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"Tradition tells us who we are, and innovation helps us show the world who we can become" - An Interview With Cristian Harhătă

The Romanian folk artist reflects on preserving cultural identity, mentoring the next generation, embracing innovation, and why authentic traditions still matter in a rapidly changing world.

By Eugenia RoditisMusicngear Editor

Cristian Harhătă isn't simply preserving Romanian folk music, but he's working to ensure it remains a living part of modern culture. Blending performance with education, literature, charitable work, and community projects, the Iași-based artist has dedicated himself to bringing Romanian folklore to new generations while introducing its richness to audiences beyond his country's borders.

In this conversation, Harhătă reflects on discovering his artistic identity later in life, the responsibility of safeguarding cultural heritage, the lessons he's learned from working with young performers, his friendship with Mihai Trăistariu, the balance between tradition and technology, and why the greatest measure of success isn't fame, but the lives we leave changed.

Eugenia Roditis, Musicngear: You came to Romanian folk music relatively later than many artists, after exploring engineering, acting, classical vocal training, and several other fields. Looking back, do you think those experiences changed the way you understand and perform folklore?

I chose to pursue both a university degree and a master’s degree in a practical field such as engineering in order to have a stable profession, but my vocation has always been art. My curiosity about understanding people and different forms of expression led me to acting, media, and vocal studies, experiences that gradually shaped me into a complete artist.

Looking back, I realize that each stage played an essential role in my path. Acting taught me to convey emotion and truth, media offered me a perspective on how culture can be communicated to a wide audience, and music studies strengthened my vocal technique, discipline, and respect for performance. All these experiences are reflected today in the way I interpret folklore.

Currently, I understand much more deeply the importance of folkloric heritage, both for each community and at an international level. Folklore is not only a form of entertainment or an artistic expression, but the living memory of a people. In its songs, traditions, and customs, the values, history, and identity of a nation are preserved. Each people inherits a unique cultural heritage, and the responsibility of each generation is to pass it on.

When this heritage is cultivated and transmitted, national identity is not lost, no matter how much the world changes. I believe this is precisely why Romanian folklore has experienced a remarkable revival in recent years. Although it is not a globally commercial musical genre, it continues to gain public appreciation through its authenticity and depth, demonstrating that authentic cultural values can transcend any border.

For me, true wealth is not what you accumulate for yourself, but what you offer to others and what remains after you are gone

Musicngear: Many people think of folklore as something that belongs to the past, yet your work presents it as something that continues to grow and evolve. What do you believe today's artists should preserve at all costs, and where is there room for innovation without losing authenticity?

I believe everything starts with the way each artist discovers their own path. In childhood, when you see other singers, it is natural to want to become one of them as well. Many young people, however, especially those who do not have clear artistic guidance, end up experimenting with many musical genres, without truly knowing what their real artistic identity is. Over time, you realize that when a certain genre fits you naturally and you are appreciated in that context, it is very likely that you have found your own path. At that moment, it is no longer just about choice, but about recognition and commitment.

In my case, after having approached several musical styles, it was only around the age of 30 that I discovered how naturally and authentically I can perform Romanian traditional music. From the very first recordings, I was encouraged by professionals in the studio and by orchestra conductors with extensive experience, who noticed the naturalness with which I express myself in this artistic register.

However, the most important confirmation came from the audience. People clearly told me that I should not give up traditional music, because they feel it deeply and love it, especially in the context of festive moments and Romanian celebrations.

There is a very powerful moment I will never forget: when you see Romanians gathered in a circle, holding hands and dancing to your music, you feel how a form of collective harmony is created. In those moments, you understand that music is not only art, but an energy that unites people and generates joy within the community. For me, authenticity means exactly this: staying connected to who you truly are and not moving away from your own artistic identity. Innovation is natural and necessary, but it must always come from respect for one’s roots and from the inner truth of each artist.

Musicngear: Your projects with children and teenagers aren't simply about teaching songs; they're about helping a new generation build a relationship with their cultural roots. What have your young performers taught you that you never expected to learn yourself?

The purpose of my projects has, from the very beginning, been to show young artists that, in a world where more and more people tend to act individually, there is also another path: that of unity through Romanian traditional music. Traditional dance and music remind us precisely of this — that in the past, the community played an essential role in people’s lives.

