SONGSOPTOK: We
would like to start this interview with your opinion on the theme of our
current issue. Do you think that cultural heritage has a role to play in modern
society? Why?
MARIETA
MAGLAS: All the monuments, as well as the artworks, the artifacts, and
the folklore values belong to the world cultural heritage and they are great
symbols that must remain intact for our future generations. Unfortunately, the
forces of Nature destroyed important centuries-old buildings that had been
preserved as monuments. I can mention here the Changu Narayan Temple and the
Swayambhunath Stupa that were destroyed by an earthquake on April 2015 in
Nepal. Generally, people use to fight natural disasters, and this is why many
antic monuments are still existent. It is deplorable that many monuments are
slowly destroyed by the human ignorance, procrastination, or worse. The
cultural heritage means history and shapes the human identity. Life changes
through our identity development.
SONGSOPTOK: How
would you define cultural heritage? In your opinion, is it something tangible
or intangible? Or is it a combination of both? If so, in what way?
MARIETA
MAGLAS: The renovated historic buildings protecting many art pieces, paintings,
and rare books have the same importance as the folklore and the traditions.
Some monuments are necessary for the new educational projects. These artifacts
have been renovated in response to the climate changes and to the development
of the civilization. They are considered part of the tangible heritage and
maintain the traditional morality. Moreover, more people need also the
intangible culture, including the folklore for their identity not to disappear
in time. Some people belonging to different countries use to know each other
through their folklore, which is so necessary to protect especially the
religious tradition. These traditions are at risk of being destroyed in a
battle between the majorities and the minorities of the countries.
The
ethnic and the religious divergences alter the cultural identity of a nation,
and indirectly, they are a cause of the destruction of the monuments because
the ignorance which is a consequence of these divergences makes these buildings
be forgotten. I want to underline the importance of their perfect preservation
because they constitute a historical information for the future generations.
Moreover,
another factor that affects the cultural heritage is a direct attitude of the
human beings. The lost, stolen, and destroyed artworks or artifacts could be
essential to keep safe this historical information during the time.
The
folklore sends the information regarding the environmental protection through a
survival strategy. Generally, people know about some natural disasters from
their folklore. An example is the ancient tribes from India's Andaman and the
Nicobar Islands knowing about tsunamis through this important intangible part
of the culture.
Also,
the lunar myths are rooted in folklore. We know from the ancient Assyrian
people about the correlation between the woman's fertility and the phases of
the moon.
SONGSOPTOK: In
the country and the society you live in, do you think culture and cultural
heritage are important? In what way?
MARIETA
MAGLAS: In Romania, the country where I live, the cultural heritage is
necessary to develop the tourism. Any important castle being in decay has been
renovated to become an accommodation for the tourists.
During
the period of the communism, the population suffered the misery of
expropriations. Some splendid monuments like churches were downgraded from the
list belonging to the Romanian cultural patrimony. The nationalization of the
ecclesiastical institutions destroyed the role of the church in the education
of the new generation. After 1989, many communist monuments were demolished or
transformed. During this post-communist period, many people had to leave their
homeland to find employment in the western part of Europe. This way, they could
talk about our Romanian culture.
Some
museums and historical books are documents proving the Daco-Roman continuity.
In fact, the Geto-Dacian people were part of the Thracians. Zamolxis was their
unique God. These Thracians are mentioned in the Fourth Book of Histories
written by Herodotus. They disappeared completely after losing their holy
identity.
Regarding
the artifacts, there are still remnants of an ancient Greek culture that
started to form in the 7th Century, BC, when some trading colonies established
along the coast of the Black Sea. These artifacts could keep up their original
antique aspect in time.
The
painted monasteries of Bucovina invite the tourists with their unique colors
like the Blue of Voronet and with their Byzantine art. Together with the
monastery of Horezu, the medieval fortified churches of Transylvania being
built by the Saxons between the 13th and 15th centuries, the historic centre of
Sighisoara having a 13th century Venetian House, the wooden oak churches of
Maramures being built in the Gothic Style of Maramures, and the Dacian
Fortresses of the Orastie Mountains like Sarmisegetusa Regia, these painted
monasteries of Bucovina are included by UNESCO in the World Cultural Heritage.
SONGSOPTOK: What,
if any, are the outward manifestations of this heritage in the day to day life
of the society you live in?
MARIETA
MAGLAS: I feel to mention the “13th International Festival of Languages
and Culture”, “colors of the world”, that took place in Braamfontein,
Johannesburg, South Africa on 18 March 2015. As an important Romanian city,
Sibiu is one of the European Capitals of Culture. The outward manifestations in
Sibiu are the expression of the inter-ethnic relations in a multicultural
framework belonging to a heterogeneous social reality. In the Romanian book
entitled 'Cultural Parameters of 21st Century American Challenges-
Opportunities and Discontents' it is specified that '' the American space of
representation becomes an extremely significant reflection space for the
Romanian cultural identity.''
