leaves in some locations; other recipes require the use of pork fat – there are innumerable variations across the region. Vegetarian options as well as those made with fish exist.

Recorded by Mrs. Aurelia Melania Juvedeanu Translated by Mrs. Carmen Silvia Ouatu Teachers – the Romanian Comenius team members (School no. 5, Bârlad)

BALANDĖLIAI (“LITTLE PIGEONS”)

Balandėliai (“little pigeons”) are made from cabbage leaves stuffed with a minced meat, rice and onion filling. They can be served with sour cream or tomato sauce. Note: since rice is not grown in Lithuania, pearl barley has been used instead in the traditional recipes. This recipe for Lithuanian stuffed cabbage is known as “balandeliai”.This dish is common throughout Eastern Europe and the recipe varies from country to country, region to region, and family to family. Preparation Time: 30 minutes;

Cook Time: 1 hour; Total Time: 1 hour and 30 minutes. Ingredients: 1 whole head cabbage, about 4 pounds 1 cup finely chopped onion 1 cup finely chopped celery ½ cup finely chopped bell pepper 2 tablespoons butter 1 cup cooked rice 1 ½ pounds ground beef or lamb or pork (or a combination) 1 teaspoon finely chopped garlic 1 large beaten egg Pinch marjoram Salt and pepper 1 cup tomato puree 1 cup beef stock 3 tablespoons sour cream Preparation: Remove core from cabbage. Place whole head in a large pot filled with boiling, salted water. Cover and cook 3 minutes, or until softened enough to pull off individual leaves. You will need about 18 leaves. When leaves are cool enough to handle, use a paring knife to cut away the thick centre stem from each leaf, without cutting all the way through. Chop the remaining cabbage and place it in the bottom of a Dutch oven or large saucepan. Sauté chopped onion, celery and bell pepper in butter in a large skillet until tender, and let cool. In a large bowl, mix cooked rice, cooled onion mixture, meat, garlic, egg, marjoram, and salt and pepper until well combined. Don’t over mix or the meat will become tough. Place about ½ cup of meat on each cabbage leaf. Roll away from you to encase the meat. Flip the right side of the leaf to the middle, and then flip the left side. You will have something that looks like an envelope. Once again, roll away from you to create a neat little roll. Place the cabbage rolls on top of the chopped cabbage in the Dutch oven, seasoning each layer with salt and pepper. Combine tomato puree with beef stock and pour over rolls. Bring to a boil, cover, reduce heat and simmer on the stovetop for 1 hour. Serve with pan juices and a drizzle of sour cream, or mix the pan juices with sour cream and ladle it over the cabbage rolls. Cabbage rolls freeze well before or after cooking, and can be made in a slow cooker (see your manufacturer’s instructions).

Note: Since they can be eaten hot or at room temperature, mini cabbage rolls make great appetizers. Just spear them with a frilled toothpick and you’re good to go!

Recorded and translated by Mrs. Dalia Tarosaite Teacher – the Lithuanian Comenius team coordinator

ITALIAN PIZZA

There are not too many nations that can say their national dish has become an international phenomenon. Italy has two such dishes: pasta and, of course, pizza. The word “pizza” is thought to have come from the Latin word pinsa, meaning flatbread (although there is much debate about the origin of the word). A legend suggests that Roman soldiers gained a taste for Jewish Matzoth while stationed in Roman occupied Palestine and developed a similar food after returning home. However a recent archaeological discovery has found a preserved Bronze Age pizza in the Veneto region. By the Middle Ages these early pizzas started to take on a more modern look and taste. The peasantry of the time used what few ingredients they could get their hands on to produce the modern pizza dough and topped it with olive oil and herbs. The introduction of the Indian Water Buffalo gave pizza another dimension with the production of mozzarella cheese. Even today, the use of fresh mozzarella di buffalo in Italian pizza cannot be substituted. While other cheeses have made their way onto pizza (usually in conjunction with fresh mozzarella), no Italian Pizzeria would ever use the dried shredded type used on so many American pizzas. The introduction of tomatoes to Italian cuisine in the 18th and early 19th centuries finally gave us the true modern Italian pizza. Even though tomatoes reached Italy by the 1530’s, it was widely thought that they were poisonous and were grown only for decoration. However, the innovative (and probably starving) peasants of Naples started using the supposedly deadly fruit in many of their foods, including their early pizzas. Since that fateful day, the world of Italian cuisine would never be the same; however, it took some time for the rest of society to accept this crude peasant food. Once members of the local aristocracy tried pizza they couldn’t get enough of it, which by this time was being sold on the streets of Naples for every meal. As pizza popularity increased, street vendors gave way to actual shops where people could order a custom pizza with many different toppings. By 1830 the “Antica Pizzeria