A personal example from my family comes to mind: my grandparents once had to build a house in just two weeks. The neighbors came and helped without expecting anything in return, and later, they did the same for others. It was a form of natural solidarity, in which the community functioned as a true extended family.

From the children, however, I learned something equally valuable. They showed me that love for tradition can appear very early, sometimes even spontaneously, without being imposed. Although many of them usually listen to modern music, when they come into contact with Romanian traditional music, they embrace it with surprising naturalness. In those moments, they often seem more mature in their understanding of cultural values than I was at their age.

At the same time, I learned from them how strong the desire for performance can be from childhood. When guidance and motivation exist, children are capable of remarkable discipline and seriousness. As a concrete example, after I coordinated the first dance ensemble at the school where I work as a heritage administrator, the students managed, after only one month of rehearsals, to achieve third place in a county-level Romanian folk dance competition. It was a moment that confirmed to me that when tradition is transmitted with passion, it immediately comes to life in the younger generation.

Folklore is not only a form of entertainment or an artistic expression, but the living memory of a people

Musicngear: "Cântecul fraților" explores ideas of mentorship, continuity, and identity. Working alongside Mihai Trăistariu, what conversations or moments during that collaboration left the strongest impression on you, both as a musician and as a person?

We already have two musical duets together, Cântecul fraților and Eu beau necazul meu, songs that are also hummed by people. With Mihai Trăistariu, I discovered from the very beginning a series of coincidences that gave a special meaning to the project “Cântecul fraților.” A symbolic detail is the fact that we share the same date of birth, 16 December, and this element was even one of the sources of inspiration for the project.

Beyond this coincidence, for me, Mihai became that “older brother” in the music industry who offered me the most valuable advice regarding artistic development and the challenges of the music world. As we got to know each other better, I discovered that we have many things in common, including the way we react, think, and even in small gestures.

One essential thing I learned from him is the importance of humility. Although he is an internationally recognized artist, appreciated in numerous countries, Mihai has always remained humble, very sincere, and open in every conversation.

During the filming of the music video, we did not have much time for in-depth discussions; however, later, on his podcast titled “Conversations That Matter with Mihai Trăistariu,” I realized how natural our communication is. Hours passed without us noticing, as we discussed the industry, personal experiences, but also current topics such as artificial intelligence and the evolution of music.

Since then, our relationship has continued to strengthen. We have an authentic friendship, and his friends have also become our friends. The last time we met was at a well-known festival hosted by him, where my wife and I were members of the jury. Over time, this connection has gone beyond the professional framework and has become a genuine human bond and a lifelong friendship.

Musicngear: Whether you're performing on stage, writing books, leading educational projects, or organizing charitable initiatives, there seems to be a common thread running through everything you do. What personal mission connects all these different parts of your work?

I would never want to go through life without leaving something valuable behind. For me, true wealth is not what you accumulate for yourself, but what you offer to others and what remains after you are gone. I believe that every person has the responsibility to contribute, in their own way, to a world that is a little better than the one they found.

There is a story that has always inspired me. A man used to go every day with two pitchers to bring water home. One was perfect, while the other had a crack and lost half of its water along the way. The broken pitcher was ashamed of its imperfection and apologized for not fulfilling its purpose. Then the man said to it: “Have you noticed that on your side of the path beautiful flowers are growing, while on the side of the other pitcher almost nothing grows? Every day, without realizing it, you have been watering the seeds, and the path has come to life because of you.”

This story very well expresses the way I see existence. None of us is perfect. We all have limits, mistakes, and moments of vulnerability. However, it is precisely through what we offer to those around us that we can create beauty, hope, and change.

Therefore, whether I am on stage, writing a book, working with children, or involved in charitable projects for socially disadvantaged children or children with disabilities, I try to plant a “flower” in people’s lives. If I manage to inspire a child to love their roots, to encourage a young person to believe in their dream, or to bring a few moments of joy to a community through my music, then I feel that I have fulfilled my mission. I believe that the true evolution of humanity is measured not only by technological or economic progress, but by our ability to do good for one another. And this is the mission that unites everything I do.

For me, authenticity means exactly this: staying connected to who you truly are and not moving away from your own artistic identity

Musicngear: Every artistic path comes with obstacles, especially when working in a genre that isn't always at the center of today's music industry. What have been the biggest challenges you've had to overcome, and what advice would you give to artists who are facing similar struggles today?

