marți, 20 iulie 2021

THE RESEARCH OF THE ARCHAEOLOGICAL SITE POTÂRCA FROM THE CULTURAL-NATURAL RESERVE ORHEIUL VECHI

The periegetic investigations undertaken in the years 1946-1947 in the lower course of the Răut river revealed a series of sites from the Iron Age from Butuceni, Furceni, Cot, Potârca, Scoc and the medieval cities Shehr al Cedid and Orheiul Vechi. The extensive investigations undertaken between 1946-1953 at the fortified settlement Butuceni and the medieval cities previously mentioned by Gh. Smirnov, as well as by P. Bârnea, Gh. Postică, etc. have proved a remarkable success of a pri­mordial significance for the history of this area. The fascinating results obtained, as well as the unrepeatable natural landscape, have essentially contributed to conferring, by the Moldovan RSS officials, the respective area on 15.03.1968, the status of "Historical-archaeological reservation". 40 years later, the "Orheiul Vechi Cultural-Natural Reservation" is con- stituted according to the law approved by the Parliament of the Republic of Moldova no. 251 - XVI of 04.12.2008 and the Government Decision no. 228 of 23.03.2009.



The researches at the Potârca resort started in 1996, although the investigations at the archaeological objectives of the Iron Age, in the area of the current cultural-natural reserve "Orheiul Vechi" had been resumed 13 years earlier. The explanation for such a delay is simple - the normal inaccessibility to the site location. The Furceni promontory on which the Potârca settlement was built is situated at considerable dis- tances from the current surrounding communities: Butuceni, Trebujeni and Furceni. Not only the lack of access routes, but also the most ele- mentary possibilities of entering the area, do make almost impossible for a normal research of this archaeological objective.

The Potârca settlement is located on the spur of the stone terrace of Furceni promontory, which is situated between the stream of the same name and Trebujeni commune in Codrii of Moldova. Surrounded on three parts by steep slopes, the altitude of which varies between 120 and 150 m, it dominates the entire area of Răut River's lower course. The Potârca site, which, like the terrace, had a triangular shape with inac- cessible beds/sides, was almost invulnerable. From the defense system were preserved only the "wall" tracks currently visible in the form of ground waves, which in the form of a semicircle were barring the trian­gular terraces. The fortresses with one or two naturally protected sides, reinforced only in the vulnerable sector, fit perfectly into the category of "barred spur" sites. In the historiography of the second half of the last century, the settlements with a triangular or an almost triangular enclosure with a defensive barred base lines were considered the most widespread type of fortified sites during the 6th-3rd centuries BC. This assumption, over time, has proved to be groundless.

The true archeological situation on the Furceni headland is quite complicated. The detailed analysis of the acquired artifacts substantial- ly contributes to the establishment, although in major lines, of the time when the promontory was for the first time populated and approximate- ly when it was definitively abandoned. At what stages did the activity of the sedentary communities evolve, when and in what succession were the defensive systems built, which were the occupations of the inhabi- tants of the site in its full ascension, which was the role of the fortified Potârca settlement within the demographic system of Răut River lower course region?

Both in the region of the defensive systems, as well as within the site, within the cultural layer a representative batch of fragments from various types of molded vessels was noticed, made of well-ground clay paste with ingredients of minced chamotte and sand. The burning of this category of ceramics is always incomplete and uneven. Light gray color with dark spots. The pots are usually covered with ornament consisting of incised lines. The incised decoration is still widely used in the first half of the Ist millennium BC in the Balkan-Carpathian-Pontic space. This decoration, considered the most expressive in the ornamental sys­tem within the horizon "with incised ceramics" of the Tămăoani-Hol- ercani-Hansca type, is frequently encountered in the 12th-llth centu­ries BC not only in the middle Dniester region, but also within much vaster areas. Flowever, based on concrete researches, it has been found

out that in the studied closed complexes, but also in the cultural lay- er, the containers with an incised decoration constituted 23-28% while those with an embossed ornament - 94%. The study of the decorative representations rendered by means of the incised lines imposes a typo- logical classification of the decorative reasons, which from an aesthetic point of view presents an obvious succession from simple representa­tions to records with a complex structure, also recounting, at the same time, a chronological evolution. The incised lines between the 9th and the 8th centuries BC present complicated records, forming in certain cases a system of a geometric decoration in the shape of angles, strips, carved and inscribed rhombuses, which are quite familiar in the imme- diate period of the 8th -7th centuries BC, becoming characteristic to the Basarabi-Soldanesti facies.

The presence of the early ceramic material confirms the idea that already during the 8th century BC there was a settlement operating on Potârca headland, which was evolving in ascension during the 7th - 6th/5th centuries BC. During the next period a strong defensive com­plex was built, thus granting them a significant strategic status within the system of fortified sites from the basin of Răut River lower course. The settlements of the prehistoric or ancient period were most common- ly built on certain factors, either economical - where they were taking advantage of a fertile arable land, rich pastures and water resources, or strategic - in naturally protected places that were facilitating the con- struction of complex defense systems, thus not only ensuring their own invulnerability, but also the ability to dominate, in certain cases, on un- fortified or endowed with a modest defense system sites. Regarding Potârca fortress, the situation seems to be more complicated. Its build- ing could have been caused by several circumstances. Being built on the highest peak/promontory in the area, reinforced with a complex fortifi- cation system, the site was occupying a modest surface, and the pastures and the arable land around it were limited, unable to maintain suffi- cient food products for a large community. The presence of imported materials cannot serve as an indisputable argument supporting the idea that these goods had been used only by the communities living with­in the fortress. Rather, they report that the Potârca site, like many oth- ers, would have been a commercial transit point for Greek traders used during the process of exchange with local communities.

The detailed analysis of the archaeological artifacts concerned al- lows us, to some extent, to track their evolution in time and in the space incorporated within the defensive system. The correlation of the no.l Complex content (pit no.l) dug into the ridge of the internai defense "wave" line and highlighted by Section no. 13, with the wooden filling of the case and the soil of the cultural layer, relates quite a significant picture: the soil from the Complex/Pit no.l is identical to the soil of the ground layer that covers the defensive construction ruin, thus, differing completely from the "wave" structure which it had been dug into.

The ceramic material collected from the emplecton "wall" and Complex no. 1 may be remarkably included into the ceramic assortment typical to the 4th - 3rd/2nd centuries BC. However, the types of vessels similar to those discovered in the later cultural horizons specific to the 3rd century BC prevail among the ceramic fragments from the Complex no.l. It should be noted that the Complex/Pit no. 1 was outlined at a 40-50 cm depth from the current floor surface, the soil from it being the same as the layer that was covering both objectives, radically differing from the "wave" soil it had been dug. This, unambiguously, indicates that a very long period of time elapsed between their edification. It is dif- ficult to identify this chronological gap based on the currently available material. A fact is clear, that when the no.l Complex/Pit no.l had been dug, the internai defense line presented only a wave-shaped field. An ef- fective backup for supporting this assumption can also be the fragment of Chios amphora from the second half of the 3rd century BC discovered at a 30cm depth above the "wave", within the layer that was covering the entire settlement, which means, that during the period when the liquid goods were being transported in packs made in the second half of the 2nd century BC the internai defense line had already been abandoned. If the period of the inner defense line annihilation could be considered the middle or the second half of the 3rd century BC, the problem remains to establish the period of building the entire fortification system. Were both defense lines on the south side of the site built at the same time with the lateral ones or consecutively? When was the stronghold raised, at the same time or later? These, as well as other aspects related to the Potâr- ca fortified site, due to lack of concrete chronological data, are still not elucidated. Despite such realities, certain attempts can be undertaken in order to clarify the correlation between the period of the settlement

set-up within the second Iron Age and the appearance of the defensive system. The discovery within the outer defense emplecton "wave" line, of the four basically reconstructible vessels and 183 fragments from dif- ferent ceramic vessels through Section no.5 and about 500 ceramic frag­ments, out of which 130 with traces of secondary combustion detected in the Southern region of the same "wave", through Section no. 6, seems to contribute to the reconstruction stages of building the archaeological objects on the Furceni rocky promontory.

