20%, the summer edition

20%, the summer edition

Is it still worth doing a campaign for 20% sponsorship?

There are two questions that inevitably arise every year in organizations:

Do we still have room to campaign for 20%, in addition to many other organizations?

Is there enough money for everyone or are we knocking on doors in vain?

What's the deal with 20%?

It is a fiscal facility that allows companies * in Romania to sponsor non-governmental organizations, at no cost to them. Sponsorship is made from corporate or income tax, depending on the tax method of each company.

Basically, the Romanian state came up with this fiscal facility because the role of non-governmental organizations in Romania is very important, and they — together with companies — can contribute to a social change where the state cannot reach it.

Companies can direct in the form of deductible sponsorships 20% of the corporate tax, but not more than 0.75% of the turnover (companies, with a turnover over 1 million euros), respectively 20% of the income tax (micro-enterprises, with a turnover below 1 million euros).

How many companies offer sponsorships

An analysis based on the data provided by ANAF and a study conducted by ARC and EY show us that we are still very far from the maximum potential of the facility. For the last fiscal year for which we obtained ANAF data (i.e. 2020), only 8% of the companies in Romania directed 20% of the tax in the form of deductible sponsorships.

A number of only 49,550 companies out of the 606,995 currently eligible in Romania have registered sponsorship expenses and directed up to 20% of the tax to eligible entities, including NGOs. The good news is that, however, the total targeted value in 2020 was 335.9 million Euros, up 12% from the previous year.

Only 41% of potential sponsorship amounts were used in 2020. The total amount that could be directed in 2020 amounts to EUR 881 million.

You can find all the information in the article here.

The figures speak for themselves – there is still a lot to access, both in terms of amounts and in terms of the number of companies that can sponsor.

Even though 86% comes from companies and 14% from micro-enterprises, both categories deserve the attention of organizations.

In the case of micro-enterprises, which are present in large numbers, only 6% of them got involved through deductible sponsorships in 2020. Therefore, the approach of micro-enterprises could become a priority for NGOs, especially for the diversification of funding sources.

Moreover, micro-enterprises can direct quarterly, are leaner in organization and are usually closer to their communities, so we have the opportunity to create sustainable relationships with them.

Where do you start? 

Do some research in your area and see what micro-enterprises exist in the community. Find out what their specifics are and send them an emotional message, tell them that you are acting together for your community. We know that they react more like an individual donor, that is, to emotion, so write to them about a beneficiary you are helping.

Research is also useful at large companies. There are companies that have clear CSR directions and that require a distinct, more strategic approach with their directions in mind. Then there are companies that do not have this component at the moment, but that can get involved by offering sponsorships through the 20% facility. The latter are the vast majority of companies.

Let's not forget that the most sustainable thing is to have both companies and micro-enterprises that sponsor us every year.

In fact, the good relationship we establish with both types of societies must be future-oriented – how do we see each other together in a year, two, three? What can we do together if we can rely on this long-term sponsorship?

If you're just starting out with the 20% campaign or maybe you're in a moment of re-seating, it's normal to wonder if there's room for all organizations. After all, we are tens of thousands working.

It took us to exist because there are still many problems to solve. We still have steps to take to the ideal world we want to live in, but that just means we have to continue our work.

At the National Fundraising Conference we had the opportunity to hear about small and large organizations that run 20% campaigns that bring them significant revenues and that they can rely on to plan their budgets.

An effective and impactful method is direct mailing, that is, sending a large number of letters to companies and requiring an investment, but it is a method that works year after year.

Why plan your campaign in the summer?

          after the pandemic-related restrictions are over, we have a multitude of events and learning experiences that we can go to, and most of them are in the fall;

          usually, in the summer you have more time for introspection, for cleaning up materials, stories, for clarifying where the plans made in December are going;

          you are more likely to gather the team together and talk about how everyone sees the campaign – it involves the team, you never know where the next brilliant idea comes from;

          time! It happened to you to be November, to realize that you have another month to set up the campaign, to realize that you have other projects in parallel? This may be the year when this is no longer the case;

          you have time to build a relationship with the societies you're going to. The relationship doesn't have to be built just around money, but around the change you generate with your sponsor. And the confidence that this can happen lasts.

There's plenty of room under the sun for everyone. This is what we understand from the figures of the analyses, but also from the campaigns of the organizations. We need more confidence in ourselves, that it's legitimate to do these 20% campaigns, that we have the power to change things. And companies have the capacity to contribute to change, but they need to be more responsive to the tax facility. In fact, we can open this discussion with them.

You can find all the information in the ARC and EY Romania analysis about the 20% facility.

* We will say "commercial companies" when we refer to companies and micro-enterprises as a whole. For the rest, we will use "companies" when we talk about companies that sponsor from corporate tax and "micro-enterprises" when we talk about companies that sponsor from income tax.

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Architecture and the built environment cannot be understood if you do not see them, do not go through them, do not listen to them, do not touch them, do not smell them, do not feel the dynamics of the place

Architecture and the built environment cannot be understood if you do not see them, do not go through them, do not listen to them, do not touch them, do not smell them, do not feel the dynamics of the place

Where do we start when we want to build a better city? The members of the Architecture Association answer us: from the education of the built environment done in school.

It's hard to get people to understand what architectural heritage means without giving them the chance to touch it, see it and smell it. It's even more complicated to get them to help save a valuable building that's about to fall because a businessman wants to erect a block in his place. 

De-a Arhitectura — an association founded in 2013 by six architects who were at the time mothers of school children — wants to start as early as possible in forming people who are more attentive to the built environment, more willing to react when they see things wrong and harder to fool when it comes to buying a house or apartment. 

We talked to the architect Mina Sava, the president of the association, about the importance of the built environment and how children change when they relate to architecture.

Chronicles: When and how did your organization/initiative come about? What was more complicated at first? What went easier, from your experience? 

Mina Sava: In 2011 we started the cultural program "De-a arhitectura – education of architecture and built environment", with the support and financing of the Romanian Order of Architects, which is still with us today. The program started from two needs that I felt acutely at the time.

The first was related to our job, few people knew what an architect does and does not do, what a quality urban life and housing means. We wanted, in fact, to grow some more informed customers, because the culture of architecture and built environment was almost non-existent then. We wanted the future users of the built environment, the children, to know its ABCs – and when they grow up, being familiar with its values, to know what to ask an architect, what home to choose or where to invest.

The second need arose in everyone's life when they had to send their children to state school and realized that nothing had changed in 30 years. We realized that by the nature of our job we would have so much to teach them, in a practical, experiential and interdisciplinary way. 

In 2012 we started implementing the first educational program, and in 2013 we established ourselves as an NGO, in order to develop and manage a national network.

Everything was complicated at first, for the simple reason that we threw ourselves into two areas unknown to us, that of education and that of building a national non-governmental organization that would last over time. In fact, I would not use the word complicated, but rather provocative, because I learned a lot from various fields and I met the specialists and dedicated people of another profession essential for the quality of life, that of a teacher, so little valued in our times.

In hindsight, they all seem much easier to achieve now.

What is the built environment, what is architecture and how do we separate them?

The built environment is all the environment made by the hand of man, from the humblest shelter to buildings, localities and territorial infrastructure (bridges, dams, highways, etc.). It is worth noting that it includes all the constructions made by people, not only those designed by architects: for example, Brazilian favelas are also a built environment. And the study of the built environment is complex and combines knowledge from all fields: exact sciences, social sciences and art.

Architecture is the art and science of designing buildings and the spaces between them. Its raw material is the built environment, existing or still unborn, its user is Man. The architect is a "solution seeker", the one who finds an answer through a built-up form to the complex problems of the built environment and its users.

We spend almost 95% of our lives in the man-built environment, using spaces and objects created by people, be they architects, designers, engineers, or simple craftsmen.