Port’Alba” of Naples had become the first true pizzeria and this venerable institution is still producing masterpieces. The popular pizza Margherita owes its name to Italy’s Queen Margherita who, in 1889, visited the Pizzeria Brandi in Naples. The pizza Margherita may have set the standard, but there are numerous popular varieties of pizza made in Italy today. Pizza from a pizzeria is the recognized round shape, made to order and always cooked in a wood fired oven. Regional varieties are always worth trying such as pizza Marinara, a traditional Neapolitan pizza that has oregano, anchovies and lots of garlic; pizza Napoli with tomato, mozzarella and anchovies; Capricciosa: a topping of mushrooms, prosciutto, artichoke hearts, olives and ½ a boiled egg! Pizza Pugliese makes use of the local capers and olives of the area while pizza Veronese has mushrooms and tender Prosciutto crudo. Pizzas from Sicily can have numerous toppings ranging from green olives, seafood, hard-boiled eggs and peas. Besides regional styles there are several varieties that are popular throughout Italy. Quattro Formagi uses a four cheese combination using fresh mozzarella and three local cheeses such as gorgonzola, ricotta and parmigiano- reggiano. Italian tuna packed in olive oil is also a popular topping along with other marine products like anchovies, shellfish and shrimp. Quattro Stagioni is a pizza (similar to the Capricciosa) that represents the four seasons and makes a good sampler pizza with sections of artichokes, salami or Prosciutto cotto, mushrooms, and tomatoes. In Liguria you may find pizza topped with basil pesto and no tomato sauce. Of course there are hundreds more to discover and all of them are delicious, not to mention the other members of the pizza family.

Recorded and translated by Mr. Raymondo Marco Teacher – the Italian Comenius team member

ŠAKOTIS

It is a popular Lithuanian traditional cake, similar to German baumkuchen. It has been known in Lithuania since the era of the Polish Lithuanian Commonwealth. Its name means „branched“ and that describes its distinctive shape. It is baked by painting layers of batter onto a rotating spit in a special oven.

ANTHILL

Anthills look like šakotis, but there is one difference between these two foods. Šakotis made out of monolithic sort of dough but the anthill is unique because it is made of dough leaves which are put together into the shape similar to anthill’s and being spiced by honey and poppy seeds.

Recorded and translated by Mrs. Dalia Tarosaite Teacher – the Lithuanian Comenius team coordinator

“TOCHITURĂ”

 a kind of dish specific to Moldova region Ingredients: meat (cut into small pieces), fat pork meat, wine, pepper, garlic. They are boiled in the oven. It may be served with polenta and fried eggs.

JELLIED MEAT

 specific to the region of Moldavia Ingredients: pork legs and pork meat boiled at a small fire. After they get cold, you have to put a great quantity of garlic. It is served cold, after it becomes like a jelly, with hot polenta.

Recorded by Miss Lucica Adam Translated by Mrs. Carmen Silvia Ouatu Teachers – the Romanian Comenius team members (School no. 5, Bârlad)