SONGSOPTOK: Is
culture, in its different components, taught or learnt? Should it, for example,
be taught to children? Or is there a different way of transmission of cultural
values to future generations?
MARIETA
MAGLAS: The cultures bind together the people belonging to different
nationalities because they want to share their learned items of behavior or
their tradition. Some cultural meanings as refinement, fine arts, or patterns
of living must be taught.
Regarding
the children, when they start to learn a foreign language, they also need a
geographical and a historical perspective to understand the ethical dimensions
of this language, which is new for them.
When
I think of transmission of cultural values to future generations, I think of
the foreign festivals.
SONGSOPTOK: In
your opinion, can culture be equated to tradition? Or do you believe culture is
actually a living thing that tends to evolve over time?
MARIETA
MAGLAS: I want to mention the cultural relativism described by Franz
Boas and by Alain Locke. Moreover, I underline the idea of "the forgotten
man" developed by William Graham Sumner. Related to his folk-theory,
Johann Gottfried (von) Herder wrote in his book entitled 'Ideas on the
Philosophy of the History of Mankind' that "notwithstanding the varieties of
the human form, there is but one and the same species of man throughout the
whole earth".
SONGSOPTOK: Do
you think that the increasing importance of technology and mechanization of
modern society play a significant role as far as cultural heritage is concerned?
Does the word ‘heritage’ have any relevance to the society you live in? Can you
please give us some examples to illustrate your answer?
MARIETA MAGLAS: The modern evolutionism
equates the civilization rather with a material aspect of the culture than with
a spiritual aspect. Romania has mainly a religious heritage, which is the core
of our heritage tourism.
SONGSOPTOK: What,
if any, are the impacts of your own cultural heritage in your very personal
sphere? If you live in a multicultural society, how would you analyze the
interaction between different cultures?
MARIETA
MAGLAS: In a very suggestive article, which has been published in the
Journal of Romanian Literary Studies, the journalist has intended to describe
the ''poetry written after 1989'' as being '' merely characterized by natural
elements and emotion as pure expressions of life itself. Analyzing the
predominant theme and style, one might consider that it represents a form of
Romanian Neo-romanticism. It depicts the themes of love, self-discovery and
romanticism in a cultural desert that endured oppression and lack of freedom of
speech.''
I
must mention the 'German considerations on the editor and writer activity of
the author Heltai Gaspar', (1570). Writers like Johannes Honterus from Braşov
and Heltai Gáspár from Cluj proved that the interaction between some different
cultures belonging to the minorities has existed during the time in Romania.
The
Romanian Dimitrie Cantemir, Prince of Moldavia, wrote a book entitled 'History
of the Growth and Decay of the Ottoman Empire',(1734) which has been translated
and printed in England, France, and Germany.
SONGSOPTOK: Do
you believe that you have to stop being traditional – that is, give up some of
your beliefs and practices in order to be ‘modern’? Or do you think that there
is no incompatibility between the two? What is your personal experience?
MARIETA
MAGLAS: I think there is no incompatibility between the ' traditional'
and the ‘modern’ culture. My personal experience is a good one.
SONGSOPTOK: Do
you believe in ‘cultural imperialism’? What is your personal experience? In
this context, do you believe that the world is increasingly becoming
mono-cultural based on the principles of the modern society?
MARIETA MAGLAS: While being created to
induce some cultural changes, the cultural imperialism, the cultural
relativism, the constructivism, and the cultural dominance can prevent some
conflicts. I really believe in the evolution of the cultural values.
Marieta maglas: her poems have been selected and published in
some anthologies at ardus publications, sybaritic press, prolific press, and
others. Her poetry was published in tanka journal, edited by glenn lyvers, the
aquillrelle wall of poetry book five edited by aquill relle , a divine madness:
an anthology of modern love poetry edited by john patrick boutilier, near kin:a
collection of words and art inspired by octavia estelle butler edited by marie
lecrivain, three line poetry #25 edited by glenn lyvers, contemporary poetry:
an anthology of present day best poems and literature today: an international
journal of contemporary literature, both being edited by dr pradeep chaswal,
enchanted - love poems and abstract art edited by gabrielle de la fair,
intercontinental anthology of poetry on universal peace and love edited by
madan gandhi and chryssa velissariou, and many other books. Her work has
also appeared in some journals, including poetic diversity los angeles edited
by marie lecrivain, the velvetillusion literary magazine alabama, the
secret (la revista) in italy, fwm magazine in the us, trần thu trang in
china, gnosis - a poetry journal™ in the us, i am not a silent poet
edited by reuben woolley and so many others. In 2013, she was nominated
at the international festivals of poetry in canada and mexico.
We sincerely thank you
for your time and hope we shall have your continued support.
Aparajita Sen
(Editor:
Songsoptok)
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