I believe that every artist dreams, at the beginning of their career, of reaching as many people as possible. It is natural to want recognition and to feel that your work is appreciated by a wide audience. In the case of Romanian traditional music, however, the reality is different. It is a musical genre with extraordinary cultural value, but one that does not always benefit from the same exposure as commercial music constantly broadcast on radio or on major entertainment platforms.

There have been situations in which certain television programs did not invite me precisely because they did not aim to promote traditional music. At first, this can be discouraging, but I came to understand that success should not be measured in this way.

In recent years, the online environment has completely changed the relationship between artist and audience. Today, you can build an authentic community of people who choose to follow you for what you represent, not for how often you appear on television. These people are not just spectators; they are those who listen to your music, share your joys, and are the first to encourage you when you go through difficult moments. For me, this connection is worth more than anything else.

Therefore, my advice to artists is not to measure their value based on ratings and rankings. If they remain consistent, authentic, and respectful toward their audience, the right people will discover them. I have a belief that I often repeat and that guides every appearance I make: I can sing for thousands of people, but I will sing with the same passion for a single person. For me, music is not about numbers or statistics. Music is about emotion, connection, and the ability to touch someone’s soul, whether that person is part of a crowd or standing alone in front of the stage.

Musicngear: You've written about subjects ranging from literature and personal development to artificial intelligence. At first glance, these worlds seem far removed from traditional folk culture. What inspired you to explore both, and have they influenced one another in unexpected ways?

At first glance, tradition and artificial intelligence seem to belong to completely different worlds. I believe, however, that they can coexist and even complement each other. I like to make a comparison with the transformations that agriculture has gone through. For our great-grandparents, the transition from the hoe to the tractor was a real shock. Many viewed machinery with suspicion, but time has shown that technology did not replace the farmer; it made their work easier and allowed them to achieve more.

I believe the same thing is happening today with artificial intelligence. If used responsibly, it does not replace human creativity, but becomes a tool that can increase efficiency in many fields, including the music industry. From my point of view, we should not run away from technology, but rather understand it and learn to use it in an ethical and intelligent way.

At the same time, I am convinced that a nation cannot preserve its identity if it does not know its own roots. But it is equally true that it cannot stand still while the entire world evolves. The balance between tradition and innovation is, in my opinion, one of the most important challenges of our generation. Perhaps this is one of the things I admire most about the Romanian people: the constant desire to preserve what is authentic, while also contributing to global progress.

Romania has produced personalities who have changed history in very different fields. Today, we are proud of the sporting achievements of tennis player Simona Halep, just as previous generations had their own role models. In the field of innovation, names such as Petrache Poenaru, the creator of the modern fountain pen, Henri Coandă, a pioneer of modern aviation, or Nicolae Paulescu, whose research significantly contributed to the discovery of insulin, demonstrate that national identity and innovative spirit do not exclude each other, but rather complement one another.

This is also the principle on which I try to build my activity: to promote Romanian cultural heritage without ignoring the tools and opportunities that the future offers us. Tradition tells us who we are, and innovation helps us show the world who we can become.

The true evolution of humanity is measured not only by technological or economic progress, but by our ability to do good for one another. And this is the mission that unites everything I do

Musicngear: You've performed on national television stations and in community settings, but you've also worked closely with students and local audiences. Has there been a particular performance or encounter that reminded you why preserving cultural traditions still matters today?

I have had the privilege of singing both in front of audiences present at my concerts and in front of Romanians through national television in Romania. The public knows me both by my name, Cristian Harhătă, and by the pseudonym Cristian from Iași, the city where I live.

Each experience has its own value, but there is one thing that always impresses me when I arrive in Bucharest, the capital of Romania, where artists from all regions of the country gather for the major New Year’s Eve celebration, which millions of Romanians watch. In those moments, I truly understand how precious Romania’s cultural diversity is.

Each artist arrives wearing the traditional costume specific to their region, and no two costumes are alike. The patterns, colors, embroidery, and symbols differ from one region to another, each carrying the story of the place it comes from. Even the dialects have different nuances, and these differences do not separate us, but rather complete us. Every time, I feel as if I am looking at a bouquet of wildflowers: each flower has its own color and beauty, yet together they form a harmonious picture. This is how I see Romanian culture as well.