We must understand its principles that give quality to our lives, be aware of its perpetual dynamics and the large amount of human and material resources involved in its creation and development. Although the built environment is one of the largest producers of waste and the largest consumer of resources, it is also the key to a future green development of the planet. 

Whether you will be just a user, a public authority that will give an opinion, the one who builds or the one who invests, it is important to know what the impact of your building actions will be on the natural environment and on the community. 

What were the first reactions?

We were surprised when, after developing the first Architecture course in 2012, the teachers we worked with thanked us for opening the way to transdisciplinary subjects and learning through the project, things they wanted, but did not know how to do them. This attracted dedicated teachers and teachers who wanted a change in education.

Architecture and the built environment cannot be understood if you do not see them, do not go through them, do not listen to them, do not touch them, do not smell them, do not feel the dynamics of the place. That is why, in our programs, visits to physical spaces – buildings, or public spaces are very important. Seeing, especially by learning to see, you can understand why and how they were designed, built and used. In children and young people you can speculate that "aha moment", making them marvel at a building or a place and thus all the information to settle in their heads much easier.

What attracts the children and young people we work with the most is the connection with real life, the fact that they can learn a lot from what surrounds them and use them, but also that they can also create something that can bring about a change, be it a drawing, a mock-up or an intervention built in their school or neighborhood. What interests us and the teachers is that they make connections between the subjects learned in school: mathematics, physics, geography, history, biology, chemistry, arts, language Romanian and learn from the correlation of direct and practical experience with these subjects.

What's the result you're most proud of so far? 

We are most pleased when children present us with the results of their work and how they continue, with their minds, what we wanted to convey to them. For example, in the course for the optional third and fourth grades (Architecture in my city) that ends with the construction of the layout of an ideal neighborhood on the scale of a Lego little man, the children from a fourth grade with whom I worked this year came up with the boxes they made in the first grade, but upgraded. They recycled the old ones, rehabilitated them, gave them a new life, practically understood and applied the concept of "reduce, succeed, recycle" (reduce, reuse, recycle).

Extrapolating, an old building is not "thrown away", but is to be reused and improved. We often want to destroy them for unfounded reasons.

What does heritage mean to you and the children you work with?

Young children are empathetic when they see houses that people no longer care for, but if they are sad when they see abandoned buildings, teenagers want to act when they interact with a deserted building, that's why we have graffiti on the walls.

We teach them that no building exists in the aether, but is connected to a place, which is defined by geographical, historical, social, but also affective parameters. To understand a building, you need to know what background it has, the context – why it was made, for whom, how. Children do not learn the word "heritage" per se, but the idea that every place has a history, a story that must be continued.

Heritage is dynamic. The important thing is to continue its story, with the language of your era. As an architect you can build buildings that over time will become "heritage" if you do something that brings quality to the built environment and people's lives.

The issue of conservation of the built heritage was put on the public agenda only from the second half of the XXth century. The idea of freezing it in time, restoring everything as it was before and using it only as a museum, leads in time to a distancing of people from what is built heritage. A building or object must be used naturally: only at that moment they really live. The buildings that have survived the best of time are buildings that are continuously used by communities. For example, let's think of an old church, it survived time only because it was constantly used by people. If you have an old building, keep using it, fill it with life. It's dangerous to just make it a museum. Take care of them, use them, be proud that you live in something beautiful, so your life becomes beautiful.

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Happenings on Mrs. Zamfirescu's street

Happenings on Mrs. Zamfirescu's street

As in many other cities in Romania, in the Ploieşti neighborhood of Bereasca there are problems with asphalting, garbage or snow removal. Lenuța Zamfirescu does not accept these problems as a given, but puts pressure on the authorities until things move.

by Vlad Odobescu

In the Ploieşti neighborhood of Bereasca, where Lenuța Zamfirescu has been living for 56 years, the asphalting machines entered one day, with a big mess. It could have been very good news if the streets hadn't needed sewers first. Even two or three days before, there had been a heavier rain, which had put water through people's cellars and pickled jars on top. 

Mrs. Zamfirescu knew well that if the asphalt is laid, it will be long and good before someone endures to break it to break it in order to put the pipes, only when money will be found for such a thing. So he went out on the street, in front of the machines, and took the workers to the questions: "What do you want to do here?". To which the engineer accompanying the team replied serenely that he was taking the plunge. "How do you get to work? And my sewer where is it?". He also asked who pays to asphalt and then to break the asphalt, so that the things that need to be done can be done. She also replied, "Don't we pay all of us, from taxes and fees?".  

The engineer seemed amused by the situation, so Lenuța Zamfirescu sat in front of the machines and said: "You do not asphalt". The neighbors were watching from over the fence the whole scene, but no one came out then to support her. She phoned the town hall and told them they could call the police to arrest her, but she didn't leave until she saw that the sewage was done first and then the asphalting, as it should be done. The machines disappeared from the street, it was a stage victory. 

***

When he put himself in front of the machines in protest, Lenuța Zamfirescu did not think that this was a form of civic involvement. She hadn't inherited this revolutionary spirit from the family: she remembered that her parents would always tell her, "Be careful, mom, what do you do" and sit quietly in her place. Neither the place nor the times when he spent the first 30 years of his life — a corner of the city in a Romania stuck in communism — were gentle on the rebellious. He worked for 28 years as a statistician at the "Astra" refinery in Ploiesti and left during the period when layoffs were made. He worked for a short time in Italy, then in a flower shop in Ploieşti. Now she is retired and cares for her mother, who has been bedridden for 8 years. 

He's a man who's had a hard life, and a hard life usually makes people feel small and powerless. Lenuța Zamfirescu feels, however, how a deep revolt grows in her, starting from the wrong things she sees around her, and this revolt must be put into words and actions, regardless of the consequences. 

It happened to her even before 1989, "in the time of the late", when such starts could cost her freedom. She had gone to the seaside with her husband and two daughters, who were three and five years old, and returned home with two suitcases full of dirty laundry. But the water was closed and stayed like this for weeks. "And I got very angry. I made the phone call to the People's Council. I said, 'Dom'le, I want water, to wash my children and make food.'" Shortly after she hung up the phone, a black car came from the Party to her on the street. "You realize I was very scared. I was also alone at home with the kids. I was already expecting them to mattress me, I'll tell you honestly." But some gentlemen, dressed beautifully, in black suits, went into the water home on the street to see if the water was really flowing or not. "And they saw that I didn't have water. That's when the neighbors came out at the gate and they started to make noise too", recalls Mrs. Zamfirescu. Half an hour after that two full tankers came in front of the gate and the whole neighborhood came to get water.

***

After the discussion with the asphalting, Lenuța Zamfirescu spoke with her daughter, Irina, who had already been an activist for several years within ActiveWatch, in Bucharest, and told her that she had to do something to solve the situation. Irina was good at relating to the authorities and knew what buttons to press for results. So he drafted a petition, then asked his mother to go from door to door and collect signatures from all the neighbors, to ask for sewage to be put in.

"That's what I did," recalls Mrs. Zamfirescu. There were some more reluctant to give their personal data, but most of them signed. "We have collected about 500 or so signatures from the affected area; it was about four streets with about 300 or so families." About two weeks later, he filed the petition with the city hall. As a result of this approach, Mrs. Speranta came to the Bereasca neighborhood of Ploiesti. This is how he called the representative of the authorities, sent to defuse the situation. From the beginning, however, Mrs. Hope said that it could not be done. Because the area is in a valley, that the street then goes up to the end, and for the water to circulate through the pipes, you need three pumps on each street, and each pump costs one million lei. 

"And I said, 'I'm not interested, it can cost two million lei. I mean, we're not part of this neighborhood? We're not part of this country?'" The taxes paid by the people of Bereasca were as high as those in the center, and in the center there were all the conditions. "I said to him, 'There's a saying to us: hope dies last. It's not going to be asphalted, you've got my word, until the sewer is put in!'" 