The vessels, probably already damaged and the multitude of ce­ramic fragments from different types of containers, together with the rubble, pebble, pieces of limestone have been used as material for reinforcing the wooden casing emplecton - the "defense" wall "skeleton". The assumption according to which the ceramic material could have appeared on the top of the remains of the defensive edifice, as a result of different agricultural works after its ruin, is not excluded. However, the presence of 130 ceramic fragments, similar to those from the cul­tural layer with traces of secondary combustion within the clay, rubble and other limestone materials stretch, effectively pressed, making it of an excepţional hardness, at a depth of more than 1 m from the "wave" ridge, undoubtedly proves the ceramic material's authenticity within the "wall" and the one within the premises. This shows that at the time of building the line, in this case, of the externai defense, a settlement was already operating within this space. The time lag between the pe­riod of establishment of the settlement and the time of building the de­fensive system, due to the lack of concrete data, cannot be determined with certainty. There is also the question of the chronological correlation of defensive lines, and especially of the two ones from the south. They were built at the same time, in order to ensure a more effective defense in the most vulnerable part of the site, or consecutively, so that later, due to the increase of population that caused the need for new living spaces, the inner defense line had been abandoned and demolished. It is also not excluded the assumption that the fortified site Potârca, thanks to its location on the highest segment of the area - the peak of the rocky promontory, protected by high and steep banks, has been built for stra­tegic purposes of surveillance and communication with Butuceni for- tress, which being surrounded by the fortified settlements from the both banks of Răut River lower course: Scoc, Cot, Selistra, Măşcăuţi-Pomnfl

Ciucului, had been a strong military, religious, and commercial residen- tial center. Therefore, its construction could have taken place not earlier than the end of the 5th - 4th centuries BC, the time when this residential center was constituted.

The study of the artifacts highlighted as a result of the archaeological investigations in the fortified Potârca site from the Iron Age, in all their complexity, allows some preventive findings.

The surface of the promontory seems to have been populated, at the earliest, by the 9th- 8th centuries BC. But the contouring, even ap- proximate, of the space occupied by the settlement cannot be determined.

During the 7th-6th/5th centuries BC, based on the available mate- rials, it can be stated the fact that the settlement undergoes a significant evolution, although due to limited field research, its territorial highlight- ing is not possible.

During the immediate stage of the 5th/4th-3rd centuries BC the site has been fortified and incorporated into the defensive system consisting of a fortress network located on both banks of the Răut River basin.

Towards the end of the 3rd -2nd centuries BC, stagnation in the evolution of the site is noticed, that leads to the fortification system de- cay and with time to the entire settlement.

It is not excluded that this situation was caused by the ineursions of foreign communities, the Pomeranians among others, the traces of which although sporadic, are present through the minimum of archae- ologically documented data. It is, however, early, at the current level of research, to state the massive presence of these communities.

The evolution of Potârcă settlement and of the sites from the Lower Răut River area

The Lower Răut region represents a landscape consisting of Coastal plains, plateaus, hills and rocky headlands meandering by narrow pas- sages, drawn in different directions. Thanks to the strategic position of the whole microzone that presents a favorable space for the sedentary way of life with arable, fertile and grassy lands, which created favorable conditions for living, it had been populated, as it resulted from the analy- sis of the archaeological data available, even in the early Iron Age period.

Ceramic materials from the early Iron Age were also highlighted in the high areas of the microzone known more through periegetic research. Materials from the 8th-7th centuries BC have been spotted in both Butu-

ceni and Potârca, and Măşcăuţi that confess a permanent residence with- in these settlements. In the 6th-3rd centuries BC most of the investigated archaeologically fortified sites flourish: Butuceni, Cot, Furceni-Ivancea, Măşcăuţi, Potârca, Scoc, Selitra, as well as a series of open settlements. The visibility analysis performed on the Digital Model of the Elevations shows us that the Răut valley was a region well controlled by the Getian communities. As it results from the space investigations analysis, the fortified Butuceni site was settling connections, in most cases, with all the establishments from the Lower Răut microzone only with the help of Potârca settlement. Butuceni fortress itself, occupying a special po- sition and being protected naturally by the meanders of the high and steep banks of the Răut, as well as by an invulnerable complex defensive system, presents the residential center of the formation from the Lower Răut basin. Similar centers, thanks to the last years research, have been noticed as well as in other regions of the Budo-Carpathian-Danubian area, from which the one from Saharna area from the Middle Dniester region is standing out. Another residential center, as it results from the recent Stolniceni large-scale research and the periegetic ones from the surroundings, could be in the present region of the Hinceşti Codrii, as well as in areas of the space concerned.

Studying the fortified and open sites from the archeological Iron Age, known in the Lower Răut microzone through extensive archaeo- logical investigations, undertaken in late 20th century- early 21st century, has offered to specialists a rich and a varied informative material. Based on the detailed analysis of the archaeological data, it has been established that the evolution apex of these establishments was reached towards 4th- 3rd centuries BC. Taking into account the fact that not all archaeologically determined sites appeared concomitantly and were at the same time abandoned, the area occupied by the seven fortified sites and five open settlements is not relatively large, being 7.5 km long and 3 km wide, indicates a substanţial demographic evolution in comparison with the previous periods. The surprising demographic evolution has considerably accelerated the building process on an essential scale of the sites defended by long-term complex defensive Systems, which, in their turn are modified according to the dictated economic and demographic development needs of the population of these establishments. The map- ping and the study of the topography of sites in the Lower Răut mi-

crozone, the analysis of the available archaeological remnants and their correlation with the information resulting from the geospatial research, indicates the use and strict adherence to certain rules and strategies in the location of fortified sites.

The analysis of data obtained through investigations: exhaustive at Butuceni fortress; parţial at the Potârca and Măşcăuţi-Poiana Ciucului fortified sites; periegetic at Cot, Scoc, Selitra, Măşcăuţi-Poiana Ciucului, allow highlighting, by the surface of the enclosure, the placement, the complexity of the defensive system, the hierarchy in the principie of edification, each fortified settlement having a special role in the defensive complex of the whole microzone. The varied topography of the sites seems to have been conditioned by several circumstances such as:

-                      Microzone landscape;

-                      Availability of favorable conditions for agriculture and livestock breeding for a successful subsistence;

-                      High level of visibility for communication with each other or through neighboring sites with higher topographic positions.

The diachronic evolution of the fortified sites in the Lower Răut microzone: Cot, Butuceni, Măşcăuţi-Poiana Ciucului, Potârca, Scoc, Seli­tra as well as of the open ones was different. AII these establishments, during the period of maximum development, functioned synchronously, their edification and abandonment, as it results from the available mate- rials, occurred in different circumstances and at different chronological stages. Nowadays, with a higher probability ratio, it can be stated that two of them, Butuceni and Potârca, had their beginning: the first in the lOth century BC, the second closer to the 9th -7th century BC. The for­tress from Măşcăuţi-Po/anfl Ciucului is considered as an unfortified set­tlement in the 7th- 5th century BC. It is likely that the other fortified and non-reinforced sites are formed at the same time or at a later stage. Their decline dates back to the crossroads of the two centuries: the Ist century BC - Ist century AD while the height of development completely falls on the 4th-3rd century BC. If the time of the appearance of these establish­ments can be attested to the demographic evolution of the communities in this region during the first half of the Ist millennium BC, the second Iron Age period - the flourishing time of these civilizations in all areas remains an enigma/problem, although it has been frequently discussed in specialized literature. Only the second stage of the Ist millennium BC.





The source of information:  Cercetările sitului arheologic Potârca din Rezervația Cultural-Naturală Orheiul Vechi, written by Ion Niculiță, Sergiu Matveev and Andrei Nicic

 

duminică, 18 iulie 2021

La casa-Museo Alexandru Donici

El 19 de enero de 1806, en el pueblo de Bezin, distrito de Basarabeasca, nació el poeta moldavo, el fabulista Alexandru Donici. A temprana edad comenzó su carrera militar en la escuela secundaria en San Petersburgo, pero después de graduarse, regresó a su tierra natal, donde combinó con éxito la práctica legal y la carrera literaria.



