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The Traditional Art Crafts

Olympics. Education
and cultural legacy
Elena GVAN,
Curator, department ASTRA Museum
of Transilvanian Civilization
Motto: to build and especially to educate
means integrating a child in the people of which they are part of.
Simion Mehedini
Education is simply the soul of a society, passed on from generation to generation (Gilbert Keith Chesterton, 1874-1936). The museum, by definition, is a cultural-scientific institution whose objective
is to collect and conserve goods of culture and to give them value by
exhibiting them in the purpose of educating and entertaining the public1. In a modern vision, not only the collections represent the true
purpose of our museum institution, but particularly culture, science,
and education.2
The ASTRA Museum unfolds, along with the activities of preservation, scientific enrichment, and research for the ethnographic
collections, an intense activity of salvaging the traditional art crafts,
stressing the importance of educating the young generation in the
spirit of the tradition.
In 1983, the open air museum from Dumbrava Sibiului was
hosting the first edition of the Fair of the Folk Craftsmen from Romania. Due to the massive presence of children who knew the techniques of wickering, weaving, sculpting, painting etc., in 1992 was

Elena Gvan

organized, for the first time in our country, a fair dedicated to the
youngest of craftsmen. Four years later, after steps taken by the ASTRA Museum together with the Sibiu County Board of Education,
the Ministry of Education approved the introduction of this event
in the extracurricular calendar of activities and its transformation
from the Childrens Craft Fair from Romania to National Olympics.
Currently, the Traditional Art Crafts National Olympics are an
integrated part of the program of revitalizing and recovering the immaterial heritage, known by the name of Living Human Treasures3
and developed by the ASTRA National Complex Museum.4
Organized under the auspices of the Ministry of Education, Research, Youth, and Sport, the competition is open for children aged
between 6 and 18 behaving and acting, based on the training and
education received within their families or at school, as true folk art
craftsmen who hold the secrets of the traditional craft from their
home villages.5
Conceived and implemented as a national competition with
two organisation phases, one at the level of the county and the other
at the national level, The Olympics aim to:
1. promote the authentic values of the folk art to school-aged
children;
2. revitalize the traditional crafts;
3. educate the most diverse categories of public in the spirit of
rejecting the kitsch;
acquire the feeling of cultural-national identity for the future generations;
stimulate the integration of the young craftsmen within the
European culture through direct contacts with colleagues
from the European countries.
The competition at the level of the county unfolds in each county separately and is coordinated by the local Board of Education.
The regulations stipulate that an unlimited number of pupils can
participate after having been selected at the level of the commune

The Traditional Art Crafts Olympics. Education and Cultural Legacy

or city for each of the traditional crafts: pottery, wickering, weaving, sowing, crocheting, embroidery, beaded embroidery, making
decorations, making sheepskin hats and clothes, making belts and
leashes, making masks, artistic processing of wood, wood sculpting,
furniture making, painting furniture, metal, bone, and horn processing or decorating, making musical instruments, painting icons
on wood, glass, or stone, naive painting, hearth icons, metal and
plastic work, painting Easter eggs, put horseshoes on eggs, wickering vegetal fibres. The works presented in the competition must
respect the local tradition of the practiced type of craft, but, at the
same time, they should leave way for the expression of the talent and
personal creation of the participant by respecting the original spirit
of the tradition.
The competition at the national level unfolds in the enchanting location of the ASTRA Museum of Traditional Folk Civilization.
Thus, year after year, the small craftsmen turn the homesteads from
the open air Museum from simple museum units into the creation
workshops of yore.
The opening of the event takes place in a festive atmosphere,
supported on the stage for performances situated on the 6 ha lake
from the centre of the Dumbrava Sibiului museum and occasions a
genuine parade of Romanian traditional costumes from all the regions of the country, marking both the great national diversity and
the sumptuous character of the event. (Photo 1)
Incidentally, the presence in the competition phases is approved
exclusively if dressed in the folk costume specific to the village and
area of residence for each participant. (Photo 2)
The Olympics are a unique experience.6 For one week, the contestants communicate what they know and present themselves
through what they do. With each gesture, through each finished
object, the children have us facing the reality of the survival of the
folk culture and art, making the rest of us find again, if only for a
moment, the unspoiled village of our childhood. (Photo 3) This is

10

Elena Gvan

why the guests need to reflect upon what they see, starting from the
already made objects displayed on the exhibit panels and moving
forward to the creation process taking place right beside them.
It is an interactive performance where the small craftsmen turn
into great trainers for the guests of any age who are willing to practice their skill within the special workshops for weaving, pottery,
sculpting wood, bone, or stone, painting etc. (Photo 4)
As culture represents the support for the economical development, just like any other tradition fair, we could not eliminate the
commercial side of it, so the products made by the small craftsmen
can be purchased at the prices set by their makers.
The great impact of the event, its real benefit, does not consist
exclusively in the exchange of experience established between the
young participants, but mostly in the fact that, during an entire
week, the Olympics become a viable alternative to computer games,
TV shows, in one word the non-culture currently promoted. In
most cases, the public remains a simple observer of the hands that
toil passionately a small bag, that paint an Easter egg, sculpt a spoon
in fir wood, make a necklace or paint an icon, but some other times,
shyness leaves way to the passion and desire to learn. (Photo 5) In
2005, at the age of 6, a young visitor was so fascinated by the handling of the brush, that the novice has become herself a great Olympics winner7 at painting icons on glass.
We believe that during the 15 years that passed, the Olympics
managed to rank high in the sphere of the national cultural events
and to create real possibilities of promoting the authentic values of
the folk art in all target public categories, to create especially for
children a real framework for perceiving the ethnographic phenomenon.8
In as far as the regional representation is concerned for the unfolding of the Childrens Craft Fair from Romania, we notice during
1992-1996 the opening and the presence of the rural areas more intensely than the urban ones9. After 1996, the urban centres become