And, indeed, after about a month or so, the teams of workers came again on Mrs. Zamfirescu's street, but this time they started sewerage. Because he showed that it is possible, in the following year he also received an award, at the Public Participation Awards Gala 2014, organized by the Resource Center for Public Participation (CeRe). On her diploma she writes: "Bereasca after Lenuța is known". 

However, there are plenty of problems left in the Bereasca neighborhood: unpaved trees that touch the power wires when there is a storm; uncovered sewer holes, in which accidents sometimes happen; uncleaned streets of snow; street lights operating in broad daylight; unridied garbage with the weeks. Every time, she puts her hand on the phone and calls the city hall, and those in the offices already know her and answer her directly: "Yes, Mrs. Zamfirescu, what happened?". 

She would like several of her neighbors to have the initiative and not come to her to call on their behalf. It's not like they have a file there, they just do what needs to be done: they insist until someone comes to solve it. "There are few who want to get involved. If there were one or two people in each neighborhood to crush [those in the city hall], it would be something else." 

He would still go to the mayor with about ten people by his side to tell him about the neighborhood's problems. He thought about doing a civic initiative group a while ago, but caring for his bedridden mother leaves him too little free time. 

***

One of the tips that Lenuța Zamfirescu gave to her girls was not to sit with their heads bowed when they do not like something, to have a backbone and to say what to say. "If you just say to the child 'shut up and listen,' 'don't do that, the police are coming,' it's not good. You need to let the child think with his head, see what is right and what is not. You just have to give him a boost, help him.' At Irina she likes that she is a warrior and determined when she fights for a better Bucharest: it means that she is doing the right thing. 

He also has some advice for those who want to get involved in the life of the community and don't know how to do it. First of all, the problem he wants to solve needs to be real. Then, don't be afraid, because we're still living in times freer than three or four decades ago, and there's no one to do with them. They then have to be willing to insist, put pressure on the authorities, and when something "can't" they always ask why. And in the end, the satisfaction that you have solved something will compensate for the chopped nerves. 

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A doctor, a phone call and an ambulance. How a village awakens to life

A doctor, a phone call and an ambulance. How a village awakens to life

At the initiative of a son of the village, with the work of volunteers, the centuries-old church in the cemetery of Brusturi is saved.  

By Ruxandra Hurezean

It was in March when Bogdan Pintea climbed the 97 steps, up to his grandparents, in the cemetery in the village of Brusturi. The trees, the grass, the secular oaks, the plum trees at the head of each tomb, gave to awaken to life. Only the old wooden church continued to decompose, under the weight of the rains and the beating of the wind. The roof peeled off like a rotten skin, piece by piece. Even on the pedestal it was no longer well, it had tilted to the east side. It seemed like he could always go downhill. 

Bogdan left dejected from there. It was the church where until the fourth grade he went every Sunday with his grandparents to mass, then for Christmas and Easter. The next day he made a call to the Salaj County Directorate for Culture and Heritage and asked if the wooden church in Brusturi could be repaired. It's old, but it wasn't known exactly how old: some said it had been built in 1401, others that in 1701 and there were other variants. Many years were seen in everything: in the roof that was about to collapse, the painting that was wiped away from so much moisture, in the shaky foundation. 

A lady from the institution, whom Bogdan would later know and become partners in the work of resurrecting some monuments — told her, briefly, that the restoration documentation lasts, that the church requires many interventions and that everything would cost over a billion lei. The discussion discouraged Bogdan, but he said that at least he tried to do something. 

In July he went with his family to the seaside on leave. From time to time, over the joy of summer, the image of the wooden church in agony came to his mind. On their return, they stopped at Hațeg to visit the places. They slept there for a night and wandered the surrounding villages, visited the churches, some of them renovated. At Strei, near the church, he saw a billboard. On it was described the story of monuments saved by an association. They called themselves "Ambulance for Monuments Transylvania South". They also gave a phone number. Bogdan wrote it down.

Back home, he called the Ambulance. Ileana Burnichioiu replied, one of the essential cogs of the association, who asked for photos of the church. It didn't have. Troubled by the state in which he had found the abode, he had forgotten about the photos. It may have been a reflex of pity that you have in the face of a dying man. He immediately called the priest in the village and asked him to go up to the church and photograph her, then send the pictures. He sent them on. After seeing them, the people from the "Ambulance for Monuments" called Bogdan. They told her that yes, they would save her. But for this we need them and those in the village to mobilize, to collaborate with the city hall, the county council, with the sons of the village. There was a need for community.

When I met Eugen Vaida, the founder and coordinator of the "Ambulance for Monuments", he would tell me from the head of the place what it takes to save a monument: an NGO like theirs that would make the necessary documentation, because it is about monuments and it is not about play, about a local community to provide accommodation and food for volunteers and craftsmen. by the authorities in the area or by the owner to buy the materials necessary for the safety of the monument. For the rest, the work that the Ambulance does does does not cost anything, it is voluntary.

Bogdan went to work. He talked to the priest, made a page on a social network for the sons of the village. Eugene and Ileana came to Sălaj, inspected the church, went to the County Council with the request to support their initiative. 

Cristian Popa, the priest from Jac – brusturi village being just a beast – is young. He was only a year old when he came there. First he convened the church council and told the councilors that there was an opportunity, perhaps unique, to save the old wooden church. Councillors were skeptical, they said the village was small and aging. But the following Sunday he went to the new church in Brusturi and at the end of the service he again supported the case, more pressed: "Folks, we are given the unique chance to save our church from the hill, where your estates and ancestors rest and where you will also rest. We just need to provide those who will be working on it with meals and accommodation." They received the news as a shock", says the priest Cristian now. " Father, but we are old, our houses are like in the countryside, we have no water and sewerage, we have the toilets in the yard. How could we handle the young people of the city? They are taught with conditions! We're not going to cope!"

Bogdan Pintea

The priest tried to encourage them, answered all their doubts, and in a short time, accustomed to the idea, and after overcoming the first fright, they began to respond to the call. At the next service one stood up and said that he could accommodate 5 or 7 volunteers, another — that he was giving money. Then, one by one, others stood up and the village woke up that it wanted to. 

The County Council found funds to contribute, as well as the Orthodox diocese, the city hall and especially the sons of the village. Doina Cociș, the "lady from the Directorate for Culture" with whom Bogdan had first spoken, joined them, with all the forces. So they organized a charitable concert in Zalau, and the money raised, about 6,000 lei, went to the account to save the church. The community collected 30,000 lei, and the County Council gave 45,000 lei.   

In October 2018, the "Ambulance" arrived. When Auntie Mia saw the car with the voluntary girls who were going to work at church, "another shock." Then he said to himself, "Tulai Lord! What can fetuses do, how could they work like that? Great must be the care of the Upper One to succeed!" The village began to follow with a flea-like heart the descent of the volunteers and the denunciation of their church of rotting. When they saw how the "fetuses" carried the woodwork on the stairs and how skillfully they beat the shingles, they were filled with amazement. They lived to see this one too. 

The village takes courage

Bogdan Pintea

"Here was an anthill! You have no idea what the place looked like. 30-40 volunteers came, plus the village. They all wanted to lend a helping hand. They carried him, they moved him, they handed the materials from hand to hand, they cleaned the place. Auntie Mia made donuts, coffees. And other women in the village began to cook, to offer food. They took courage, after meeting the young people," Bogdan describes those days. " They weren't that tender," Auntie Mia would say later.

Eugene, the architect, Bogdan, who is a professional doctor, and Cristian, the priest, teamed up and together they bore the brunt of organizing the action. They found a pension to accommodate most of the volunteers (when you have 30-40 at once, you can't really stay them in the village), and with the money raised they paid for the food brought in catering regime from Zalau. In addition, the villagers also began to offer a meal. They found that young people like their food, that they feel good about themselves and are not picky, as they thought. 

