Much like Germany during the 19th and early 20th centuries, Romania was searching to establish a sense of national identity. Within Romanian culture, artists and other individuals have sought ways to create a national identity for the Romanian people.
During the 19th century, Romanian art explored a means of establishing a national identity by exemplifying the virtues of the peasant life. Artists such as Carol Popp Szathmary ignored the poverty and primitive way of life for the peasants and instead “pictured rural life in an idyllic light and the country folk as wise, healthy children of nature and saw the peasants only as guardians of the old traditions and creators of folk poetry and colorful costumes” (Florea 70). This allowed for the nation to form its own identity through dignifying the condition of the peasant life. Continuing into the 20th Century, this basis for a national identity continued with artists such as Stefan Dimitrescu, who was inspired by life in the village with his scenes recalling “the coloring, hieratic air, and rich meaning of folk art” (96). Very similar to the Volk movement in Germany’s search for a national identity, with an emphasis upon country life, Romania was able to give its people as sense of identity after they were freed from the rule of the Ottoman Empire.
Women at the Hand Loom. By Stefan Dimitrescu.
With Corneliu Codreanu’s rise to fame as the leader of the Legion of the Archangel Michael movement in 1927, a cultural program was set up as a means of uniting the country under the Iron Guard’s movement. In comparison to the German and Italian cultural programs, Romania did not have a very elaborate program defined by the fascist state. However, Codreanu and the Iron Guard effectively used music as a means of linking the Romanian people with their glorified past and present. Having always had a culture rich in spoken stories and song, Codreanu helped employ an effective means of influence. Composed of a poor population with at least a 50% illiteracy rate, oral means of persuasion such as speeches and music were more effective ways to unite the Romanian people under the Iron Guard movement.
Under the fourth tenet of the Legion of the Archangel Michael it even stated “a love of song.” Acting as a stimulus that created a longing and nostalgia for the past, songs penned under the Iron Guard movement would glorify past and present Romanian heroes, often making them larger than life. One of the past Romanian heroes that was glorified under this creation of song was Stefan the Great. A great military hero, Stefan the Great, along with his army of men, were very successful in battle against the enemy. Titled Stefan Vodã, this song was written by Al. I. Popescu. (This song can be found at http://www.soundclick.com/bands/legiunea_music.htm in Romanian. To view the Romanian lyrics, click here.)
The Iron Guard also honored their own heroic men who fought and died bravely in battle. For instance, two legionaries that were killed in the Spanish Civil War fighting were given this honor. During 1936, Ion Mota, the deputy captain of the Legionaries, and Vasile Marin, leader of the Bucharest legionary organization left with five other men to fight in Spain. Upon their deaths in 1937 they returned as war heroes, with tens of thousands of civilians turning out for their funeral procession. Written by Radu Gyr, with lyrics by Ion Mânzatu, Imnul Mota – Marin (Hymn of Mota and Marin) was dedicated to these two men who died on January 13th, 1937. (This song can be found at http://www.soundclick.com/bands/legiunea_music.htm in Romanian. To view the Romanian lyrics, click here.)
Using music as a means of influencing the people, Codreanu and the Legionary movement commissioned men to write songs that would promote people’s allegiance to the movement. One of the earliest and probably most well-known songs is Imnul Tineretii Legionare (or Hymn of the Legionary Workers), with lyrics created by Radu Gyr and music by Ion Mânzatu. In this song it glorifies the movement of the Iron Guard and the men devoted to it in forging a new nation. (This song can be found at http://www.soundclick.com/bands/legiunea_music.htm in Romanian. To view the Romanian lyrics, click here.)
Music enabled Codreanu and his men to delve within the roots and cultural history of Romania to inspire allegiance and create a national identity for the people. Allegiance to the Iron Guard was so great among the people, that from the turnout at the funeral processions of Mota and Marin, Codreanu was convinced to participate in the 1937 elections. In 1938, King Carol II was fed up of the Iron Guard’s success and decided to seize the government and also capture and kill the Iron Guard’s main leaders (including Codreanu). Music was such a successful form of propaganda and policy for the Legionary movement that King Carol II declared a ban upon music that prohibited singing and playing music in a public atmosphere. Creating a bond between the Romanian people and the Iron guard, music served as an effective means of influence just as great, if not greater, than Germany and Italy’s cultural programs emphasizing medias such as film and artwork because it catered itself to the Romanian people.
Sources:
http://www.soundclick.com/bands/legiunea_music.htm
Florea, Vasile. Romanian Painting. Detroit: Wayne State University Press, 1983.