FOLK COSTUMES OF ROMANIA

The structure of Romanian traditional clothing has remained unchanged throughout history and can be traced back to the earliest times. The basic garment for both men and women is a shirt or chemise, which is made from hemp, linen or woollen fabric. This was tied round the waist using a fabric belt, narrow for women and wider for men. The cut of this basic chemise is similar for men and women. In the past those worn by women usually reached to the ankles while men’s shirts were shorter and worn over trousers or leggings made from strips of fabric. Women always wear an apron over the chemise. This was initially a single piece of cloth wrapped round the lower part of their bodies and secured by a belt at the waist, as it is still seen in the east and south east of Romania. In Transylvania and the south west of Romania this became two separate aprons, one worn at the back and one at the front. Men’s traditional clothing throughout Romania comprises a white shirt (cămaşă), white trousers, hat, belt, waistcoat and/or overcoat. Local differences are indicated by shirt length, type of embroidery, trousers cut, hat shape, or waistcoat decoration. In most areas, shirts are worn outside trousers, which is the older style. This is a basic Balkan man’s costume uninfluenced by fashions from west or east. Hungarian and Saxon men living in Romania wear trousers with a more modern cut, often made of dark material rather than white. This reflects their closer ties, and more frequent communication, with the west. The outer garments worn by both men and women are similar, the main differences being in cut and decoration which depend mainly on the region of provenance. These garments are usually made of sheepskin, or felted woollen fabric, and decorated with leather appliqués and silk embroidery. Traditional clothing worn on workdays and festivals used to be similar, the main difference being that the festive dress, especially those worn for weddings, was more richly embroidered. In the past, the headwear worn by the bride was especially ornate with specific local styles. In poorer areas basic clothing with little or no embroidery has always been worn. Various pieces of the costume have gone out of use at different times during the 20th century. The first item to disappear in many areas was the leather peasant sandals (opinci), although these could be seen in poorer villages again in the years just after the communist regime fell. In most rural areas men’s traditional trousers were replaced by modern factory-made trousers by mid- century and in the post communism years jeans have become universally 45 common. Traditional over garments became an expensive luxury, new garments only being purchased by people living in the very wealthy villages. More recently the traditional jacket makers in many areas have died, with few new artisans being trained to carry on their craft. However, if one looks closely in the more remote areas, some older people still wear items of traditional clothing. This can be for women a gathered black skirt or dark wraparound with a blouse of local cut either with or without a leather waistcoat. In Oaş and Maramureş even young girls often wear the local fashion costume on Sundays. This is normally made from brightly coloured material, in Oaş a dress, in Maramureş a skirt. Added to the local costume is the latest fashion in blouses and footwear such as white lacy blouses in Maramureş and platform shoes or stilettos, in both regions. Men usually have ―western― trousers or jeans but may have a local shirt, or local shaped hat, although unfortunately the universal trilby is fast replacing these. Certain items of costume, specific to occupations, are still worn, for example men working in the forestry industry wear the wide leather belts (chimir), usually now over a T-shirt and jeans. Men’s traditional fur hats (căciulă) are still worn in winter in rural areas, and women usually wear a printed woolen scarf, and often a traditional straw hat over this when working in the fields in the summer.

Recorded by Mr. Ioan Burlacu and translated by Mrs. Laura Milon Teachers – the Romanian Comenius team members (Vocational High School – Bacău)

TRADITIONAL LITHUANIAN COSTUME

Lithuanian Costume is Western style modern clothes. Lithuanian dresses are stylish and decent and give a description of Lithuanian society and culture. As the time elapsed, dressing in Lithuania also evolved and became quite similar to other European countries.

Men wear costumes made from homespun festive garments. The basic dress for men consists of long stripped or diagonally stripped trousers and the lower portion is woven in darker strips. The trousers are tapered and they wear loose waist-length vest or long jackets. The traditional Lithuanian costume for women consists of a woven colourful skirt accompanied by an embroidered blouse, vast, head piece and ribbon. Jewelleries are essential part of dressing and were made from amber. An adult married woman wears a wimple or checked handkerchief. All the costumes were made from homespun yarn and were bleached or dyed particularly with plant dyes.  The weaving process was also different and they were mostly of traditional type.  The motifs and colours used in the clothes were diversified and varied.  The cut of the dress were unique and overcast, crochet and cord were popular.  The fasteners in the garments used are metal, string, leather or wood.

Recorded by Mr. Jonas Komicius and translated by Mrs. Dalia Tarosaite Teachers – the Lithuanian Comenius team members