Casa-Museo Alexandru Donici

Chisinau-Donici: 70 km

Algunas de sus primeras obras fueron traducciones, entre ellas A.S. Pushkin "Los gitanos" y una colección de obras de Antiochus Cantemir. El escritor es considerado, con razón, el fundador de la fábula nacional de Moldavia. Una persona con múltiples talentos, dejó una contribución invaluable en la literatura moldava. Durante mucho tiempo en la finca heredada de generación en generación de Alexandru Donici fue una escuela secundaria.

Y en 1976, reconociendo la invaluable contribución del poeta a la literatura moldava, las autoridades decidieron abrir un museo a su nombre en el pueblo de Bezin (ahora Donici). El ambiente de principios del siglo XIX persiste en la finca. La sala de estar está decorada en estilo egipcio, muebles modernos de esa época, los pisos cubiertos con alfombras moldavas, bordadas a mano. Desafortunadamente, solo el arma del propietario se mantuvo entre los artículos domésticos personales. Entre las numerosas ediciones impresas se conserva una impresionante colección de documentos y fotografías relacionados con la vida y creación del poeta.

Al visitar la Casa-Museo Alexandru Donici, adéntrese en la atmósfera temprana de la literatura moldava.

Unas palabras sobre la Casa-Museo Alexandru Donici. Desde 1976, la Casa-Museo Alexandru Donici funciona en la mansión Donic. Alexandru Donici reunió exhibiciones fabulosas en la Casa-Museo. En la Casa-Museo Alexandru Donici se puede ver toda la vida del gran poeta.

Donici se encuentra en un área protegida del Parque Nacional Orhei (que incluye 14.000 h), rodeada de colinas boscosas (Hârtopul, Teleșeu, Voloaca), a 25 km de Orhei y a 37 km de Chisinau. El asentamiento está bordeado por huertos y viñedos, pero también por tres lagos, que le dan una vista muy especial.


El pueblo de Donici fue documentado el 4 de mayo de 1436 con el nombre de "Bezin". Este nombre proviene del río cercano. La parte de ladera del pueblo, sin embargo, se llamó "Stanca", que proviene de "Izvorul Stanca", construido en 1806, por Dumitru y Elena Donici, en honor al nacimiento del fabulista "Alexandru Donici". El nombre de "Donici" del pueblo, se produce el 27 de agosto de 1966, con motivo del 160 aniversario del nacimiento del fabulista Alexandru Donici. También en esta ocasión, en la mansión de la familia Donici, donde funcionaba una escuela, se inauguró una sala de exposiciones, lo que supuso un primer paso para la apertura de un museo. Desde 1971, cuando se construyó una nueva escuela en la localidad, se iniciaron las obras de restauración de la mansión Donici y el 19 de septiembre de 1976 se llevó a cabo la inauguración de la Casa-Museo “Alexandru Donici”, como dependencia del Museo de Historia Orhei.

Esta hermosa mansión fue construida en la finca propiedad de Dimitrie Donici, de su padre Constantin Donici, en 1765, por los padres del fabulista, Dumitru y Elena Donici. El plano de la casa, como resulta del boceto elaborado el 14 de mayo de 1973 por un instituto de diseño, representaba la situación real de la mansión en esa fecha y fue el punto de partida para su restauración con el fin de montar un museo conmemorativo. Donici Mansion tiene una superficie total de 203,5 m2, de los cuales solo el porche ocupa una superficie de 64 m2. El edificio cuenta con 8 salas, 4 de las cuales son salas de exposiciones. "La casa grande" - está amueblada con objetos específicos del siglo XIX, incluidas las hermosas alfombras de Besarabia, piano, sofá cama con sillas y un sofá al estilo de Napoleón III, cubierto con inscripciones de metal, buffet, una secretaria, iconos, candelabros de plata y un candelabro, colocados en una parte del techo pintada con motivos florales. El "mueble de trabajo", equipado con una chimenea encima de la cual se coloca un reloj vintage y dos candelabros, el escritorio de trabajo con una cómoda silla tapizada con crepe, el escritorio de servicio de mármol, la biblioteca donde se puede ver una colección de libros del siglo. . Siglo XIX, una alfombra colocada en una pared, que da una ilustración específica de esa época. "Las otras dos salas de exposición" están destinadas a presentar la vida y actividad del fabulista Alexandru Donici. También se ilustran momentos importantes de la inauguración del museo en 1976. El "Porche", típico de Moldavia, está generosamente construido en todo el lado de la mansión. El "parque", que rodea la mansión Donici, tiene un hermoso estanque y un pabellón rodeado de vegetación, que alberga un cómodo banco y una mesa. El "busto de Alexandru Donici" se colocó en el patio de la mansión en 1969. La parte de la ladera de la mansión, que se llamaba "Stanca", alberga un manantial llamado "Izvorul Stanca", donde aún se conserva en la actualidad. La antigua colección de agua y sistema de filtración de 12 manantiales, este manantial forma parte del complejo del museo. 

También en el complejo del museo "Alexandru Donici", se incluye la iglesia "Asunción", fundada por la familia Donici, que puede considerarse una copia mucho más pequeña de una catedral de San Petersburgo, construida según los planos del arquitecto Bartolomeo Rastrelli. En el cementerio hay un campanario construido sobre la tumba de la familia Donici, por el arquitecto búlgaro Filip I. Stroi-Stoianov, en 1894, donde están enterrados varios miembros de la familia Donici. La iglesia de la "Asunción", ubicada en las inmediaciones de la mansión, fue fundada por la familia Donici. Actualmente forma parte del Complejo del Museo "Alexandru Donici". La primera iglesia de madera, certificada en 1820, fue construida a expensas de los padres del fabulista, Dimitrie y Elena Donici Durante los años 1872-1882, se construyeron 115 iglesias de piedra en Besarabia. Luego (1875-1876) la iglesia de madera "Asunción" fue demolida en Bezin y en su lugar se construyó una iglesia de piedra que ha sobrevivido hasta nuestros días. Como se puede leer en la placa de mármol conmemorativa colocada en el muro exterior de la iglesia, la construcción de la actual iglesia se realizó a cargo de Andrei (1811-1889), hermano del fabulista, y su hijo Neculai (1835- 1876), en el período 1875-1876. La "Iglesia de la Asunción", fundada por la familia Donici, sufrió grandes daños durante el período comunista. Una auténtica confesión proviene del escritor ucraniano Oleg Goncear, autor de la novela "La Iglesia", uno de los pocos escritores que tuvo el coraje de protestar contra la destrucción de iglesias en el antiguo espacio soviético. La iglesia se transformó en depósito de cereales hasta 1992, cuando se realizó la primera restauración y recuperó el estatus de iglesia ortodoxa. En 2006, los cristianos ortodoxos de la aldea de Donici, con motivo de la visita del jefe de Estado al "Museo Conmemorativo Alexandru Donici", se atrevieron a solicitar la restauración de la iglesia, ya que el agua de lluvia se filtraba por el techo. En el mismo año se iniciaron amplias acciones de restauración dirigidas a la valla que delimita el espacio perteneciente a la iglesia, el exterior de la iglesia, que incluyó también el cambio de puertas y ventanas, el piso interior y exterior de la iglesia y la reposición. del iconostasio. En el período anterior a 1989, las pinturas del interior de la iglesia fueron destruidas o cubiertas de pintura. En 1992, los cuatro frescos que representan a los santos evangelistas: Mateo, Juan, Lucas y Marcos, fueron despojados de pintura y restaurados. La segunda restauración de estos cuatro frescos fue realizada en 2006, por el pintor restaurador Ioan de Orhei, ayudado por el pintor Emanoil de Mitoc. La patrona de la iglesia "Asunción" se celebra el 28 de agosto. El "monumento" mencionado en la placa conmemorativa, ubicado en la pared exterior de la iglesia, es un campanario construido sobre la tumba de la familia Donici por el arquitecto búlgaro Filip I. Stroi-Stoianov, en 1894. Además de los padres del El fabulista Alexandru Donici, Dimitrie y Elena también se mencionan en la placa, como enterrados en esta tumba: - Andrei (Andronache) (1811-1889) - el hermano menor de Alexandru Donici. - Anastasia (1824-1872) - la segunda esposa de Andrei Donici. - Nicolae (1838-1876) - hijo de Andrei (Andronache) Donici, mariscal de la nobleza de Orhei, padre del astrónomo Nicolae N. Donici (1874-1860) 47.

