{"id":144537,"date":"2023-09-06T14:00:00","date_gmt":"2023-09-06T11:00:00","guid":{"rendered":"http:\/\/devrri.freshlemon.ro\/news-and-current-affairs\/newsflash\/jeno-majors-romania-144537.html"},"modified":"2024-02-19T16:45:05","modified_gmt":"2024-02-19T14:45:05","slug":"jeno-majors-romania","status":"publish","type":"post","link":"https:\/\/www.rri.ro\/en\/features-and-reports\/society-today\/jeno-majors-romania-id144537.html","title":{"rendered":"Jeno Major’s Romania"},"content":{"rendered":"<\/p>\n

We’re still early into the summer season and we’re extending an
\ninvitation to you all: why don’t you join us for a radio journey at the heart
\nof the archaic Romanian village? Our guide is an actor with the Gong Children
\nand Youth Theater in Sibiu, Jeno Major. Passionate about photography, whenever
\nhe has some time off, Jeno Major travels around the country, far and wide, in a
\nbid to have snapshots of people and breathtaking landscapes. <\/span>Jeno Major:<\/span><\/p>\n


\n <\/p>\n

<\/p>\n

It happened eight
\nyears ago, it just happened at one fell swoop. I was a very passionate angler
\nand after I gave up fishing I changed my life, I began with photography. At
\npresent, I have also started to include human beings in the landscape since they render
\nthe frame livelier,
\nI also took advice from Sorin Oni\u0219or, a good friend of mine, whose workshops I ‘ve
\nbeen to when they first kicked off and from whom I learned so many things. First
\noff, the relationship with the people as I was afraid to take pictures of
\npeople, that is why I photographed only landscapes…the relationship with the people
\nis pretty difficult, as you all know, yet he had a gift, well, he still has
\nthat gift, as we speak, that of interacting with people, he can enter people’s
\nhearts in just a few seconds and I tried to learn a little bit from him and, in
\ntime, I could photograph people myself, I could include people in my
\nlandscapes, in a bid to put life into the latter, as he also said, as he was
\nsaying they were barren, without people in them. And that’s how I began to
\nget acquainted with the village life and make ethnographic photography. I had
\nno relatives in the countryside, as a child, I didn’t have any contact with the
\nlivestock, with all things rustic, rural, with the villages. Now I have the
\nopportunity to do that through photography. I can’t stand mingling with many
\npeople, I don’t like the the hullaballoo, I hate the crowds. That is why I take
\nrefuge, whenever I can, on the hills, in nature. I have liked nature and the trekking
\neven since I was little and that’s what I do now, whenever I have some time
\noff.<\/span><\/p>\n


\n <\/p>\n

<\/p>\n

Sunrises or sunsets over mountain ridges, mist lifting above a
\nvillage, isolated trees, people mowing, an old woman fetching firewood, a
\nshepherd climbing down with his sheep, a cow on a hilltop, forgotten trades, all
\nof them, through Jeno Major’s photographs, tell the story of places in deep
\nRomania, some of them unbeknownst to Romanians themselves. Jeno Major:<\/span><\/p>\n

<\/p>\n

We still have, as compared to other countries in Europe and
\nbeyond, the world over, that kind of archaic characteristic, the tradition,
\nthe traditional apparel, the church, the chaise, the wagon, the hay…you cannot find such things in other countries. Foreigners ask me, when they see the
\nhaystacks in my photographs, what are these…They haven’t seen something like
\nthat for several hundred years. They ask me if there are
\npeople living there. That’s what the archaic traits and the Romanian tradition consist of. We still have God-forsaken villages in the Apuseni Mountains,
\nmainly, the place where you can travel a couple of hundred years back in time. If
\nyou take a picture there you cannot date it exactly. The most beautiful place I
\nlike best, in Romania, in terms of landscape photography and more, like I said
\nI make ethnographic photography as well, is the Ponor Fundatura of Sureanu
\nMountains. There you can return a couple of dozen times, a couple of hundred times,
\nand each time the situation is different. Mist,
\nsteam, frost, steaming haystacks, people with their
\nlivestock at every bend, in every corner…after each rock there is something to
\nphotograph. It is one of the most beautiful places in Romania, if you ask me…The
\nhay wagon, bulls drawing a yoke, the peasant in traditional apparel, the innate hospitality
\nof the villagers who live in those remote villages, deep in the mountains, who do not have very good access roads to those villages…There, people are humbler,
\ncloser to God, more faithful, more kind-hearted…You know how village people are
\nlike! That is why foreigners come over, because they cannot find something like
\nthat anywhere else. They had something like that a long, long time ago, only
\ntheir great-great parents had something like that 200, 300 years ago. We still have those things. <\/p>\n