LITHUANIAN FOLK MUSIC

Lithuanian folk music belongs to Baltic music branch which is connected with Neolithic corded ware culture. In Lithuanian territory you can meet two musical cultures: stringed (kanklių) and wind instrument cultures. These instrumental cultures probably formed vocal traditions. There are three ancient styles of singing in Lithuania connected with ethnographical regions: monophony, multi voiced homophony, heterophony and polyphony. Monophony mostly occurs in southern (Dzūkija), southwest (Suvalkija) and eastern (Aukštaitija) parts of Lithuania. Sutartinės (from the word sutarti - to be in concordance, in agreement, singular sutartinė) are highly unique examples of folk music. Most of the sutartinės' repertoire was recorded in the 19th and 20th centuries, but sources from the 16th century show that they were significant along with monophony songs. Sutartinės can be classed into three groups according to performance practices and function:  Dvejinės (―twosomes‖) are sung by two singers or two groups of singers;  Trejinės (―threesomes‖) are performed by three singers in strict canon;  Keturinės (―foursomes") are sung by two pairs of singers. Wedding songs Different vocal and instrumental forms developed, such as lyrical, satirical, drinking and banqueting songs, musical dialogues, wedding laments, games, dances and marches. From an artistic standpoint the lyric songs are the most interesting. They reflect the entirety of the bride's life: her touching farewells to loved ones as she departs for the wedding ceremony or her husband's home. War-historical time songs Chronicles and historical documents of the 13th through 16th centuries contain the first sources about songs relating the heroics of those fallen in battle against the Teutonic Knights. Later songs mention the Swedes, there are frequent references to Riga and Battle of Kircholm; songs collected in the early 19th century mention battles with the Tatars. Calendar cycle and ritual songs They were sung at prescribed times of the year while performing the appropriate rituals. There are songs of Shrovetide and Lent Easter swinging

48 songs, and Easter songs called lalavimai. The Advent songs reflect the mood of staidness and reflection. Work songs Work songs vary greatly in function and age. There are some very old examples, which have retained their direct relation with the rhythm and process of the work to be done. Later work songs sing more of a person's feelings, experiences and aspirations. Herding songs Herding songs are sung by children, while night herding songs are sung by adults. The shepherding songs reflect the actual tending of animals, the social situation of children, as well as references to ancient beliefs. Haymaking songs Refrains are common in haymaking songs. The most common vocable used is valio, hence — valiavimas, the term for the singing of haymaking songs. The vocable is sung slowly and broadly, evoking the spacious fields and the mood of the haymaking season. Rye harvesting songs The harvesting of rye is the central stage in the agricultural cycle. The mood is doleful and sad; love and marriage are the prevailing topics in them. Family relationships between parents and children are often discussed, with special emphasis on the hard lot of the daughter-in law in a patriarchal family. Milling songs The genre can be identified by characteristic refrains and vocables, such as zizui malui, or malu malu. They suggest the hum of the millstones as well as the rhythm of the milling. Milling was done by women, and the lyrics are about women's life and family relationships. Laundering songs Sometimes the refrain imitates the sounds of the beetle and mangle - the laundering tools. The songs often hyperbolize images of the mother-in-law's outlandish demands, such as using the sea instead of a beetle, and the sky in place of a mangle, and the treetops for drying. Instrumental music The rateliai round dances have long been a very important part of Lithuanian folk culture, traditionally performed without instrumental accompaniment. Since the 19thcentury, however, fiddle, basetle, lamzdeliai and kanklės came to accompany the dances, while modern groups also incorporate bandoneon, accordion, concertina, mandolin, balalaika, clarinet, cornet, guitar and harmonica. Recorded by Mrs. Vijole Petrosiene and translated by Mrs. Dalia Tarosaite Teachers – the Lithuanian Comenius team members