Las fuentes: casamare y visit.md.

La fuente de la foto: radiochisinau

marți, 29 iunie 2021

28 de junio de 1940 - Día de la ocupación soviética: 81 años desde la anexión de Besarabia y el norte de Bucovina

El lunes, 28 de junio, se cumplen 81 años desde que la Unión Soviética (URSS) basada en el acuerdo anterior del 23 de agosto de 1939 con la Alemania del Tercer Reich, un acuerdo conocido como el Pacto Molotov-Ribbentrop, exigía directamente y sin discusión a Rumania, la cesión de Besarabia, que fue rescatada por el Estado rumano en 1918, en un periodo de debilidad militar de Rusia.

El 28 de junio de 1940, la Unión Soviética tomó Besarabia y el norte de Bucovina, además del norte de Transilvania, que fue cedido a Hungría, a través del Segundo Arbitraje de Viena, que le fue impusto, de manera ultraunilateral, a Rumania. El 28 de junio de 1940 fue declarado Día de la Ocupación Soviética, mediante un decreto firmado en 2010, por el entonces presidente interino de la República de Moldavia, Mihai Ghimpu.



28 de Junio de 1940

Tras el Pacto Ribbentrop-Molotov, el tratado de no agresión firmado el 23 de agosto de 1939 entre Alemania y la URSS y el Protocolo Secreto, que dividía las esferas de influencia entre las dos potencias europeas mencionadas, el 26 de junio de 1940, la URSS envió a Rumanía un ultimátum solicitando "la devolución a toda costa" de Besarabia y la rendición de la parte norte de Bucovina.

El 28 de junio, a las 11 horas, el gobierno rumano comunicó su aceptación del últimatum, solicitando a los soviéticos que ampliaran el plazo de evacuación en cuatro días, a partir del 28 de junio de 1940. Los soviéticos fijaron el final de la retirada para el 3 de julio de 1940 a las 14:00 hora de Moscú.

3.776.309 habitantes y un área de 50.762 km2 del cuerpo territorial histórico de Rumania fueron abandonados a la furia ciega a las hordas rusas. El 29 de junio, los tanques rusos ocuparon abusivamente el norte de Bucovina, Herta, Jotín, cerca de Besarabia, así como el norte de Maramures y la región de los países bálticos, Lituania, Letonia y Estonia.

El norte de Bucovina, la tierra de Herta, el norte y el sur de Besarabia (Bugeac) fueron incorporados por Stalin a la República Socialista Soviética de Ucrania.

El 2 de agosto de 1940, la RSSA de Moldavia, que ya formaba parte de la URSS, se dividió en dos: una parte se incorporó a Ucrania y la otra al resto de Besarabia anexada, constituyendo la RSSA de Moldavia. El 7 de agosto de 1940, se creó la región de Chernivtsi uniendo la parte norte de Bucovina con el condado de Herta y la mayor parte del condado de Hotin (Jotín o Khotyn) en Besarabia.

Inmediatamente después de la ocupación, comenzó el exterminio de los rumanos: arrestados, fusilados, torturados, deportados a Siberia, sometidos a la hambruna provocada por el régimen bolchevique. Entre 1940 y 1950, según los censos oficiales realizados por las autoridades rusas, un tercio de la población rumana desapareció; de los 3.200.000 en 1940, sólo 2.229.000 permanecieron en 1950.


El 22 de junio de 1941, el orgulloso Ejército rumano cruzara el Prut, iniciando la liberación de los territorios perdidos, que se libraría, hasta 1944, del yugo ruso. En la retirada de Besarabia, el Ejército ruso aplicara la táctica de la destrucción total: 42 iglesias, 28 escuelas, 32 locales de algunas instituciones públicas, 79 organismos de las autoridades fueron voladas.

Con el tiempo, se sumaron cientos de miles de víctimas más, miles de rumanos más serían fusilados, torturados, desollados vivos, crucificados, arrojados al Nistru; robos, violaciones, indignaciones, extorsiones, masacres, además de un proceso de erradicar la milenaria presencia rumana en la zona, a través de una reingenería social, donde una desrumanización fue suplantada por una rusificación. Luego, si no fuera poco, se dieron a cabo, horribles crueldades del 14º Ejército ruso, guardias y cosacos durante la guerra de Transnistria de 1992. Rusificación forzada, monumentos históricos destruidos en un intento fallido de borrar del mapa la más que milenaria presencia del ethos rumano en la Besarabia histórica.

El artículo fue publicado en el sitio web del Ziarul de Gardă

June 28, 1940 - Day of Soviet occupation: 81 years since the annexation of Bessarabia and northern Bukovina

Monday, June 28, marks 81 years since the Soviet Union (USSR) based on the previous agreement of August 23, 1939, with Nazi Germany, an agreement known as the Molotov-Ribbentrop Pact, demanded directly and without discussion Romania to cede Bessarabia. It was „annexed by the Romanian state in 1918 using Russia's military weakness.

On June 28, 1940, the Soviet Union took Bessarabia and Northern Bukovina, and Northern Transylvania was ceded to Hungary.

June 28, 1940, was declared the Day of Soviet Occupation, by a decree signed in 2010 by the then interim president of the Republic of Moldova, the liberal Mihai Ghimpu.



June 28, 1940

Following the Ribbentrop-Molotov Pact - the non-aggression treaty signed on August 23, 1939, between Germany and the USSR - and the Secret Protocol, which divided the spheres of influence between the two imperialist powers, on June 26, 1940, the USSR sent Romania an ultimatum requesting „the return at all costs” of Bessarabia and the surrender of the northern part of Bukovina.


On June 28, at 11 o'clock, the Romanian government communicated its acceptance of the dictatorship, asking the Soviets to extend the evacuation period by four days from June 28, 1940; the Soviets set the end of the retreat for July 3, 1940, at 14:00 Moscow time.


3,776,309 inhabitants and an area of ​​50,762 km2 of Romania's body were left to the blind fury of the Russian hordes. On June 29, Russian tanks abusively occupied Herta Lithuania, near Bessarabia and northern Bukovina.


Northern Bukovina, Herta Land, northern and southern Bessarabia were incorporated by Stalin into the Ukrainian SSR.


On August 2, 1940 - the Moldavian RSSA - which was already part of the USSR - was divided into two: one part was incorporated into Ukraine, the other was annexed to the rest of annexed Bessarabia, constituting the Moldavian RSSA.

On August 7, 1940, the Chernivtsi region was created by linking the northern part of Bukovina with Herta County and most of Hotin (Khotyn) County in Bessarabia.

Immediately after the occupation, the extermination of the Romanians began: arrested, shot, tortured, deported to Siberia, subjected to famine caused by the Bolshevik regime. Between 1940 and 1950, according to official censuses conducted by the Russian authorities, a third of the Romanian population disappeared; of the 3,200,000 in 1940, only 2,229,000 remained in 1950.

On June 22, 1941, the Romanian Army will cross the Prut, starting the liberation of the lost territories, which will get rid, until 1944, of the Russian yoke. In the withdrawal from Bessarabia, the Russian army will apply the tactic of total destruction: 42 churches, 28 schools, 32 premises of some public institutions, 79 of the authorities were blown up.