The Traditional Art Crafts Olympics. Education and Cultural Legacy

11

increasingly interested, a fact which is represented by the involvement in larger numbers of school structures, from Pupils Clubs to
State Schools and National Colleges.
From the perspective of the process of perpetuating the different traditional crafts, we note the fact that during more recent editions, the contestants, coming in an increasing number from urban centres, are among those who sign up mostly for the technique
of painting icons on glass or wood. As a proof, at the edition from
2009, out of 185 participants, around 80 competed in the section
Painting icons on glass, wood or stone.
Our explanation is on one hand the fact that the craft of making
icons has become a sort of fashion, mostly for urban schools, and
on the other hand, in the case of other traditional crafts practiced
mostly in the rural areas, the absence of one of the poles: professor/trainer or pupil/novice and last but not least, the economic and
social issues.
At the end of the Olympics, turning 18 years old, the small participants either become great folk craftsmen, invited to all great
events of this type, nationally and internationally, either they start
teaching to other novices the practiced craft. (Photo 6) Others
choose to attend faculty classes in the field becoming specialists in
ethnology, anthropology, or restoration.10
The intangible cultural heritage must be accessible to everybody, aiming to stimulate the integration of the young craftsmen in
the European culture through direct contacts with colleagues from
European countries. One of the projects of the ASTRA Museum
aims to organize a European Olympics with the same profile: traditional art crafts, to which children of all ages from all European
countries would attend.
It is certain that, edition after edition, the small craftsmen have
demonstrated some exceptional artistic and technical abilities, of
skill and aesthetic refinement, proving that we can innovate and create only when we keep our tradition.

12

Elena Gvan

By organizing the Traditional Art Crafts National Olympics we

try to draw the attention on an urgent need to develop a program
at the national level that would revitalize the traditional art crafts
and support the craftsmen who passionately focus on perpetuating
them, given that in our villages there are still people with big hearts
who offer us their availability and knowledge.
Education in the spirit of the tradition is imperative in this period of transition towards a modern world of computerization and
technologization, when most of the individuals and even organizations fail to understand the cultural heritage and traditional culture
as their own heritage.
If in a remote sense the world museum still brings in a hint of
old-fashioned, keeper of static objects, today it opens up a window
to a world in which the fantastic of the past weaves with the practical and scientific information of the present, in which the function to educate the social behaviour is understood and extended at
a global scale.
The ASTRA Museum succeeded, through the Traditional Art
Crafts National Olympics11 and later on through the educational
program, to become a strong ally of the school in developing the
aesthetic sensitivity in children, in developing their creative skills,
and learning our ethno-cultural identity.

References
1

Radu Florescu, Bazele muzeologiei [Basics of Museology], Bucarest,

1996, p. 17.
2 Grigore Antipa, Organizarea muzeelor n aer liber [Organizing Open
Air Museums], in Academia Romn. Memoriile tiinifice [Romanian
Academy. Scientific Memoirs,], series III, vol. I, Bucarest, 1932, p. 28.
3 The program was extended after the year 1990, based on the UNESCO Recommandations (Paris, 1989 and Venice, 1999) and entitled with
the globally promoted syntagm of UNESCO Living Human Treasures,
supported at the national level by Law No. 26 from the 29th of February

The Traditional Art Crafts Olympics. Education and Cultural Legacy

13

2008 regarding the protection of the immaterial cultural heritage, Official

Journal No. 168) 05.03.2008.
4 Living Human Treasures Program, conceived and applied by the
ASTRA Museum, comprises: the Folk Craftsmen Association from Romania (1992), Fair of Folk Craftsmen from Romania (1984), Academy of
Traditional Arts from Romania (1993), Traditional Art Crafts Olympics
(1996), Folk Art Galeries (1993), National Festival of the Folk Traditions
(2001), International Anthropological Documentary Film Festival (1993),
Habits and Customs Festival (2007), National Toys Fair (2007) etc.
5 Rules and regulations of the Olympics have been ellaborated by the
ASTRA Museum in collaboration with the Sibiu County Board of Education in 1996.
6 ms., Archive of the ASTRA Museum, D II b, D III; Elena Gvan,
Caiet de amintiri. Olimpiada Naional Meteuguri artistice tradiionale
[Memories Notebook. Traditional Art Crafts National Olympics], ASTRA Museum Publishing House, Sibiu, 2010.
7 Sara Budrala from Sibiu, Ist prize in the Section Painting icons on
glass, Edition XIV, 2009.
8 ms., Archive of the ASTRA Museum, D III, no.1-4; D II b, no. 5-18.
9 Rules and regulations for the participation at the Childrens Craft
Fair address the rural areas directly. ms., Archive of the ASTRA Museum,
D III, no.1.
10 It is the case of Cristina Dneasa (Photo 7) currently a restorer
within the CNM ASTRA Sibiu, former Olympics winner, representative
of the Hunedoara County.
11 In 2005, the ASTRA Museum was awarded the Special Prize of the
Ministry of Culture and Religions, together with the Romanian National
Commission for UNESCO, for the program of the Traditional Art Crafts
National Olympics, unfolded in 2004. (Photo 8)

14

Elena Gvan

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The Traditional Art Crafts Olympics. Education and Cultural Legacy

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The Traditional Art Crafts Olympics. Education and Cultural Legacy

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