"The church is important, but it is equally important that the village has united and proved that it can do something it did not think it could. I think this is a very big win. Now they know that it is possible, tomorrow they will find out and another village will find out that it is possible and so we wake up as many as possible that here, we can, we succeed!", says the priest Cristian Popa, on the porch of the parish house in his adoptive village.

A city kid, raised on the block, like his wife, Ana, one day felt that they were suffocating among the concrete and began to look for a village where to go to live. And they found it. Now they say it was "the best decision they ever made." 

What binds them

Eugen Vaida, the team coordinator, took the young volunteers on Sundays to visit the sights and historical monuments in Sălaj. Discover together a county about which Eugen would tell me: "I have known many areas in the country, many types of communities, but those in Sălaj have something special. They are the most dedicated, the united and the most concerned about their past. In fact, about his village, Brusturi, Bogdan told me that he had, in the '80s, the highest percentage of intellectuals coming from rural areas in Romania. There was this desire, to do school! And obviously, otherwise an educated man appreciates the heritage of his native places!"

 

"It means I woke them up"

Autumn came and there were days of bad weather ahead. One night, rains were announced and Eugene and a few young people left for the church in the middle of the night to cover it with foil. "They were so dedicated to their work that they worked both night and day and Saturday until it got dark. We're all amazed at what they can do and that's without getting paid. There's just willpower there. The desire to be useful, to do the right thing", says Bogdan.

They finished in November. The roof looks impeccable. The shingles made in Maramureș were beaten by ambulance volunteers over the wooden body of the church in Brusturi, just before the "collapse", that is, in the stage called by experts, "precolaps". I mean, on time.

"The hat and boots are the first to be repaired. This is how a monument is saved, starting from the hat and boots, after that the others can come. But first the roof and the foundation," says Eugene.

The following year, Bogdan Pintea and his village decided to rebuild the foundation of the church. It had been wrapped in concrete in the '70s. The concrete held moisture and removed the stones from the church foundation. In a pebble, the back of the church was still held, Bogdan tells us. They found the craftsman Vasile Pop from Oas Country, who works with the "Ambulance" and brought him to restore the "boots". He worked patiently, removed the cement, erected the church on two tractor jacks and re-placed the stone, piece by piece, in a stable foundation under the old church. 

But there's still work to be done. And Bogdan and the priest say that they still have a difficult mission: they must inquire how they can reconstruct the painting on the walls of the church. Painted in a naïve style by Ioan Pop from Unguraș, in 1800, initially in bright colors (as the villagers remember) and with a rich floral repertoire, the painting deserves to be restored because it also has a cultural, not only religious role. 

The involvement of people to continue the projects is important, says Eugene: "If they continue to do something at the monument, after we intervened, it means that our intervention succeeded. It means I woke them up."

In fact, a study that "scanned" all the monuments to which the "Ambulance" intervened, in the 6 years since it has been operating, shows that over 50% of the communities have continued the works. So, they did what they set out to do. They achieved the goals. I mean, people's hearts.  

 

***

It was before Christmas, the end of the pandemic, when they arrived again in the village. Up on the hill, in front of the Monument Church rescued two years ago, the young people from the "Ambulance" returned. He had hardly climbed the whole village of elders in Brusturi and was waiting for them with a large, warm and salty necklace. With caroling song. On a winter day, on a white table, the women spread out dishes cooked by them: cabbage rolls, pies, coils, all fasting, and only "homemade", made by their own hands, from their pantries. "We prepared them as with us, how to make the fasting cabbage rolls and everything we knew they do. Or ate and they liked it we enjoyed it very much! And we caroled, we and them on us, our hearts were raised in our chests!" remembers Auntie Maria, Ana remembers, they all remember.  

People-cogs

Bogdan Pintea is a gastroenterologist at Satu Mare. He has a wife, a three-and-a-half-year-old child, a father and a house to care for in Brusturi, his grandparents' house. He has medicine in his blood, transmitted from his mother. But the incident with the church in Brusturi changed his life a bit. He showed him that he was needed for other diseases as well. During the pandemic, Bogdan did a master's degree in restoration, and his dissertation is even about the wooden churches in Sălaj. 

During the restoration of the church in Brusturi, Bogdan met other young villagers eager to save monuments. Together with Bogdan Ilieş, Corina Caraba and Valeria Lehene, he founded an association that they called Arhaic, which became part of the Ambulance network – "Ambulance for Monuments Sălaj".

Together with a team of fools, he starts to save in his turn, in the summer, on holidays, as much as possible, monuments. So far, they have intervened at six wooden churches of those in urgent need. And summer is not over yet. 

History of the church

The church, a category A historical monument, is located in an area of the village withdrawn from the main road, on the crest of a hill, the "Church Hill". With approximately the same position towards the village and the valley, it appears in the Iosefin Rise, in the eighteenth century and in the second Elevation made by the topographers of the Habsburg Empire.

The first researches dedicated to the wooden church in Brusturi took place in the interwar period, during the extensive investigation actions carried out by Professor Leontin Ghergariu on the wooden churches of Sălăjene. The church is also mentioned in an ample work of a researcher from Bucharest, Ioana Cristache-Panait, who, during the communist period, walked by bus through the villages of Sălăjene and inventoried all the wooden churches. 

At the top of the door frame there is an inscription dating from the church, but which could not be fully deciphered. Difficulties in reading the inscription encountered several researchers.

On the occasion of the intervention from the roof in 2018, a dentrochronological study of the church was also made, carried out by Botár István, which correctly dated the church: it was built between 1717-1720. 

Who are the rescuers

The Association "Ambulance for Monuments" was founded in 2016 by Eugen and Veronica Vaida. Together with Ileana Burnichioiu and all the ambulance volunteers, 70 monuments have intervened so far and generated the establishment of eight other territorial ambulances, which cover about 50% of the country's territory. 

In 2020 they received the audience award in the Europa Nostra competition, the association is recognized today as one of the most active and successful organizations working in the field of heritage in Eastern Europe. 

Eugene and his team of volunteers

Their most important objectives are to increase the level of philanthropy and create new audiences for heritage, to create a model of cooperation and funding mechanism between the beneficiary, public authorities, NGOs and communities through a functional public-private partnership and the inauguration of a network of ambulances at national level. And they have enough work to do: in Romania, over 3,000 heritage monuments are in a state of degradation of which 600 are in a state of collapse and precolaps. 

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When the past is another country

When the past is another country

By Ruxandra Hurezean

The case of the church from Țapu, brought back to life with the help of the Ambulance for Monuments.

Transylvania is studded with abandoned churches. Many of them are historical monuments, some fortified churches, others — small wooden churches, and all of them were once full of believers. But where the most important moments in the life of a village took place, the wilderness settled. In saxon villages, after the departure of ethnic Germans, the communities, stinking and impoverished by the transition, left prey to the ruins the churches that belonged to a past and a cult that was not theirs. 

For several years now, however, things have begun to change. Non-governmental organizations, such as the Transylvania South Monuments Ambulance, associations of locals or Saxons in Germany, work in the summer to save and restore these places of worship with heritage value. It saves monuments and churches that belong to any cult, to any culture, without distinction. 

Throughout Romania, there are over 3,000 monuments that need interventions, of which 600 need urgent interventions. 

"The Village of Abbot" 

We arrive in the village early in the morning. From the courtyard of the fortified church resounds an old, choir music. It's the favorite of Eloi, a French stonemason settled in Moşna. He carves the stone blocks, mixes the sand with the lime and rebuilds the collapsed buttress. It's already halfway through. Eloi is cheerful, grabs the machine and chiseled into the stone. Horst places a plank in the pulley and gives directions. Work is already underway, the team of craftsmen and volunteers is on the roof.