ROMANIAN TRADITIONAL MUSIC

The earliest music was played on various pipes with rhythmical accompaniment later added by a cobza. This style can be still found in Moldavian Carpathian regions of Vrancea and Bucovina and with the Hungarian minority. The Greek historians have recorded that the Dacians played guitars and priests perform songs with and guitars. The bagpipe was popular from medieval times, as it was in most European countries, but it became rare in recent times before a 20th century revival. Since its introduction, the violin has influenced the music in all regions by becoming the principal melody instrument. Each region has its own combination of instruments, old and new, and its own unique sound. This continues to develop to the present day with the most recent additions being electric keyboards and drum sets. Doina The doina is a free form lyrical song made up of a sequence of melodic elements ornamented and lengthened by the performer in a manner typical of the area. The doina is only found with the Romanians, throughout the whole of Romania, in vocal and instrumental versions, but is becoming rarer in Transylvania and Moldavia. Some other free form lyrical songs are found throughout the Balkans, such as the Na trapeza of Bulgaria, and further to the east, but it is not known if these are related to the doina or have developed independently. Taraf ensembles & the lăutari Instrumental ensembles, taraf, with professional musicians, lăutari, have been playing for dancing in Romania for some 300 years. In the past, these were small formations with regionally distinguishable sounds and line ups. The term lăutar is derived from lăută, a lute type of stringed instrument, the musician that plays this is a lăutar. This term may originate from the Middle Ages popularity of the lute through European courts. The term has extended to include all musicians of a popular music, taraf, and those who sing popular songs with the taraf. A small formation of musicians playing popular music is known as a taraf. The members of a taraf are normally lăutari, but need not be gypsy musicians. The nobility of Transylvania, Wallachia and Moldavia employed gypsy musicians to play in the fashionable styles of the time. Hence, in Transylvania, we have the central European string ensemble, in Wallachia and Moldavia we have more Turkish 50 influences in the instrumentation, the Cobza, Ţambal, Nai, but even here the European violin dominated. There is a range in musical style and construction between villages, in some villages the musicians have incorporated more complex harmonies, playing in thirds, adapted more recent popular melodies. In others the musicians may be are not so adaptable or musically adept and the music has a "roughness" in quality. This leads to some village "traditions" being maintained giving us an insight to the older form of the music, but it would be incorrect, then, to assume this former music was also played in the same "rustic" style, the musicians of that time could be expected to be equal in technique to the best of today. 1. Instruments 1. Pipes 2. Fluier - long or short 6 hole pipe 3. Caval - long pipe with 5 finger holes 4. Tilinca - open pipe with no finger holes 5. Nai - the Romanian panpipe 6. other pipes - Bucium (Alphorn), Ocarina, Flaute, Fifa These are the most widespread instruments in Romania with seventeen different types. Many of these designs of pipe are common throughout the Balkans, with Romania having the greatest variety. Instruments are made by the players and by peasant makers, on the days that working in the fields are not possible. The wandering "Vlach" shepherds are known to have sold pipes across Hungary. The pipes can be sub-divided to some extent by their design. The tube can be either closed or open at the lower end, producing different ranges of notes. Some pipes are known as "end blown flutes" where the air stream is directed at the sharp rim of the upper end of the pipe; others have a simple block in the top with a hole cut just below (similar to an upside-down recorder). Generally if the pipe has six finger holes these are equispaced for small pipes, and in two sets of three for larger pipes. This gives rise to a diatonic scale not conforming to the western tempered scale, but which sounds correct when playing the traditional tunes. I have categorised the various pipes by construction similarities not including the blowing technique as I suspect that the progression from end blown to block flutes is historical. With the exception of the nai, the various pipes are generally played by Romanians and are not part of the gypsy taraf. 2. Reeds  Cimpoi - the Romanian bagpipe  Clarinet - developed in the 1700's  Saxophone - invented around 1840 by Adolphe Sax

 Taragot - invented by J Schunda, 1865 3. Violins The earlier forerunners of the violin such as the rebec, Slavic gusle or eastern kemene are found in all Romania's Balkan neighbours, but not in the existing folk music of Romania. It is probably that early violins were used in the courts and during the 15th to 16th centuries Serbian musicians were playing the Slavic guzla at Romanian courts. The first documentation of the violin in Romania is from the 17th century by an Italian monk regarding the violini music of Moldavia. This is unlikely to be the modern violin which developed less than a century early in Western Europe. A later 17th century painting by Graz Codex shows a fiddler playing a rectangular bodied four string instrument. The modern violin arrived in Romania in the 18th century and it is known by a variety of names; cetera - Transylvania, scripcar - Moldavia, lăuta - Banat & Hunedoara. In Oltenia and Muntenia many different tuning systems were originally used for certain dance tunes, but these have mostly now been abandoned. 4. Plucked strings  Cobza - short necked lute of Moldavia and Wallachia  Zongora - adapted guitar in Maramureş  Ţitera - European zither 5. Ţambal This is a development of the Persian santur that came to many European countries in the 11th century, becoming popular from the 17th to 19th centuries. It is a trapeze shaped soundboard with 20 to 35 courses of strings, which are struck with two wooden hammers. In English-speaking countries it is known as the dulcimer from dulce melos, Greek for sweet sound and in Germanic areas, it is called Hackbrett meaning chopping board or chopping block. In Romania it is know as ţambal, similar to the Hungarian cymbalom and Ukrainian tsymbaly Records show the existence of the ţambal in 16th century in Romania, but it did not become popular until much later when it was taken up by the lăutari. During the late 19th century it was observed in several areas of Muntenia and by the end of the century was quite widespread, taking over from the cobza. The instrument, which can be played, hung from the shoulders by straps, spread into the villages by the 20th century. The accompaniment formulae are relatively few and are generally rhythmical in Wallachia and Muntenia, and harmonic (arpeggios etc.) in Transylvania and Banat.