Hundreds of thousands of more victims will be added in time, thousands more Romanians will be shot, tortured, skinned alive, crucified, arts, thrown into the Dniester; robberies, rapes, indignations, massacres, terrifying cruelties of the 14th Russian Army, guards and Cossacks during the 1992 Transnistrian War. forced Russification, destroyed destinies, transmitted stories in time.


The article was published on the Ziarul de Gardă website.

marți, 22 iunie 2021

Maria Cristea „La belleza ilumina tu alma”

Poseedor de la Orden „Gloria Muncii” y el título honorífico de "Maestro Faur" el nombre de la maestra folclórica, María Cristea, es actualmente sinónimo del valor, calidad y autenticidad del traje folclórico. Desde hace más de tres décadas, Casa Cristea, cuyo fundador es nuestro interlocutor, ha estado confeccionando con mucho cariño y artesanía, camisetas y otros atributos del traje folclórico, que es un verdadero tesoro de nuestra nación. Es el artesano que contribuyó a la rehabilitación del traje popular en la República de Moldavia, limpiándolo de elementos estilísticos extranjeros.

Maria Cristea

Actualmente, la mayoría de los grupos folclóricos profesionales y amateurs del país visten trajes elaborados por las artesanas de Casa Cristea. Discreta, que prefiere expresarse a través del resultado de su trabajo, María Cristea evita las invitaciones a entrevistas; pero logramos convencerla de que nos dejara una puerta abierta a su alma para descubrir de dónde proviene su amor y aprecio por la belleza y la autenticidad.


El 29 de julio, día de la Constitución, inauguró la nueva sede de la Casa del Puerto del Pueblo, Casa Cristea, un sueño al que, como mencionó en el discurso de apertura, se encamina desde hace 30 años. ¿Qué te mantuvo en este camino para que no lo abandonaras y lo siguieras con tanta fidelidad durante tres décadas?

Lo he hecho toda mi vida y eso es lo que sigo haciendo. Estoy apuntando a ellos. Creo que ahora soy más fuerte que nunca y no me refiero a la fuerza física, en este capítulo nos deshacemos del tiempo; pero me siento capaz, fuerte en actividad. Conozco muchos secretos, tengo experiencia y eso ni siquiera es lo más importante, ahora lo siento, veo un adorno e inmediatamente me doy cuenta de cómo se verá el trabajo terminado. Hay veces que viene alguien y me dice que quiere algo de una forma u otra, pero mi alma no me deja hacer lo que me piden, porque ya intuyo, veo en mi mente el resultado final y no creo es apropiado. Lo que a veces se me pide no es cuál debería ser el resultado. Es, por así decirlo, una intuición y ya he aprendido a sentirlo y a darle crédito, a eso me refiero cuando les digo que ahora me siento más fuerte que nunca. Por más que pueda, cuántos años Dios me dará para poder, sería una lástima no hacerlo camisas tradicionales. No tengo el derecho moral de rendirme, he estado yendo a esto durante tantos años que finalmente puedo sentirlos, vivirlos, así que tengo que seguir adelante.

Pero tienes una formación pragmática, te graduaste en una facultad de matemáticas y cibernética. ¿Cómo llegaste al reino del arte?

Así es, me gradué en matemáticas. Cuando me preguntan sobre esto, respondo en broma que las matemáticas me ayudaron a contar las cruces. De hecho, las matemáticas me ayudaron mucho, ordenaron mis pensamientos, mi mente. Busqué y espero encontrar un equilibrio entre números y arte, para que estas dos nociones se complementen. Las matemáticas es lo que aprendí, el resto es lo que sentí. Una tía de mi marido, que era madre en el convento, siempre me decía que quien cose y trabaja a mano debe ser bueno en matemáticas. No se refería al hecho de que debas saber matemáticas superiores, sino a tener una mente analítica. Además, se requiere tener sentido del color y poder combinar los colores armoniosamente, para encontrar un equilibrio.



¿Qué papel jugaron las artesanías, tradiciones, costumbres en la infancia en su hogar paterno?

Crecí en la casa de un artesano. Mi padre era carpintero. También tocó el violín en su vida, fue maestro de escuela, enseñó trabajo manual, tuvo un taller y muchos de los niños que pasaron por sus manos se hicieron artesanos. Como carpintero, mi padre "aplastó" a cuatro niñas. Una vez hubo una historia divertida sobre nosotras, las niñas de papá. Una vez, cuando mi padre salió al pueblo, uno quiso tomarlo de la pierna y le dijo: "Bade Vasile, eres un maestro y has hecho cuatro niñas, ni siquiera tienes un niño", respondió. "Mira, mis cuatro hijas y yo vamos a tener cuatro niños listos para ser criados, pero tú tienes un hijo y vas a cambiar a esa niña". Mi padre tenía dos hermanos, uno de los cuales, era Ion. Podoleanu, quien, como saben, tenía talento para escribir. Mi padre era una persona especial, te encantaba escucharlo durante horas, pero lo pasaba mal. Fue a la guerra, luchó en el Ejército rumano y, en el primer año, fue hecho prisionero por los rusos en un campo de concentración. Sus padres le hicieron lo mismo, estaban seguros de que había muerto, pero regresó al pueblo después de la guerra y nuestra familia ha aparecido. Mi madre bordaba todo lo que se podía bordar para la casa: cortinas, servilletas, manteles, fundas de almohada. También bordaba mi vestido de bautizo, que aún conservo. La generación de mis padres fue una probada por el destino, incluso castigada: pasaron por la guerra, el hambre ... Pero no en vano, se dice que la belleza salva al mundo, porque la belleza ilumina tu alma. La artesanía fue el rayo de luz para su generación.


Empezaste a coserlos y bordarlos en un momento en que esto no era muy visto ni moderno. Ahora bien, esta ocupación es bienvenida. Si en la actualidad, la ocupación también implica un interés económico, para ti era una forma de equilibrar.

Como te dije, siempre bordaba, desde temprana edad. Cuando era pequeña, trabajaba con mi abuela. Mi madre no tuvo madre, se quedó huérfana cuando era solo una niña. Su suegra era como una madre para ella. Mi abuela, la suegra de mi madre, era una hábil artesana de crochet. Estaba haciendo un hocico que nunca antes había visto en ningún lado, como si lo estuvieran ejecutando en una computadora. Todos los cuadrados y puntadas eran perfectos, así que, no podías creer que fuera una mano humana. Ella me enseñó a hacer horbotica, pero también aprendí algo de ella: la exigencia. Tengo exigencias muy altas por parte de los artesanos que conozco, los que hacen crochet o quieren crochet, porque es muy importante aprender el oficio correctamente desde el principio.

Hasta que llegues a este punto, fue un comienzo...

Ha habido un punto de inflexión en mi vida, ya que, hay un momento en la vida de todos. Quizás el destino quería llevarme de otra manera, porque resultó que las matemáticas no eran mi forma de vida. Sí, estudié, me gradué en la universidad, trabajé en el Centro de Computación. Hubo momentos en los que me pusieron al frente de algunas decisiones, decían su palabra y los problemas de la sociedad, era la década de los 1990, cuando muchas organizaciones cerraban, el mundo se quedaba sin trabajo y sin fuentes de existencia. Afortunadamente, no sentí muy agudamente la privación material de esos años, porque podía hacer todo por la casa con mis propias manos, era una tienda donde se vendían trozos de lana, tela, etc., de los que hacía de todo, incluso ropa de cama. Así como el oficio de mi madre la ayudó a sobrevivir y mantener a su familia durante y después de la hambruna, también lo hicieron mis manos, mi habilidad y mi ayuda. No le tenía miedo al trabajo.


¿Cuándo y cómo la gente empezó a notar su talento y a hacer pedidos?

Hace mucho tiempo. He trabajado seriamente en este campo durante treinta años. Pero te diré un secreto, estaba en cuarto grado cuando cosí un traje sencillo para una amiga y me dio tres rublos por él, de los cuales, compré una cacerola grande de queso. Este fue mi primer dinero, todavía me pregunto cómo tuve el coraje de hacer eso.

Sin embargo, algo te dio un impulso. ¿Qué?