"Eugene is in the attic, putting pliers on the rafters, to strengthen them," Horst explains. "We are restoring the degraded roof part and replacing the destroyed and industrial tiles put along several interventions with handmade, traditional tiles," he continues. 

The church from Țapu, on the construction site. Photo: Ambulance for Monuments

Horst Hungarian is born in the village. When he left for Germany in '86, he was a priest in Bistrita. He left with his wife and daughter who was 3 years and a bit old. They are settled in Heilbronn. When they first returned to Bistrita, they were amazed to see that their daughter remembered the house where they had lived. He ran in front of them and told them: here, here, here we stood and showed them the entrance. Horst could not say whether it was a matter of roots or conscience, but every year he came and saw the church in the village more and more degraded he felt that something had to be done. 

What needed to be done, however, surpassed Horst. Urgent intervention was needed, otherwise the roof would collapse. The main nave of the church had to be strengthened. 

Since its construction, the church in Tsapu has undergone several additions and modifications. All of them are now testimonies to the evolution of this community.  

When descending from the attic of the church, Eugen Vaida, architect and head of the team on the site, explains the architectural value of the edifice. Quite large for the financial strength of the village (never more than 500 souls, as Horst says), it also seems to have received help from the Abbey to which the village originally belonged. The locality was part in the 13th century of the properties of the Abbey of Igriș, which is why it was called at that time Villa Abbatis or in other words "The Village of the Abbot".

The history of the place, in a nutshell  

Built of quarry-beaten stone, the church dates back to the fourteenth century, as evidenced by the stylistic forms characteristic of the late Gothic. 

The interrupted walls, patched, with additions of various materials, built windows, enlarged windows, a belt of plaster left in places, near the eaves, the Gothic window, the only one left on the north wall, the choir windows, blackened by the smoke from Copșa Mică, seem from an English movie. "Bulding archeology," Eugene tells me. That's what's kind of called what should be seen in these walls with successive traces of life and culture. It was first a Romanesque, Gothic church, then a Protestant church. Pretty much everything that was lived around it was also etched on its walls, including the smoke of the communist industry and the ruin of the abandonment after the revolution. History is all tattooed in the flesh of this building.

Photo: Ambulance for Monuments

The last service in this church was held in 2019, in the summer when the Saxons came home. Before the pandemic, around 100-120 Saxons gathered in the summer summer, usually in August, in their native village. But regular jobs haven't been held since the '90s, before almost all of them left. 

Meeting with "Saving"

Horst and Eugene had known each other before, when Eugene, passionate about old objects, wanted to buy some climbs from a fair in Germany. Horst brokered his purchase. After Eugene started the work of the Ambulance for Monuments, Horst began to think of himself and his association as a solution. When he saw, on his last visit, the state of decay of the roof, he called him. It was evening. Eugene said to him, "Tomorrow at two o'clock I'm there." And so it was.  

Eugene told Horst what he needed to do: to convince the community to contribute food, accommodation or money and to make sure that the authorities were there for them. 

Eugen Vaida (left) and Horst Hungarian, photo credit: Ruxandra Hurezean

The ambulance began to document the project, contacted the authorities, made analyzes and specialized studies on the age and composition of the construction, and in the summer of 2022 they went to work. 

For Horst it was the hardest. "My mission proved very difficult," he confesses, "When you tell the Saxons in Germany that we should repair the church in Romania because otherwise the roof collapses and it rains, they say: 'Well, we are no longer there, we don't use it anymore, why invest in it anymore?' And when you tell the Romanians here that the church in the village, a historical monument, should be repaired because otherwise it is lost, they say: «Well why should we fix it, that it is not ours, it is the Saxons's!» Heavy. It was very hard to convince them, but I succeeded. Now a few Saxon families have come from Germany – about six or seven who help with food and accommodation and everything else they need. Other families, romanians, help the same, prepare the meal and everything else needed. A lot of people help."

Eugene found that the authorities have become increasingly receptive, they are "converting" and joining the initiative more easily. Although two years ago, Timotei Păcurar, the mayor of Micasasa, to whom the village of Țapu belongs, wanted to make a sports field instead of a historical warehouse, he changed his mind after the intervention of the Ambulance at the mansion in the locality. Not only did he not demolish the warehouse, but the mayor restored it with his own hand and with the help of volunteers in the village and turned it into a firefighting draw.

When they told him that they wanted to repair the Saxon church, and presented him with the plan, he immediately agreed to join them. He repaired the road to the top of the hill so that he could reach the cars with materials more easily, got hold of stone, sand and what was needed. We found him in the churchyard, he had come to lend a helping hand. He says that he is in charge of enrolling the fortified church in tourism programs, this happens, with the inclusion of the locality in the Via Transilvanica route.

People 

In the first few days of arriving at the church, Eugene noticed a bunch of children waving their elbows and shoving past the gates. He walked towards them, but they ran away. The next day they came again. This time they did not run away: at Eugene's urging, they went into the yard to see what was happening there. In the following days they came even more with them and put wanted to help. "They were working with pleasure, they kept asking me what they could do, it was a pleasant surprise! And in this way, I think, I can value more what we do here if they participate too!" says Eugene. 

Katarina came from Germany to her native village every summer. This year came and help repair the church. She works in the kitchen, accommodates volunteers and when she has a free moment she runs up the hill to see what she can do on the construction site. "I think we, the generation between the generations, the 40-50 year olds, are indebted and we can do these things. We cannot ask either our older parents or our younger children. So we're committed to doing and we're doing," she says.

Eloi Thiollier is a stonemason craftsman, a French stonemason. She became a calf after crossing Europe in his ritual of initiation and worked in many cities until she reached here, at Moşna, in Transylvania, where she settled. How did it happen? "I knew a Romanian woman! Married to her!" he replies. He has done impressive work in France, Austria. In Avignon, in Dijon, Paris, Vienna and now he will add to his record, the church of Tsapu.  

Eloi Thiollier

Alma is a fifth-year student at the Faculty of Architecture in Bucharest. He is at the fourth intervention in which he participates and he likes so much what he does that he hopes to specialize in this field and to work in the future, as an architect, with the Ambulance team. "I would love to do the restoration," she says, "it seems to me that there is now this possibility, because this community has been created." She was born and raised in Bucharest, and the summers spent on the construction site offer her the holidays in the countryside that she did not have. The restoration seems more interesting because, "in addition to the value given by the architecture, the edifice also has an extra value, given by its history".

It all starts with a bike

The founder of the Ambulance for Monuments in Southern Transylvania, Eugen Vaida, is an architect. He works in a team with his wife, Vera, and other colleagues, but also with relatives, cousins, grandchildren, all those who got infected from him. "By bike I was carrying the objects from where I found them, I have a museum in Alțâna, since I was 16 years old I have been saving the culture" and he laughs. Eugene now has a museum and a collection of other people from the Hârtibaciului valley. He continues to buy, to seek to discover traditional objects, and his area of recognition is expanding from year to year. As for architecture, it wasn't hard to find it. He had something from his dad — his talent for drawing and his habit of work. "I didn't have a childhood," he confesses. "From the age of 12, my father took me to the construction site with him. Whatever happened, at 7 a.m. the old man would get up and come on, to work. I had grown up and if I stayed at night for fun and came in the morning, it didn't matter: at 7, getting up! He had a saying: who is a man by night, it must also be by day! ". Then, there was the exhortation of an aunt from Sibiu who wanted to become an architect, but the times had not allowed it. The boy, Eugene, would avenge her.

In his 4th year of college, when he did the restoration, Eugene found himself in his world. That's what he wanted to do! So, now, with experience and passion, he is doing everything in his power to "save the culture" but from the scaffolding. He speaks with satisfaction about summer schools, financially supported by the Prince's Foundation (HRH Prince of Wales). The Prince of Wales has been the biggest supporter of the Ambulance since day one. About his Museum in Alțâna, about the collection of ii recovered from the Roma corturari, about the manual tile factory he has at Abbey, about the craftsmen's map, interactive, very useful for anyone, about the architecture students he converts to the "order of tiles", a kind of order of spoons invoked by Amos Oz: little by little the great fires of the world are extinguished.