Recorded by Mrs. Mihaela Cojocaru and Mrs. Dana Birzu and translated by Mrs. Laura Milon Teachers – the Romanian Comenius team members (Vocational High School, Bacău)

ITALIAN FOLK DANCES

Italian folk dancing revolves around the Tarantella, a fast dance with dancers spinning around, which is often done at weddings. It originated in Southern Italy and has a rich history. The Tarantella was originally a dance done by lower and middle-class Italians and was considered a dance that would heal the sick. It later developed into a courtship dance and was performed by young couples. In the courtship version of the dance, the woman uses the dance to attract her partner, who is attracted to her beauty, elegance and fitness. Italians believe that it is unlucky to perform the Tarantella alone, so it is always performed with at least one other person. There is a myth that the Tarantella originated as a cure for a bite by the Tarantula, a poisonous spider. The person who was struck by the spider would perform the Tarantella nonstop to avoid being overcome by the venom. While it is believed that the Tarantella originated in Southern Italy, there are versions found throughout the country. The Furlana and the Saltarello - found in Venice and Rome, respectively - are similar to the Tarantella. Tarantella translates to "little spider." It is believed that the town of Taranto had an epidemic of poisonous spider bites during the 13th century. The traditional Italian Tarantella dance is said to have originated between the 15th and 17th centuries. The beginning of the dance is related to a disease called tarantism. Tarantism is a hysterical state in which victims bitten by tarantulas convulse and dance for lengthy periods of time. They must dance in order to sweat the poison out. Today, the tarantella is danced in many traditional Italian weddings and parties. Over the centuries, many pieces of instrumental music have been written in honour of the dance, and it has been featured in films such as "The Godfather". La Furlana is named after Friuli, the section north of Venice where Aviano is located. La Furlana is danced all over that part of Italy and done a little differently in each village. It always has figures that can be interpreted as flirtation, courting, arguments followed by harmony.

Recorded by Mrs. Angela Musci and translated by Mr. Ilario Finis Teachers – the Italian Comenius team members

LITHUANIAN DANCE

Since ancient times the dance has been inevitably accompanying all important events in the life of the people. The life of the Lithuanian nation, its character and morals are reflected in the content of Lithuanian dance. Every movement and step has its purpose. They always mean something or show something. Lithuania has basically been an agricultural country; therefore folk art primacy belonged to women and was related to the scale of feminine themes (for example, works done by women only). The characteristics of the Lithuanian folk choreography are also shown through music, which is calm, symmetric, the rhythm is monotonous, the tempo moderate and in the quarter form. Lithuanian folklore is based upon the farmer’s outlook on life. It is lyrical, there is no epic narration, in war songs the actual battle is never sung about, and there are no war dances left. No hunter dances have survived either and in folk choreography there are no movements left typical on this theme. The genre of the traditional folk dance is still alive. People used to learn dances from parents or grandparents whose lives have been still greatly influenced by customs and traditions and who mastered dancing folk dances directly from their parents in outdoor country parties. Folk ensembles, who still participate in folklore collection expeditions in rural areas, willingly, dance these dances. Lithuanians, as well as their Baltic neighbours, have always loved to dance. Young people gathered to dance in field parties (in summer), or in farmer houses (in winter). Older people and small children also took part in these festivities talking, socializing, and generally amusing themselves. Looking still further back into the history, dance was also a part of ancient Lithuanian calendar celebrations and rituals. Lithuanian folk choreography can be classified into four groups: polyphonic singing dances, ring or circle dances, games and other dances. Lithuanian dance is characterized by inward great emotional energy which is never manifested externally. Since traditional Lithuanian lyrical folklore originated among farmers and peasants, it still retains their outlook. There is no war or hunting dances, no high jumping or kicking. Lithuanian traditional dances are dominated by subdued ring dances and games whose lyrics centre around growing crops and livestock or relations between young people and match making. Dance music has a moderate tempo, is usually symmetric and without large interval jumps. Recreated and transplanted onto the stage folk dance gained a new quality and its purpose changed.

There are plenty of groups of both genres: about five hundred folklore groups, whose members sing, dance and play games that are inherited from their grandparents and about five hundred of the stage dance ensembles. Representatives of both genres organize various festivals and gatherings, local and international, and participate in international festivals in Europe and all over the world if the group can afford it financially. The groups also participated in World Lithuanian Song and Dance Festival (about 35000 participants) Folklore Day.