El primer trabajo serio me dio un impulso. Era una camiseta que hice para Serghei Lunchevici. Recuerdo haber trabajado mucho en él, porque tenía un bordado extremadamente complicado. Sin embargo, comencé a bordar camisas durante el período en que el Fondo Artístico estaba activo. De hecho, la primera en empezar a bordar una camisa fue mi hermana, quien se ofreció a traerme una también. Pero le dije que me trajera dos. Les bordaba mucho, tenían un bordado difícil. Cuando terminé de bordar, mi hermana me explicó que eso no era todo. Pero solo trabajaba de noche, de lo contrario, estaba en el trabajo, luego tuve que cuidar a los niños y cuando mi hermana me dijo que tenía que hacerles un agujero, cerrarlos con una llave y hacerlos en el cuello... Podía hacer estas cosas, pero estaba exhausta. Le dije: „Si no me los quita de los ojos ahora, corte los hilos con unas tijeras”. Mi hermana no dijo nada. Los terminó y los entregó al Fondo. Más tarde, me trajo el dinero, me parece 60 rublos, pero eso era buen dinero en ese momento, ¡significaba medio sueldo! Cuando me lo dio, me pareció que me lo había traído en vano. Con toda vergüenza, le dije que me trajera más trabajo. Así llegué a bordar, haciendo de eso, por necesidad al principio, pero, cuando vi que valía la pena, fue un incentivo para mí. Me involucré en la actividad y así comencé a trabajar en este campo.

Para igualar los rigores, una camisa tradicional debe contener adornos auténticos. ¿Dónde los conseguiste?

Vi los primeros adornos antiguos en el museo. Por cierto, quiero decirles que me alegro de haber sido parte del grupo de artesanos seleccionados para hacer réplicas de trajes antiguos del museo, los cuales ya no se pudieron exhibir porque estaban dañados, esta colaboración fue una experiencia útil. Hice una camiseta con una técnica muy complicada. Me dejaron tomarlo, lo abrí en una frontera para poder ver y entender los pasos a seguir. No se trataba de un simple bordado en punto de cruz (algo  reciente), había varias técnicas desconocidas que, lamentablemente, están al borde de la extinción, algunas incluso han desaparecido.

Lo descifré y logré restaurarlo. Dios me dio para conocer a una muy buena chica con la que trabajo, se trata de Viorica Plugaru de Bardar, que era estudiante de octavo grado cuando empezó a trabajar conmigo y ahora tiene una chica que terminó la universidad. Es un ser extraordinario, que mantiene la timidez de los moldavos orientales durante siglos. Viorica es un tesoro, porque con ella, he realizado los trabajos más importantes. Tuve un momento memorable con Ioana Căpraru, para quien hice obras muy hermosas. Había visto en el museo un ejemplo que le era muy querido. En ese momento no había teléfonos para fotografiar, ni impresoras para hacer una copia y sentarse a trabajar para reproducir. Ni siquiera se nos permitió llevárselo a casa. Agarré un cuaderno en cuadrados y lápices de colores, Ioana compró unos bollos y pasó un día en el museo y dibujé ese modelo, tratando de mantener todo: los colores, el orden y el patrón. Ioana tampoco olvidó la historia, la escuché hablar de ella en un evento. Aún lo tiene.

Una camisa tradicional no es un capricho y un intérprete que se respeta a sí mismo, conoce el valor de una cosa auténtica y la importancia de la imagen que transmite y para la que trabaja.

En 2012, organizamos la primer Camisa Tradicional Festival. En la segunda edición, tuve la sensación de que todos corrían hacia mí y dije entonces, en un reportaje, cuando me pidieron mi opinión: „Dios no lo quiera, lamentamos haberlo sacado del anonimato”. Temía que, siguiendo las tendencias, se devaluara por la actitud de las personas que siguen la moda y los intereses. Porque hoy todos los hacen, incluso los que hicieron botas y pantalones cortos. China fabrica camisas tradicionales. Tu mente y tus ojos pierden los horrores que puedes ver, que se llaman ie. Sí, lo admito, me dolió cuando solo la vi en el museo, dije que no tenía razón, está cerrada, encerrada, hay que verla y mostrarla. Pero luego se mantuvo intacto y auténtico, preservando su identidad y esencia. Algunas imitaciones son lamentables, que ni siquiera están estilizadas. El peligro es que esta ropa pasará de madre a hija y permanecerá, se mantendrá en la familia y, en los años venideros, otras generaciones creerán que así es como se veía un auténtico ie. Una vez alguien me trajo un trozo de tela que había encontrado en el ático y yo hice camisetas para la orquesta de „Folklore”, a partir de ese bordado muy, pero muy antiguo. Lo mismo podría suceder en muchos, muchos años, cuando alguien encuentre un trozo de un abrigo de este y dice: „¡Este es nuestro! Se quedó con su abuela, bisabuela...” Tengo mucho miedo de este peligro, pero no se puede detener el fenómeno.

Creo que los intérpretes de folclore también deben ser conscientes de su papel en la promoción de la auténtica camisa tradicional y los rigores del traje folclórico tradicional.

Los intérpretes de folclore son diferentes, algunos respetan estrictamente el vestuario y los rigores del género, por ejemplo, ¡qué hermosos son los intérpretes de música folclórica Mariana Dobzeu, Ioana Căpraru y Silvia Zagoreanu! Tienen el estilo y el traje de la cabeza a los pies que corresponde a una zona.


Volviendo a la camisa tradicional y al traje folclórico, ¿qué más teníamos para mostrar al mundo?

Aún nos queda, pero tenemos que volver al museo y a los rigores que impone un objeto, para que valga la pena exhibirlo. Fue un período, en el que, se hicieron muchas buenas camisas tradicionales, teníamos dónde y de quién inspirarnos. Desafortunadamente, he trabajado en técnicas más nuevas, las técnicas antiguas, como te dije, han llegado menos al día de hoy y son más difíciles de descifrar si no tienes a nadie de quien aprenderlas. Ahora me propuse enfrentar un desafío y trabajar en algunas técnicas más antiguas, para rehabilitar al menos algunas. No quiero descubrir y descifrar, simplemente, técnicas antiguas, quiero transmitirlas a los artesanos, para aprenderlas y utilizarlas más. En el taller „Casa Cristea” hice muchas réplicas de camisas tradicionales, según la auténtica técnica y ornamento, enseñando en el Museo Nacional de Etnografía e Historia Natural de Moldavia.

Me alegro de que, el Bessarabia Sitting Group, haya aparecido junto al museo, que, bajo la dirección de la Sra. Varvara Buzilă, está tratando de hacer modelos a partir de las viejas camisas tradicionales. Se trata de mujeres corrientes, apasionadas por la tradición y su trabajo permanece en la familia, siendo este, un legado que merece y debe transmitirse. Creo que ahora necesitamos promover la toma auténtica, para que el mundo se de cuenta y marque la diferencia. Idealmente, cada mujer debería bordar y heredar.












La fuente: Revista Moldova: iulie-august 2018.


joi, 3 iunie 2021

Radu Albot: „I am thinking of setting up a Tennis Academy in the Republic of Moldova”

One of them is Radu Albot - the most successful tennis player in the history of our country. He is the person who, for almost two decades, inscribes the Republic of Moldova on the map of elite sports and with each tournament he gives us an opportunity of pride and reasons for gratitude because he is one of the personalities who increase our image capital in the world.



Today we set out to present Radu Albot - the man and the athlete - as we discovered him: sociable, charismatic, with a pronounced civic sense, but also with a developed sense of humour and ready to intervene when asks for support or involvement.

You are the most successful theologian in the history of the Republic of Moldova. You have many admirers in the country, but also abroad and if we know more about sports performances, thanks to the attention and media coverage that this sport enjoys all over the world, about your life and biography, unfortunately, here, at home, we know Less. We want to correct this injustice and, first of all, please tell us where you were born.