Veronica Vaida is in charge of "organization". She says that now they have got to apply for volunteering at the Ambulance and 500-600 young people. They have to redirect them because they cannot accommodate and feed more than 60 to a work. But their desire to work and learn is impressive. That's why Eugene and Veronica consider that those restoration courses at the Faculty of Architecture, put only in the fourth year, come a little late: "There are students in year 1 and 2 who come here and do not know anything about the restoration. Of course, they learn on site and that's a good thing, but school should be more adapted to needs. And the need for restoration in Romania is very high." 

The Ambulance for Monuments has received many awards. In 2020, the popularity one in the Europa Nostra competition. But the biggest prize is the more than 70 monuments they have saved in the six years since they have been operating and the fact that in seven other regions the project is being implemented through a franchise. These local ambulances carry on the work of safeguarding the heritage and almost half of the country is now covered by such associations.

How it works 

Their work begins in the winter, when they do the documentation for the projects they are considering. So, with the spring, they can start work and do not stop until late autumn, in October, November. "There were times when we worked until it snowed. When I put on the last tile, it started to flake," Eugen recalls.

The ambulance for monuments intervenes when the monument is seriously endangered, in precolaps or collapse. They secure the edifice, repair its roof and foundation, if needed, or strengthen its position. Then, the community, the authorities or the owner can continue its restoration, in some "silence" given by the safety of the building. In more than 50% of cases, communities continued the work. 

If the Ministry of Culture shared Eugene's vision of what should be done immediately, it would invest the financial resources in the safety of all the monuments in danger. "Only then can you start the restoration, after you know that none of you fall from your feet and you do not lose it irretrievably," he says.

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More than just donors

More than just donors

Some tips to bring donors closer to the organization and our mission.

by George Gurescu

At the beginning of June we had the National Fundraising Conference. For 18 years, since the Association for Community Relations organizes the event, it has been an opportunity to talk about our job and how we can increase the power of organizations to do good even better. Inevitably, in workshops we get to talk about donors and how we can get them to understand us and stay with us for more than one donation. 

Over the years, organizations have understood that donor trust is not earned in a month, and the big challenge is not the first donation, but how do you get the person to stay with you. We realize how useful it is to talk again about what a long-term relationship with the donor means, how you build it, and how to show that person that they matter to you as an organization. 

To build such a relationship, we need to start positioning donors closer to our mission, to our work. It's what in English is called donor centricity (i.e. translating into Romanian would sound far too technical).  

When we say that we put donors at the center, we think of a mutual relationship, in which we not only receive funds and show them what we have done with donations, but we want to find out how they relate to us and to society, how they can contribute more, how we can show them that they are not alone, that we, as an organization, we also see that their help really matters.

Be constant

Caring for donors (or donor who) starts from the moment you fundraise, not from the one they donate to you, so you must have the same voice when you ask for money, but also when you thank him or tell him about your last activities.  The language you use, the style of writing are elements that donors quickly get used to, and when they find the same style, the degree of familiarity and closeness that they can feel increases. 

Show that you care 

In the communications you have with donors, try to be as curious as possible about their values and emotions. Ask them what are the things that make them angry or that bring them joy. See what words they use in your communications with you and try to use the same language, write to them about your work and ask for their opinion. 

An organization's curiosity will translate into greater openness of donors. It's a testament to the fact that you see them beyond the role of donors. Also, every message or email you send should start from the last communication you made. Think of the donor strategy as a single conversation that gives you the opportunity to go deeper on key topics, and not as multiple conversations where you repeat the same things and introduce yourself again and again.

Show that you know them 

With a good data management system, you can communicate with donors at key moments: one year after the first donation, on their birthday, when their donations reach a certain threshold. Such gestures show that you are attentive, that you appreciate every action they do and that you like to celebrate the relationship you have built. 

Put them first 

Without the help of donors, the mission of the organizations could not be put into practice. We all know this, but many times, communications emphasize "we" (we did, we realized, we arrived), so it replaces – from the very first sentence – "we" with "you" or "you". The more direct addressing is at the beginning, the more you will capture the attention of donors. 

Also, the more and better you tell them about the changes they make, the better they will feel and aim to keep this state.

Through the messages you send, you're going to show the best version of them as people, not just as donors, and you're going to show that they're the support you need, not donations. When we pass the first identity (that of donors) and we refer to them as good, generous people who believe in the same values and show them this detailed portrait, they will feel much better. This happiness will prompt them to stay with the organization. 

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Degraded heritage is a huge resource for reuse

Degraded heritage is a huge resource for reuse

The right to heritage and cultural landscape is a universal right of the human being, but education and community work are needed to become aware of this right, believes Mirela Duculescu, art historian, PhD lecturer at the National University of Arts in Bucharest and program coordinator at the Pro Patrimonio Foundation.

Since 2000, the Pro Patrimonio Foundation has been working to protect and rehabilitate valuable buildings, but it does not do so just for the sake of saving bricks or planks. They always try to involve communities: either act at their request or contribute to their education, especially in the case of poor localities.

Among the foundation's programs there is one through which it aims to save 60 wooden churches with the support of Europa Nostra and World Monuments Fund, the restoration of the George Enescu House in Botosani County, as well as the creation of a network of craft centers besides the monuments. We talked to Mirela Duculescu, art historian and program coordinator at the Pro Patrimonio Foundation, about the importance of such missions. 

Chronicles: How did the first initiative you had in the field of protection, heritage conservation, come about? What was more complicated at first? What went easier?

Mirela Duculescu: The retrospection of my own memory somehow takes me to my childhood and adolescence – when I took possession, on foot, with the neighbors, the neighborhood around the Icon Garden in Bucharest, an urban historical tissue imbued with what we call today patrimony in a broad sense (at that time I did not know that the concept existed, to me the whole neighborhood seemed to me a natural "home" with which I identify even now) – and then to the years of university formation, when I began to approach at the level of knowledge through scientific research of "objects" of interwar architecture, the notion of monument, philosophies and restoration practices. 

I would say that topophilic affective memory does not indicate to me a first initiative, but a gradual process of accumulations, questions, experiences and experiments with friends, meetings with remarkable professionals who have shaped my perception and choices. Everything went naturally, and I let myself be carried away by the experimental direction towards doing beyond and before theorizing; I created, invented, tested and refined practical models, working in fruit-bearing teams (one of my joys), having in mind that heritage is not a thing in itself that exists for itself, that it is a legacy passed down on the basis of historical ideas, flexible criteria and values built by people (European citizens or not). In my perception, heritage (monument, book, letter type, constructive techniques and crafts, printing techniques, etc.) has a life of its own, is not an elitist concept, is intended for life, habitation and thrifty use. 

In short, from theory I naturally switched to practice, then to theorizing derived from practice and case studies, including education (the work of the last ten years under the umbrella of the Pro Patrimonio Foundation). It was complicated to choose the method, how to interact and position myself in relation to what we call in contemporary times cultural heritage, how to keep an alert mind that makes quick decisions and that reconciles without cognitive dissonance scientific theory with the harsh and so unpredictable reality on the ground (I mean including communities).

Mirela Duculescu at Street Delivery, 2012

What's the most important achievement for you? in the field? At the professional level, what if we look at the organization that you belong to, but also at the sector level? 