Compiled by Mrs. Dalia Tarosaite – the Lithuanian Comenius team coordinator

ROMANIAN TRADITIONAL DANCE

Village dance A rich variety of traditional dances still exist in Romania due to the continuation of the feudal system until the mid 19th century and, subsequently, the isolation imposed by Ceauşescu, which resulted in the continuance of a peasant life style. Romania is a unique European country as its folklore still exists in its natural environment, but this is now fast vanishing with the spread of western culture and modern technology. Ensembles Organised performances by village folk dance groups within Romania can be traced back to the mid nineteenth century and earlier. Folk ensembles based in towns date from the period immediately after the 2nd World War. The first professional ensembles were founded around 1949, with amateur ensembles in the main regional towns from around 1950. Romanian dance types Any "dance" is a combination of elements: formation, regional style; motifs, musical rhythm, choreography and the social occasion. A change in one or more of these elements can give another dance, sometimes too subtle for a visitor to understand. As newer dance formations become fashionable these combine with elements of the existing music and dance repertoire to give new local variants. New melodies may be used for old dances and new dances danced to old melodies. Formation and historic context Romanian dances are classified at the top level by their formation. Chain, including the basic social dances, men's dances, and a large repertoire of fixed sequence dances. Ceată - men's group dances which includes many ritual dances. Couple dances which have a more recent origin.

Choreographic form, motifs, & music The selection of dances performed in each village is often done in a fixed order, the slowest dances first, then sometimes men's showing off dances, ending with the fastest dances. These are known as dance cycles and exist in all regions to some extent, but are possibly most developed in Transylvania. Many Romanian dances are accompanied by loud shouts and calls known as Strigături which are called rhythmically, but often across the musical melody and rhythm. Such calls seem to be specific to Romania, and are only otherwise found in the Hungarian minorities of Transylvania. 1. Hora The term Hora is used for: 1. Hora is the name for the large circle dance and is the most widespread dance in Romania, partly because any number of participants of both men and women, of any ability or age, can join in. Hora is frequently performed as a ritual dance at weddings and funerals. In southern Romania and Moldavia, Hora is the introductory dance to the dance cycle, whereas in Transylvania and Maramureş it is rarely performed at the village. 2. The term Hora is also used for the Sunday village dance, even where the Hora dance does not form part of the dance cycle. The Romanian Hora is a structured in 2 or 4 measure phrases. Unlike the Bulgarian Pravo Horo and Macedonian Oro which are structured in 3 measure phrases, however the Horo from North West Bulgaria and the Sitno from northern Bulgaria, have a similar form to the Romanian Hora. 2. Sârba dance form Musically the term Sârba is usually applied to a lively 2/4 melody with triplet grouping, giving a 6/8 feel. This is a common dance rhythm across the Balkans, in dances such as the Serbian Čačak and the Bulgarian fast Pravo Horo. In dance, the Sârba mostly refers to a lively 3-measure structured social dance; this is generally referred to as ―common Sârba‖. The similar slower Brâul bătrân with Sârba belongs to a very ancient and widespread dance form throughout the Balkans. Sârba is found in the same areas as Hora with the highest variety of variants being found along the sub-Carpathians. Unlike Hora, an open circle

56 formation is the norm, apart from south Oltenia where it is generally danced in a closed circle. The name Sârba may mean ―Serb like‖, and the same dance is known in Greece as Servikos. 3. Southern Romanian Căluş The figures (mişcare) are combinations of stamps, heel clicks, springs and leg rotations. Particularly, in the Muntenian variants, these are structured with a beginning element, middle element and an ending element, with the middle element most often changing to create different figures. The staged versions have combined these dances, concentrating on the impressive mişcare steps. The translation of Căluş is most often "pony or little horse", which would be Căluţ or Căluşel in Romanian. Căluşar or Căluşari refers to the dancers of Căluş. An alternative derivation of Căluş refers to the type of the stick used to keep the horse's mouth open.

Compiled by Mrs. Claudia Vasilache and Mrs. Mariana Popa Translated by Mrs. Laura Milon Teachers – the Romanian Comenius team members (Vocational High School, Bacău)

EDITURA SFERA SC IRIMPEX SRL BÂRLAD

EDITURA SFERA, iulie 2011 ISBN 978-606-573-136-3