One of them is Radu Albot - the most successful tennis player in the history of our country. He is the person who, for almost two decades, inscribes the Republic of Moldova on the map of elite sports and with each tournament he gives us an opportunity of pride and reasons for gratitude because he is one of the personalities who increase our image capital in the world.


Today we set out to present Radu Albot - the man and the athlete - as we discovered him: sociable, charismatic, with a pronounced civic sense, but also with a developed sense of humour and ready to intervene when asks for support Radu Albot: I was born in the city of Chisinau, on November 11, 1989.

Liliana Popuşoi: Do you have any more brothers, sisters?

R.A. Unfortunately no. But I wish I had a brother or a sister.

L.P. Why did you choose tennis, what attracted you?

R.A. I started playing tennis when I was little, about six years old. Then I paused. And from the age of eight, I started playing tennis all the time. I can't say it was a conscious choice, I was a child and I couldn't understand if I liked this sport or not. But, like any child, I wanted to play, either outside with other children or with cars. At that age I couldn't think of sports as an activity, that's why all I became and achieved so far was, for the most part, my parents' choice. Especially my father's choice. He watched tennis competitions on TV, enjoyed the sport and looked for a school in Moldova where I could learn and practice tennis.

L.P. Was it difficult?

R.A. Honestly, I remember very little about how it was in the beginning. From that period I remember more the interaction with the children there; we spent our time like in a game. And I think that's normal in childhood, you don't have to be treated most seriously from the age of eight. I think you have to live your age, otherwise, when will you be a child? Tennis is not an easy sport, but I found out later. Then I just know that I liked spending time on the tennis court, which offers a very large space where you can run without any restrictions. I liked this fact in tennis since childhood; I also liked that there were a lot of children, I had friends to play with, to have fun, to have fun. I think these are the reasons why I initially perceived tennis as a game. or involvement.

You are the most successful theologian in the history of the Republic of Moldova. You have many admirers in the country, but also abroad and if we know more about sports performances, thanks to the attention and media coverage that this sport enjoys all over the world, about your life and biography, unfortunately, here, at home, we know Less. We want to correct this injustice and, first of all, please tell us where you were born.

L.P. It is said that all children want to play and the sport attracts them because at first, it seems to be a game. When and how did this "game" catch you? When did it become a serious game?

R.A. I think this happened when I started travelling, participating in tournaments. Although even then I did not fully realize the seriousness of this activity and I did not even think I was playing a professional sport. Around the age of 15, however, I came to understand that I have a level of training, that I can play with young athletes from Europe. Because at 16 I was already second in the ranking in Europe, and at 18 - second in the world. The time interval from 15 to 17 years was the period in which I understood that I have the chance to be good and that I will be able to make a career in this sport.

L.P. You were born during the fall of the USSR. Although they went through great difficulties after the collapse of the empire, the people of the former Soviet states also obtained the opportunity to travel freely. What do you remember about your first trips abroad? What impressed you the most?

R.A. To be honest, I didn't understand then that only a few years ago people weren't allowed to leave freely, and I'm taking advantage of that now and can travel without restraint. I was about 13 years old when I first went to Ukraine and I remember talking to boys in Estonia, and I asked them if they had Coca-Cola in their country. No - I thought that in other countries of the world I find, for example, the products that are found in our country. I didn't understand how things were going in the world, I had never been to other countries. Although the world began to circulate unrestricted much later, it had been many years since the fall of the USSR. In Ukraine, Romania, where I had been before, I talked in Russian, in Romanian and it was as if I hadn't moved far from home, I didn't feel much difference. But I felt the real difference on my first trip to Germany, where I saw other roads, other houses, people, their cars, infrastructure, tennis court. These things then made me compare our countries and Europe and notice the difference in level.


L.P. In sports, to be successful, does the country where you are born to matter?

R.A. Interesting question ... To be successful, it doesn't necessarily matter if you are born in a country where the sport is more developed, but in such a country you have more chances to become a professional and therefore to be successful. Support is what matters. Because, if we refer to the sport that I practice, in developed countries a lot of attention is paid to supporting young people; young people travel with the coach, in these countries, some sponsors pay the costs for travel, sometimes young people have Wild Card, which gives them direct access to the main tables of big tournaments and this happens in the case of athletes who are just in training, not are established on the first positions in the rankings. But the fact that they enjoy the support helps them grow faster, which has never happened to me to stay at home for half a year, given that I have travelled all my life so far ... I still prefer to see the positive side of this stagnation. , which in our country, unfortunately, is missing. I grew up largely because of the funding and support my parents gave me. Thanks to them, I was able to develop, to go to other countries to participate in tournaments. In countries where the sport is developed, this is not the case. And I don't want to limit ourselves to tennis right now. We certainly have a lot of athletes who need support. As for me, yes, I might need help sometimes, but I want our athletes to be helped by the authorities. Yes, tennis is an individual sport; I have always played tournaments in all countries of the world and travelled with my money. I think that's going to happen from now on, that's not the problem; but other athletes in our country, such as judokas or in any other sport, in order not to discriminate, must be helped by the authorities.

L.P. What are the most difficult times you face?

R.A. I explain to you what I need when I go to play abroad: plane tickets and hotel accommodation, and in my case, the most expensive thing is to allow myself to pay for the coach. Otherwise, food, per diems or if you want to go out somewhere in the city - these are already extra expenses and some are optional.

L.P. Apart from family, have you had any support from anyone?

R.A. Yes, and I would like to thank him in this way for the support of the President of the Moldovan Tennis Federation, Mr Ceslav Ciuhri. I think she's the only person who helped me financially to get tickets so I could play some matches with a bigger team and not just me and the coach, and that's important. I thank him for supporting me, he trusts me and he sends me messages of encouragement when I have tournaments, he has been present at some tournaments.

L.P. I know that you are currently at the peak of your sports career, but, with your permission, I would like to recall together some moments from the past, moments in which you knew the first successes. Please tell us what you remember about those times, how you coped with the success and what impact it had on you, your family.

R.A. Success in tennis and how you feel can be seen through several stages. There are different levels, which you gradually reach. But once you touch them, you feel like you want more. I think this happens not only in sports; I believe that when he achieves a goal, each person will always strive for something more: to move forward, to be even better. My successes are because I have always been supported in the family; I have always been the pride of my family. You know, there have been failures and I think the most important thing is to have someone to support you when you have a failure because then it's the hardest thing for you; Maybe your career is in jeopardy, and if you don't have someone by your side to help you overcome the difficulties, you won't want to move on. It is in such moments that you understand that the people who are with you when you are in difficulty are the closest to you. If you can get through a difficult time, then everything is fine. But when you are successful, you feel like you are flying and many find you and tell you that they are your friends, some even imply that they have contributed somewhat to your success. We didn't pay attention to these details before, but over time they come to light.



L.P. Do you have friends you have been in contact with since childhood?

R.A. I have childhood friends even from other countries, they are friends I made when I started playing tennis, we keep in touch throughout my career so far; I travelled with them, I slept in the same rooms, I was a guest in their homes, they were with me. Of course, we already see each other less often, not like before, when we were younger and we met regularly in tournaments. But now it is very easy to talk due to social networks, the Internet and the accessibility of means and platforms for discussion. We discuss various topics. But I also have friends at home, with whom we have been in contact since early childhood, they are classmates from the tennis school. but over time, things change. before we saw each other much more often, we already have families, children and it is not so easy to meet, as it was before, when we had fewer responsibilities and obligations.

L.P. How are you coping with the pandemic?