\n <\/p>\n

<\/p>\n

The Ponor Fundatura, the Ponor Dear end, is
\nrecurrent in Jeno Major’s stories. However, says he, and he doesn’t claim to be
\nthe Center of the universe, the entire archaic, traditional Romania is extraordinary.
\nAs for the peasants inhabiting it, elderly people, they are still hospitable,
\nopen and warm-hearted, something you don’t see that much of, in today’s world. <\/p>\n


\n <\/p>\n

<\/p>\n

I can still
\nremember an old woman from Maramures, she was 92. I think she’s gone, the poor
\nthing, she passed away, that’s for sure, as that happened in the early days of
\nmy photography undertaking, it was 6 or 7 years ago and I don’t know if she is
\nstill alive…I went to see her and she was working in a house made of clay
\nbricks, with an earthen floor, a bulb hanging down from the ceiling with a yellowed
\nnewspaper around it, a table and a bed. On that table there was a crust of bread. tI was like a movie scene; it was something fantastic. Her face was reflecting
\nthe light from the window as she was seated in bed. It was a wonderful frame! First
\ntime, we had some small talk, she told me the whole story of her life, of her
\nchildren’s life, of her nephews who were abroad, as you need to make friends
\nwith somebody and after that, in five or ten minutes’ time, any villager opens
\nup, they are like an open book, they tell you everything straight away and offer
\neverything. What I’m trying to say is that, actually, that woman, that old
\nwoman, when we left, she had six eggs under a broody hen, they were the only
\nones, I don’t think she had something else around the house, it was the only
\nfood she had but she deprived herself of it and gave them to me. There were more of us photographers,
\nwe refused her, we didn’t want to take them, but she insisted so much that we
\nleft accepting the eggs, and other things as well… <\/p>\n


\n <\/p>\n

<\/p>\n

According to the connoisseurs, Jeno Major’s
\nphotographs are not just landscapes or mere portraits, they are priceless
\ntestimonies of a world gradually disappearing in the grinder of modernity. He
\nadmits that himself. <\/p>\n


\n <\/p>\n

<\/p>\n

Unfortunately, yes, I think that, given the
\npace things are moving at, I think that in one, maybe two generations at the
\nmost, the entire archaic and traditional traits will become extinct, because
\nthere are many people from all over the country who have left, from Maramure\u0219,
\nBucovina, Transylvania, from everywhere. If you talk to the village people,
\nthere isn’t a single family without at least one member, a child, a nephew, a
\nbrother, who are gone abroad, and they return with a tiny bit, with a little bit of money,
\nI don’t know how much money they make the years they’ve been hanging out there to
\nmake a buck, they bring down those very beautiful houses they have and
\nbuild some…how shall I put it…some kitschy houses. It is incredible, what happens,
\nand the traditional houses disappear, unfortunately. Something should be…I don’t
\nknow, something should be done about that so we can keep them, but I don’t
\nknow how something like that should be done.<\/p>\n


\n <\/p>\n

<\/p>\n

Let us make the most of all these beautiful things while we can because,
\ngradually, they will become extinct! Or at least that’s what Jeno Major says. All
\nthe beautiful things will only remain in the photographs of those who, just
\nlike him, might be nostalgic as they say, in a couple of years’ time: That
\nused to be my Romania!<\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Archaic Romania in professional photographs<\/p>\n","protected":false},"author":109,"featured_media":144538,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[42997],"tags":[43936,43937,43938,35658,39889],"coauthors":[],"class_list":["post-144537","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-society-today","tag-archaic","tag-hay","tag-landscape","tag-photography","tag-village"],"acf":[],"yoast_head":"\nJeno Major's Romania - Radio Romania International<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.rri.ro\/en\/features-and-reports\/society-today\/jeno-majors-romania-id144537.html\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Jeno Major's Romania - 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