The Republic of Moldova reached the 22nd year of independence. The IPN Agency decided to present the accomplishments and failures in the country’s development in a number of articles. Representatives of the current government, experts, former and current politicians stated their views on the steps taken by Moldova after August 27, 1991.
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Article No. 12 of the IPN series “Moldova-22. Steps forward and steps backward”, on the occasion of the Independence Day
After the proclamation of independence, the culture had stagnated for several years. Money in culture wasn’t invested. The people couldn’t afford to go to the theater and concerts, while the government was busy with something else. Moldova was to be rebuilt from the very beginning. The stagnation was more evident in villages, where the homes of culture started to fall into ruin and the people forgot about theater and movies. Culture began to develop after 2000.
Controlled stability
In 1970 – 1980, culture implied stability, said the chairman of the Union of Musician of Moldova, Master of Arts Aurelian Danila. This stability didn’t necessarily entail prosperity or quality, but, when it was about culture, it was to be supported as it was interpreted through the Communist ideology. “The Communist ideology had its place. If there appeared plays, songs or books, they were to be in compliance with that system,” stated Aurelian Danila.
After the coming of Mikhail Gorbachev to power, the control remained, but it acquired a human feature. If they put on an Italian play for example, that play was to include something that was in compliance with the regime. The salary was 200 rubles, which was rather high for that period. The staging was financed by the state, but the plays were to praise the regime. “In order to be awarded, to be artist emeritus or people’s artist, one was to work hard. Among the then personalities were Edita Pieha, Maria Codreanu, Maria Biesu, Mihai Munteanu,” said the Master of Arts.
Actor Nicolae Darie, who has worked at the National Theater “Mihai Eminescu” for over 40 years, said that a positive fact for those times was the staging of plays in villages. The parties sent the people to the theater. A troupe performed by three plays a day in different villages. The local authorities were tired of playing host to teams of artists as they had to pay them, but they were obliged to receive them.
The quality was poor as the plays weren’t performed in the theater, with the necessary setting and light, but in the open air, sometimes when it rained, without microphone and with two reflectors that attracted a lot of flies. The people preferred the simple comedies as they worked in the fields during the day and wanted to relax and amuse themselves. “At the start of the 1980s, they started to put on more complicated plays – comedies on more serious themes. The people liked them too,” stated Nicolae Darie.
About bad and good
Immediately after the proclamation of independence, culture stagnated. There was no economy and no national currency. The people lived as they could. The country was to be rebuilt from the very beginning. Aurelian Danila said that during the first years there was practically no culture. It started to recover in 5-6 years, but with difficulty. “The independence found us unprepared. The economic mechanism was broken and there was no other mechanism to replace it,” said Aurelian Danila. The lack of staff was another problem. The Communists left together with the staff. There were no people with experience who would know how to maintain culture. Those who held posts formed part of parties. After the independence, the National Palace was empty. No concert was given there for months. The artists struggled to survive.
Composer Eugen Doga said that after the proclamation of independence and the change of the administration, the people, especially the artists, didn’t think that the subsidies, the support, the recording studios will disappear. “The people were disillusioned. We lost everything,” stated the master.
Nicolae Darie said the people weren’t ready to spend money on tickets for plays or concerts. The prices of fuel and transport increased, the theaters were empty and the artists were unable to go on tours. The artists no longer went to villages to present plays. The homes of culture didn’t show movies. The libraries were turned into bars. However, after the proclamation of independence those talented could go abroad to take part in festivals. This was something unimaginable in the Soviet period. “In 1995, I went to an international theater festival for the first time. I haven’t even dreamed of something like this. Whole generations of famous people were unable to showcase their talent abroad,” stated Nicolae Darie.
In time, the cultural sphere recovered together with such artists as Nicolae Sulac, Gheorghe Esanu, and Nicolae Glib. The orchestra “Lautarii” and the ensemble “Joc” were the first to make Moldova famous abroad. After 1995, there appeared independent theaters. There were opened more exhibitions and festivals.
It was harder at home than abroad
According to Eugen Doga, the Moldovan people is a talented one. Very many Moldovan artists are famous abroad, not yet in the country because they do not have prospects at home. He gave as example Valentina Nafornita, Iulian Garnet, Andrei Jelihovschi, Olga Busuioc, Svetlana Strezeva and others who work abroad because they didn’t find the necessary support in the country.
Master Doga said that he stopped writing songs as nobody in Moldova orders them now. “I returned home. I stay here. I finally have all the necessary conditions to create. But I do not create. I do not want to leave, but I don’t know how much I will resist,” said the composer. It’s sad that he wrote so many works for foreigners, but not very many for his country. He has many awards and is famous in Russia, Romania and the U.S., but is not at all promoted at home.
The composer said that many possibilities appeared for culture after the proclamation of independence. But when there is no support, you do not need freedom. Culture hasn’t yet become deep rooted. The authorities do not contribute to the cultural integration of people in Moldova. This separates society. “I watch TV channels in Russian. I do not read Ion Druta’s books and do not listen to my music,” Eugen Doga said with regret.
Expected reforms
Nicolae Darie considers that the culture in Moldova needs drastic reforms, but the reformation process should be in agreement with the reformation in the other areas. After the proclamation of independence, the people were allowed to do what they wanted to assert themselves. There appeared new bands and new artistic, musical genres. If Moldova hadn’t proclaimed its independence, we wound’s have heard about songs about Stephan the Great, about Mihai Eminescu’s “Doina” or about songs by forbidden writers.
However, Moldova needs to take determined steps in the cultural sphere, especially in villages. Many settlements do not have a home of culture and artistic groups. The authorities should think how to preserve the traditions. The children should be involved in different activities, like pottery, crocheting and folk dances.
Moldova has a talented people, but investments are needed in this talent in order to create nice things. “After the war they took us hungry and barefooted to Chisinau to teach us. There should be the same attitude today,” said Eugen Doga.
Aurelian Danila believes that there are many contest and festivals, many artists who should be developed. Culture is the best prepared sphere for the European integration as it grew over time and continues to grow.
Elena Bolshenko, IPN
August, 2013