R.A. In March 2020, when the state of the pandemic was declared, everything seemed a little strange to us. At that time I was in America and the tour that was supposed to take place there was cancelled, and we were sent home. I returned to the country and stayed home from March to August. This period also had positive aspects, because in April, last year, my little girl was born and I had the opportunity to spend a lot of time with my family, to be with my wife and daughter. I never missed a moment in the way she started to develop, to know the world, to know us, how she started to smile, to gain weight, to grow ... That made me very happy and made me feel very happy. I think that such moments are invaluable and it is not known if in other conditions I would have spent so much time with my family, with my child, because, traditionally, I travel a lot and participate in tournaments, and I spend very little time at home. I am glad that I was close to my wife and I was able to help her, she is our first child, we have no experience in this direction and we supported each other, I am glad that we were able to go through these stages together. I would have lost a lot if I had left during this time. Yes, the pandemic has radically changed everyone's life, but because during this time each of us has been able to be more with our family, I think this is a very important thing. Professionally, however, my activity has stopped. It's not just my profession that has stopped. We all have something to lose if we don't go to work. It has never occurred to me to stay at home for half a year in the conditions in which I have travelled all my life so far. The breaks between tournaments are a few weeks, but I prefer to see the positive side of this stagnation.

L.P. And yet, earlier this year you had the chance to participate in the Australian Open. How was the tournament for you?

R.A. Due to pandemic restrictions, this year's edition was different, but I said - everything is different this year. Australia is notable for the fact that there are not many cases of the disease in this country. This is because there it is required to enter the country quarantine for two weeks. And if you're Australian and you come home, you still have to stay at the hotel for two weeks, without the right to leave the room, open the window, take a walk outside. The same thing happened with the tournament. All athletes were quarantined when they entered the country. We were only allowed to go out for training. The time I had available outside the hotel room was five hours a day. Everything was calculated: 15 minutes by car - shower; 15 minutes by car - return; an hour and a half of training in the gym, two hours of training on the tennis court and an hour to eat. The rest of the time we had to stay in the room, we were not even allowed until the hotel reception, on each floor there was a security guard, who wanted this regime to be respected. We have been notified that if these rules are violated, we will be disqualified from the tournament. After the expiration of these two weeks of quarantine, we were allowed to go out in the city, in Melbourne, where the tour took place in our case. And in the city, everything is open and with free access - restaurants, cinemas - absolutely everything. People were walking freely on the streets - life was going on like before the pandemic, because, as I said, there are no cases of Covid-19 infection in the state or the city. It was in such conditions that this year's tournament in Melbourne took place, different from other years.

L.P. But how was the competition?

R.A. I found it an interesting competition. In the first round, I played with a Spaniard, who is currently ranked 13th in the world and I am glad that I was able to win this round because I won with a good tennis player, which is good for my winning record. In the second round, we won with an Australian player, which is good again, because Australians usually play well at home. I can say that I lost the third round with

a young Norwegian, has a very good style of play and I am sure he has an excellent future ahead of him. It was my best performance at the Australian Open because I have never won two matches there since I participated and I think it is a good result for the beginning of the year.

L.P. What are your plans for the current year?

R.A. Many more Grand Slam tournaments are coming up because it was only one so far. The next Grand Slam tournament will be at Roland Garros, then Wimbledon, then the US Open in New York. In addition, other matches follow. In general, there are many tournaments in tennis, you can play weekly, but usually, the players take breaks, because the body does not resist playing every week. So there are still a lot of tournaments ahead, and possibly participating in the Olympics in Japan - that's about my plans or, in other words, the schedule for this year.


L.P. Because you have spent a lot of time at home lately, please tell us what places at home make you feel good? Do you miss someone, something, somewhere in the house when you are touring abroad?

R.A. I like peace at home. I always come here to rest. During the periods when I am gone, I miss my family, my parents. Even if we have the opportunity to communicate via the Internet, nothing compares to live meetings and discussions. I also miss the friends we go out with when I'm in the country. Last summer I visited the places in the Old Orhei area, I was in Trebujeni, in a very picturesque place, with Radu Ţurcan, a friend of mine involved in the National Geographic Moldova project.

L.P. What hobbies besides tennis do you have and how do you like to spend your free time?

R.A. I like cycling, it's one of my favourite occupations. I still like to play billiards; recognize, spend a lot of time on the internet, watch various videos related to personal development

I read and find out about everything that happens in the world, I am especially interested in electric vehicles because it is said that these are the means of the future. Although concerned about non-polluting means of transport, I wonder if switching to electric cars will also harm the planet.

L.P. I read that you have a degree in psychopedagogy, have you thought about putting this knowledge into practice?

R.A. You know, the sport I play is more psychological, although it involves effort and physical training. In tennis, you have to be strong in every way. My psychopedagogy diploma plays an important role in the activity I carry out because I am not an aggressive player, who impresses with strength and speed, I am a guy who puts more emphasis on tactics, strategy and I am attentive to emotions. I think that psychology helped me to get further in this sport, to climb to get where I am now.

I'm not an aggressive player, I'm a guy who puts more emphasis on tactics, strategy and I'm attentive to emotions.

Of course, maybe even better, I could have gotten more and I don't stop at what I got, but I also worked with psychologists from other countries, which was an important experience for me and I put this knowledge into practice. , I implemented them on the tennis court and I am convinced that psychology is helpful to me, even if, I admit, at first this does not seem credible.

L.P. Do you have an idol, a tennis model who inspired you?

R.A. Of course, in childhood everyone has idols, we like them and we tend to be like those who are better than us. In adulthood, I liked the style of play and I admire Roger Federer, Marat Safin and Sebastien Grosjean - I always followed them with much interest. I recently started watching David Ferrer, a Spanish player. Why do I like and follow them? Because they are close to my way of feeling and acting in this sport or, more precisely, they make a game as I would like to do, because they are the top players in the world: first in the world rankings, fifth in the world rankings ... I still have until them.

L.P. Have you ever had a chance to play with any of them?

R.A. I played with David Ferrer and Roger Federer.

L.P. And how did you feel, how were those games overwhelmed you?

R.A. No, in the game I block my emotions and on the contrary, I wanted to beat them. I was focused, determined, I can say that the matches against them were pretty good, but I didn't manage to win.

L.P. You are probably aware that you are a role model or even perceived as an idol for many novice athletes. What would you advise these tennis players at the beginning of the path? What about their parents?

R.A. It's complicated to advise because at any stage you need to come up with different arguments. It depends on the purpose of each. You can't generalize: you do this and you will succeed, because there is no such thing. There are several factors here, as we have discussed before, you need support, you need finances to allow you to participate in tournaments, but also to invest in equipment. Lack of money can even block your activity and career - it simply stops you from developing. But it's just as important to believe in what you do, to trust yourself, to work hard, to train and listen to the coach, to do what he tells you - these are true in all sports. It may seem like simple rules, but if you follow them, you'll notice. As for the parents ... they'd better go to my parents for advice.

L.P. Have you considered becoming a coach?

R.A. I thought. At the end of his career, every athlete would like to become a coach, to share the experience and knowledge he has gained, his visions of a sport, the secrets he has learned during his career. I am thinking of setting up a Tennis Academy in our country. For now, this is one of my little plans, but in the future I hope to be able to implement it, to raise children here, to help them become better, some of them may choose to become tennis teachers, others - to play for colleagues in America or become successful tennis players, or, why not, someone could come here to learn tennis as a hobby. I hope to succeed in implementing this plan and, perhaps, in this way I will contribute to the development of this sport in the Republic of Moldova.

L.P. We also hope that you will be able to implement this initiative because it is a truly noble one. But if you had the decision-making power and the chance to change or propose a change in our country, what would you change?

R.A. The first thing I want to change in the Republic of Moldova (I don't know how much this has to do with my will or decision-making power) would be to have good roads. I also think that more attention needs to be paid to the development of the medical system in our country. I would also like to have more sports bases, not necessarily tennis bases, although those intended for this sport are also welcome. And because sport is my field of activity, I would like there to be more investments in this field, to pay special attention to providing financial means for athletes, this is now almost completely missing in our country. Athletes are taken into account and receive financial support only if they get something: medals, awards, championships. But they need help to get these results, to cope with all the daily difficulties and focus only on the result they want to achieve. If I supported them, these results might be better, more.

... to believe in what you do, to trust yourself, to work hard, to train and listen to the coach, to execute everything he says ...

My family wants my daughter to follow in my footsteps, and I don't know if I can ban her from making that choice.


The source f the interview: Moldova magazine, 2021, march-april.