Our unity does not come from uniformity, but from the richness of local traditions which, brought together, form the identity of an entire nation. These encounters remind me that cultural heritage is not made only of monuments or historical documents. It lives in seemingly simple things: in a hand-embroidered traditional costume, in a melody passed down from generation to generation, in a dance, or in a regional accent. It is precisely these details that tell the story of a people.

That is why I believe that preserving traditions does not mean remaining anchored in the past, but keeping alive the diversity that defines us and passing it on to future generations. The better we understand our roots, the more authentically we can engage in dialogue with the rest of the world.

Musicngear: As someone working to introduce Romanian folklore to international audiences, what aspects of your country's musical heritage do you think are still widely misunderstood or underappreciated outside Romania?

I believe one of the main challenges is the deep understanding of a people through its culture. Every nation has its own rhythms, gestures, and forms of expression, and sometimes it can be difficult, especially from the outside, to immediately connect with the specific nature of a tradition that is not familiar to you. Romanian traditional music is, from this point of view, extremely rich and complex. Its rhythms have a strong identity, and folk dances reflect the diversity of Romania’s historical regions.

From a cultural perspective, Romania is a country built from several historical layers: Wallachia (Țara Românească), Moldavia — also known as the homeland of Stephen the Great — and Transylvania, a region full of history and symbolism, including the legends associated with Dracula (Vlad the Impaler). From a choreographic and musical point of view, we are generally talking about three essential forms: the Romanian hora, the Moldavian bătuta, and the Romanian sârba.

The Romanian hora is the most well-known dance in Romania. The hora is a circle dance in which people hold hands and move in collective harmony. The steps are simple, the rhythm is slower or moderate, and the overall feeling is one of unity and balance. It is, if you will, the clearest expression of the idea of community.

The Moldavian bătuta, similar to the hora but more rhythmic and specific especially to the Moldavia region, is more energetic and rhythmically accented. It is often danced with marked steps, foot stamping, and changes of rhythm, which give it a distinctive expressive force.

The Romanian sârba is a traditional folk dance in Romania, of Balkan origin, inspired by South Slavic dances (its name suggests a historical connection with the Serbian cultural space). In Romanian culture, it has evolved into a distinct and widely spread form, especially in the southern and eastern regions. It is a group dance, performed in a circle or chain, characterized by a fast tempo and high energy, typical of festive occasions. Dancers hold hands and follow an alert rhythm in a binary meter (2/4 type), with repeated side steps, light jumps, and frequent changes of direction, often led by a dance leader. The sârba is traditionally associated with collective joy, being one of the most dynamic and recognizable dances in today’s Romanian folklore.

I believe that for an international audience it can be difficult to immediately understand these rhythmic and cultural subtleties. However, direct experience changes everything. Once you participate at least once in a Romanian traditional celebration and join this type of dance, you understand that it is not just music or choreography, but a form of collective energy that captures you and stays “in your system.” This is, in my opinion, the beauty of Romanian folklore: it is not easily explained, but it is deeply felt.

Musicngear: Looking ahead, what are the projects or dreams that excite you most?

I do not know whether it is a good habit or a form of personal superstition, but over time I have avoided speaking publicly about projects that have not yet been completed. We live in an era where visibility and promotion are essential, and marketing often involves exposing ideas even at the stage of intention. However, for me it has always been important to maintain a certain level of discretion until a project becomes concrete.

Of course, there are situations in which this way of thinking can be a limitation, especially in a professional context where public communication plays an important role. But I have chosen to remain faithful to this principle: I prefer to speak about things after they have been achieved, not before.

For this reason, all my future plans remain, for now, in the stage of development and construction. There are quite a few of them, and some will succeed, while others may not produce the expected results, but each one represents a direction in which I invest time, energy, and conviction for the community.

For me, real satisfaction does not come from announcing a project, but from completing it and from the impact it has on people. That is why I prefer to let results speak instead of promises. I believe that, ultimately, the most honest form of communication is the one in which work becomes visible through what the artist manages to offer, rather than through what is announced in advance.

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About Eugenia Roditis

Eugenia's passion for music was ignited from an early age as she grew up in a family of musicians. She loves attending concerts and festivals, while constantly seeking fresh and exciting new artists across diverse genres. Eugenia joined the MusicnGear team in 2012.

Contact Eugenia Roditis at eugenia.roditis@kinkl.com

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