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Nr. 4 (21) anul VI / octombrie-decembrie 2008 - ROMDIDAC

Nr. 4 (21) anul VI / octombrie-decembrie 2008 - ROMDIDAC

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aspecte ale identit`]ii<br />

ILEANA MARIN<br />

I<br />

Romanians as Potential Americans or<br />

Looking at/for the Others’ Identity<br />

To see ourselves as others see us!<br />

(Robert Burns, To a Louse: On Seeing<br />

one in a Lady’s Bonnet at Church)<br />

n the second half of the nineteenth century, national identities were the<br />

cultural, social, and ideological stimuli for national state formation all<br />

over Europe. While on the old continent major ethnic groups functioned<br />

as catalysts of affirmation of national rights and wars of independence,<br />

the United States faced a record number of emigrants struggling to<br />

adapt to their new environment. Among those groups of immigrants,<br />

the Romanians represented a part with only one visually obvious sign<br />

of their identity, their folk costumes. At the beginning of the twentieth<br />

century, another aspect was attached to the Romanian identity by means<br />

of the presence of Romanian artists in the cultural centers of the USA.<br />

The most famous was Constantin Brâncu[i who became known to the<br />

American art public as a participant in the well-publicized controversy in<br />

modern art and also as a plaintiff against the US customs authorities.<br />

The Romanian Folk Costume<br />

There was a coincidence between the highest peak of Romanian<br />

immigration to the United States and the interest of American magazines<br />

in the Romanian monarchy, whose humanistic achievements brought<br />

Romanian identity into focus at the end of the nineteenth century. In<br />

spite of the fact that the Romanian immigrants came from Transylvania,<br />

Banat, and Bucovina, provinces which were under the rule of the Austrian-<br />

Hungarian Empire at that time, they brought with them their Romanian<br />

heritage as a mark of their freedom. Since their main reasons for leaving<br />

their native places were political, ethnic, and religious persecution,<br />

they could finally introduce themselves as Romanians without any<br />

consequences. The pictures taken at the Ellis Island Immigration Station<br />

from 1898 to 1914 show them dressed up in their national costumes. 1<br />

Interestingly enough, Romanians, who were used to wearing their highly<br />

embroidered costumes on very important occasions, put them on for<br />

disembarking on American soil. They surely considered this as one such<br />

occasion. It is obvious that they put on their best clothes to honor the event<br />

EX PONTO NR.4, <strong>2008</strong><br />

109

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