I love all my children equally, regardless of the duration of the project, medium and long-term impact, the degree of innovation in the practical model created with colleagues under various organizational formulas and forms of civic activation: Street Delivery, cultural heritage routes with integration of historical monuments, production and activation of communities, public space and urban design; the losing battle for the Matache Hall monument and the neighborhood in the area; saving in its own way the wooden church from Urși village, jud, Vâlcea, together with an army of specialists, friends, volunteers and locals, under the baton of Pro Patrimonio. It's a whole tribe of children, I've only listed the most well-known. Nota bene, I have other progeny: an assumed practice is the conception, writing, consulting, editing of materials on various media (print, audio, video) to accompany this heritage reintegrated into everyday habitation, I hope, and reveal as a chronicle for other generations the process from within (the diversity of cases, the issue of conservation-restoration principles, the steps followed, relationship with the authorities, lack of resources, community work, etc.).

The Church of the Bears, Pro Patrimonio Europa Nostra Conservation Award Grand Prix and Public Choice Award 2021. photo Camil Iamandescu from 2020

What does the relationship with the community look like? Do you feel that you are supported in your mission? If so, does this support also translate into concrete actions (involvement through volunteering, donations, etc.)?

The involvement is bidirectional from the perspective of the Pro Patrimonio Foundation: we act, react and interact in places (at national level) where we are asked for help by communities that get involved with us in saving the architectural and landscape heritage (I come back with the exemplary case of the solidarity community in Urși village – volunteering, donations in kind / accommodation, meals, material, electricity for the construction site, etc.; obviously, we also encounter more nuanced situations, with poor, disadvantaged communities, here we intervene in the long term with early education for heritage, the case of the Olari mansion in Olt or of the Enescu house in Mihaileni, and/or education for the culture of the urban or rural built environment, Baukultur). 

On the other hand, the foundation's actions function as a boomerang, because visibility and results become a catalyst for an avalanche of civic requests and complaints for the resolution of which there should be a network of Pro Patrimonio foundations in various places in Romania, following the model of the Federation of Community Foundations in Romania.

Personally, I believe that the right to heritage and cultural landscape is a universal right of the human being, but education and community work are needed to become aware of this right.

leslie robinson credit

What do you think are, at the moment, the big obstacles for NGOs in this area? Will there be more/less support, interest from the authorities, from the community? 

I believe that the community response is partly suggested in paragraphs 2 and 3; I would also add, in a random order, the lack of continuity in the implementation of coherent public policies for heritage (when there are realistically formulated), bureaucracy, lack of specialists in administration, lack of education at national level, lack of craftsmen, precariousness of resources, etc.

As for the great obstacles for non-profit organizations dedicated to heritage (which the Pro Patrimonio Foundation has terribly struggled to overcome so far), if I were now to personally choose one, it would be derisory funding (I am not discussing the reasons now, I just wonder if a new species should not emerge: fundraiser patrimony). Paradoxically, the degraded or ruined heritage in Romania that requires emergency rescue, rehabilitation, conservation, restoration, represents a huge resource for reuse adapted for our generation, but also for those who will come, sustainability and ecology in consonance with the New European Bauhaus (NEB) plan. Simple: we have a heritage, what do we do with it?

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I entered through a broken window in Neptun Baths and I did not go out

I entered through a broken window in Neptun Baths and I did not go out

Through the Herculane Project, architect Oana Chirila and her colleagues are trying to save one of the most beautiful spa resorts in Romania.

In the 5 years of its existence, the Herculane Project initiative has managed to bring together architects, authorities, sponsors, volunteers and especially the local community, in order to find solutions to bring the resort to light.  But there is still a lot of work to be done with the skepticism accumulated over the past decades, says Oana Chirila, president of the Locus Association and "mother" Herculane Project. 

When and how was your organization/initiative born? What was more complicated at first? What went easier, from your experience?

Our initiative was born in 2017, after a spontaneous visit to Băile Herculane. That's when I walked through a broken window in Neptune Baths and I didn't go out. I wrote an article that I published on the BoredPanda website, it went viral and that's when I realized how important the Baths are. We contacted City Hall and we met and somehow that's how it all started. Later I tried to coalesce a team around my desire to do something for Herculane and I also founded the Locus Association. 

The most complicated aspect was to win the trust of the authorities, of the potential sponsors and partners, given that we were, a handful of students who had not yet encountered the true face of the Romanian system. We had to show that we are persevering, that we will not stop at the first obstacle and that no matter what the situation we will look for the best and most sustainable solutions. At the same time, the most difficult process was and is to win the trust of the local community.

It was a struggle from all points of view from the very beginning. Volunteering is beautiful and helps, but it is an activity that comes with compromises, sacrifices and a lot of responsibility. 

What's the result you're most proud of so far?

There are several aspects of which we are very proud. First of all, we are very proud to have been able to coalesce such a large community of supporters, volunteers and donors around the project. Without these people we would have achieved absolutely nothing in these 5 years of activity. 

Secondly, we are proud of the fact that we managed to do some projects with impact, to start a construction site on the most important balneary heritage monument in Romania and to include Neptun Baths on the list of the 7 Most Endangered Heritage Sites in Europe for 2022. 

Thirdly, I am proud of ourselves, that we have had the patience, the perseverance to continue regardless of obstacles, and I am proud that we can do what we love. 

Credit: Dorobanţu Darius

What does the relationship with the community look like? Do you feel that you are supported in your mission? If so, does this support also translate into concrete actions (involvement through volunteering, donations, etc.)?

On the one hand, we are supported, and on the other hand, there are still many people who have lost hope and are sceptical. Given the history of the last 30 years in Băile Herculane, corruption, "the biggest robbery in tourism", as it is very often presented somehow, it is also normal for a part of the community to be skeptical when some young people come who do projects only from donations... Because our project does not always have very visible results in terms of Neptun Baths, for example. We may be repairing a roof over the weekend, but from the street people still see a monument that is about to fall and that needs millions of euros, not tens of thousands of euros. 

We have people who have been actively involved in our projects, either with volunteering or helping us with services such as accommodation, food for us or volunteers. We have rejoiced and continue to rejoice every time we see such support. 

What do you think are, at the moment, the big hurdles for NGOs in this area? Will there be more support, interest from the authorities, from the community? 

In the field of heritage safeguarding, the biggest obstacles are the lack of funds and the legal problems of monuments. I would also add the lack of concrete support from the Romanian State to create support programs for the owners of real estate classified as part of the cultural heritage.

From our experience, having a monument that we have been trying to save for 5 years only from donations, I could say that this area has not yet become a truly visible one in the media or in social media. Many of us are still small, although every NGO does a very good job on its piece. Perhaps in the future more cooperation between NGOs will help to make our common cause much more visible – cultural heritage is a resource for sustainable development and it is our duty to capitalize on it for future generations. 

Credit: Dorobanţu Darius
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I think that's the biggest victory: victory despite the state

I think that's the biggest victory: victory despite the state

The relationship with the community becomes a carousel when you start an action to protect the heritage, says Luiza Zamora, from Association 37.  

In a world where the word "heritage" remains foreign or at least meaningless for most of us, Luiza Zamora, art historian and cultural instigator, contributes to various initiatives in the field of heritage protection, conservation and promotion. Over the years, he has reported situations of spaces worth saving and has promoted lesser-known heritage segments.

Tell me a little bit about the first initiative you had in the field of protection, heritage conservation (is it Art &Street delivery)? How did it come into being? What was more complicated at first? What went easier from your experience?

Art&Street Delivery was not really an initiative in this field, but it was a good scene for debates about heritage and urbanism, the city and the quality of urban life, art.

But my first attempt at heritage was not one in the literal sense of protecting and preserving monuments, but it was rather an endeavor to electronically preserve a heritage that cannot be restored, at least during my lifetime, and which I chose to archive in memory of hard drives. I chose this path, simpler, because I know how valuable this documentation is from the perspective of one who from time to time still writes about heritage and faces a lack of complete visual information. I started by photographing houses of cultural value in the countryside from the simple finding that here they perished faster than in the city. Many of them do not have the status of a monument, not that this would necessarily protect them, and fall prey to the need for "progress", to forget a past that is most often associated with poverty. 

Apart from a few aficionados and specialists in what is called heritage, a foreign word of meaning among people, almost no one of the inhabitants of villages and towns knows anymore to look at the old houses, to see them and understand their beauty. They are nowhere on the road between the glorification of some national culture enthusiasts and the perplexity of the people who inhabit them and between whom they live. It's enough to look from one end to the other at a village, a street, a neighborhood as they are if not torn down at least limp, shrillly sided with new buildings, painted, built on windows, or simply deserted.

What do you think are, at the moment, the big hurdles for NGOs in this area? Will there be more/less support, interest from the authorities, from the community? 

The biggest obstacle is the lack of real cooperation between the state and the non-governmental sector, the lack of interest in heritage on the part of this state incapable of seeing in its own heritage a resource not only cultural but also a financial one. To this I would add the human resource working in the field of heritage protection: insufficient and unprepared. Here and there there are people who honor their profession, who do not give up in the face of bureaucracy and institutional ineptitudes, and who are looking for solutions as part of what we call heritage to reach other generations. I think that we should not stop in thanking the non-governmental organizations in the field and the local communities that defend their cultural resource in the face of the lucrative initiatives of local mayors and entrepreneurs, because we owe them to an overwhelming extent the survival of fragments of cultural identity.

Even taking pictures is not so easy because sometimes you get to the police, sometimes you are run with the bat because you do not know who allowed you to take pictures from the street, a house. There's still this need for supreme authority that decides for you, you can't do something on your own and there's still the fear that someone is coming to take your house. Most clearly, this need for authority is expressed through the blessing you need in the case of ecclesiastical heritage. You can't wake up a researcher to photograph national heritage churches without allowing you a high. 

What's the most important achievement for you in the field? Both for you, your organization, and at the sector level?

I do not know if I can mention notable achievements in this area. Rather, I would say that we have shouldered various initiatives in the field of heritage protection, conservation and promotion, we have reported "cases" to those who have the tools to save and we have promoted lesser-known heritage segments.

The years of activity at Igloo magazine and the establishment there of the permanent section dedicated to heritage were the years of discipleship, when, monthly, we went, documented and photographed together with my colleague Șerban Bonciocat houses, mansions, cules, wall and wooden churches trying to bring to the present traces of the past, to invite contemporaries to remembrance and to incite them to rediscover a history of architecture, as I did poetically and visually in the album Cule. Fortified boyar houses in Romania. I continued this note on my own through a series of albums about an area less on the tourist or affective map, but, which is slowly discovered, can be a revelation both as a built heritage, immaterial or natural. The Wood editorial series. Stone. The wall was conceived as a triptych about the wooden and wall churches, the houses, the mansions and the cules of northern Oltenia, an area not only with the most wooden churches in the country, but also with ecclesiastical edifices with exterior painting. Isn't it that when you think about wood, Maramures comes to mind or churches painted on the outside, you think of Bucovina and not of Oltenia? 

But at the sector level, the achievements are truly notable for the immense effort that a handful of professionals have made in managing to save fragments of the legacy that the absent state mentions only in speeches and strategies from collapse. Without these persevering enthusiasts we would not have had Rosia Montana today in the UNESCO heritage, standing fortified churches, restored mansions. I think that's the biggest victory: victory despite the state.

If you were to look into the past, what does the relationship with the community look like? Did you feel that you were supported in your mission? If so, does this support also translate into concrete actions (involvement through volunteering, donations, etc.)?

The relationship with the community is like a carousel. Being a reflection of the small-scale society, the relationship is subject to the turbulence of the way, but we choose to keep in mind the positive experiences, and one of the most notable such examples is the community gathered around a small wooden church in a Vâlcean cemetery. In 2008 we had started documenting for a large project of research and promotion of the heritage on the two slopes of the Carpathians, from four counties – Gorj, Valcea, Hunedoara and Sibiu – and in one of the documentation trips we gave, in a cemetery full of greenery of a cobblestone wooden church, in a ravine and supported with stakes to stay among us. Approaching I discovered under the roof left a wonderful construction that had painting on a thin layer of plaster of great artistic value, especially since in this area there are too few painted wooden churches, none of them of the same level. 

I was wondering how such a church could escape from the radar of art history and all I knew how to do better was to tell about it and show it to my teachers and to the architect Șerban Sturdza, then president of the Romanian Order of Architects. And thus began the 12 years of works of conservation, restoration and valorization of the wooden church in Bears, Valcea, with the support of a large community of individual and institutional donors in the country and abroad, with volunteers from different corners of the world and with the support of the local community that gathered around this monument supporting the specialists who came here with their labor, with dishes, with hosting. Needless to say, the state wasn't here, but it was the people. The recognition for all this consistent effort came last year when the ProPatrimonio Foundation, the one that bore the brunt of this project, won the most prestigious European prize in the field of heritage, but also that of the European public, Europa Nostra. It is also a recognition of the contribution of the local community to the success of this project.

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The place where civil society takes the pulse of Power

The place where civil society takes the pulse of Power

The role of civil society can be increased by means of good representation in the Economic and Social Council. The body has been, for almost a decade, a mandatory link in Romania's legislative chain. 

The Economic and Social Council (ESC) is an advisory body of the Romanian Parliament and Government, which aims to "achieve the tripartite dialogue between employers' organizations, trade union organizations and representatives of nongovernmental associations and foundations of civil society". 

Specifically, the ESC issues opinions for laws that are largely related to economic and social policies, as well as citizens' rights and freedoms. These opinions are binding on these areas, but they have only an advisory role. Also, the large volume of documents sent for approval makes it impossible for debates on each of them to take place, which limits to a certain extent concrete interventions. 

"The fact that it is an advisory body does not give it much power," explains Dana Nicolescu, who has almost 30 years of experience in the good industry in Romania. "On the other hand, I think it's very important that NGOs are represented there, because they can at least take the legislative pulse. The fact that they have access to what's going on and they see what the trends are, they're one step ahead of the average citizen or those in NGOs is a very important thing. I think they can sum up legislative tendencies and interests. From this point of view, I find it very important to have someone in the 'lair'", explains Nicolescu. 

We tried to explain the current role and potential of ESC for civil society with the help of interviews with two current members, Adriana Radu, founder of the Sex versus Barza Association, and Corina Murafa, next Now Planet & Climate co-leader, Ashoka. We also detailed in an infographic how ESC works and what its results were in 2020, the last year for which there is centralized data.

Corina Murafa, next Now Planet & Climate co-leader, Ashoka: "We are trying to increase the public profile and be taken as a serious institution" 

The current representatives of civil society within the ESC are trying to give another weight to the body, through consistent interventions on important topics, such as housing or the exploitation situation in Rosia Montana, says Corina Murafa, next Now Planet & Climate co-leader, Ashoka and member of the plenum of the Economic and Social Council in November 2020. Murafa believes that if these contributions are consistent enough, in the future the Legislature and the Executive could come to the ESC, because the law allows them to ask for opinions and perspectives from the body.

Adriana Radu, founder of the Association Sex vs. Barza: "For NGOs working for women's rights and reproductive and sexual rights, the existence of a representative in ESC is an advocacy success"

The Sex vs. Barza Association, founded by Adriana Radu, deals with education, counseling and advocacy on reproductive and sexual rights and health. Adriana started with Sex vs Barza in 2012, when she founded a Youtube channel with the same name, the first online sex education video platform in Romania. Now, Sex vs. Stork has over 500,000 followers and 70 million views on Youtube and TikTok.

Radu is also a member of the ESC plenum, being appointed at the beginning of 2021 as a representative of the civil society. Her appointment was difficult and aroused controversy at the time, but she was supported by colleagues of civil society both in and outside the ESC.

Infographics:

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