The current county of Maramureş is made up of four ethnographic areas, geographically, historically and ethnographically distinct, being an ancient Romanian hearth with history chiseled in wood and stone, in soul and in verb. These are called countries of Maramureş, and namely: Maramureşului Country, or Historical Marmaureşul or Voivodal, Lapuşului Country, Chioarului Country and last but not least, Codrului Country. One of the most controversial countries of Maramureş, Ţara Codrului, covers a rather narrow area compared to other ethno-folkloric areas, the ethno-cultural space of this area currently falls administratively in the counties of Maramureş, Satu Mare and Sălaj, although in in the past they belonged to Sălaj county, most of the localities being integrated into the Cehu Silvaniei network. The identification of ancient customs and traditions preserved to this day or the reconstitution of some long-forgotten customs or traditional occupations from the folklore area of Maramures Ţara Codrului would lead to the valorization of the way of transmitting local values, customs, occupations, beliefs and symbols shared by the community, so that, subsequently, they are implemented in the daily life of the new generations. Being one of the most important traditional dances of our country, the Caluşari dance dates back to the pre-Christian period, being related to the ancient cult of the Sun. Considered by some specialists as the decayed descendant of an ancient ritual, coming from the mists of time, this particularly spectacular Romanian folk dance is included in the heritage of humanity. The ritual dance of the Caluşaris, of high artistic value of Romanian folklore, is our symbol for the scenes of the world; it is the emblem that connects equally to history and myth, without ignoring its semantic and value universality. This living symbol of our culture represents the uniqueness of the Romanian people, both through the movements of the footmen and through their clothing. It must be emphasized that the people regarded the game of the Gags as an unusual fact, because the energy and frenzy that the Gags displayed during the game did not seem natural to them, perpetuating the idea that they are led by a supernatural force that gives them powers. In fact, it’s about the enthusiasm, passion and joy with which everyone interprets the role they have in this show, because in the end, the dance of the Horsemen is a majestic show, performed in the purest and most authentic style. In 1907 George Pop from Băseşti, driven by the desire to have an authentic Romanian dance, brought a master, Dr. Iustin C. Iuga from Alba Iulia, who stayed in Băseşti for three months and trained the troupe group that had its first official representation on the day of the great TRIBUN . Later, the Caluşari bands participated in all Astra events or other important events of the time because leading a national dance band was an occasion of pride and national affirmation, the dance of the Caluşaris from Transylvania becoming a national emblem for the artistic expression of the leading Romanian villages. It was believed, in that day that through this dance one contributes to the formation and strengthening of the spiritual unity of the national consciousness, because those who dance the Căluşarul can only be Romanians in origin. Băseşti commune is an area where the authenticity and values of Romanian folklore are preserved. Included in the community known generically under the term Şara Codrului, an area strongly impregnated with local traditions and customs, Băseşti remains a land of preservation of traditions and customs that have long since passed. For more than 100 years, in Băseşti, the bands of gaggles have appeared on the country’s stages, expressing the desire of Romanians everywhere to be united under a single, unique and unbroken banner, thus perpetuating the dream of the great tribune, George Pop of Băseşti. The stage appearances of the two caluşari formations, the big team and the small team, from Cluj and Baia Mare in the 80s, represented crucial moments for this dance, which has now become a constant habit in the lives of the people of Basăşti. The simultaneous dance of the two generations of gaggles symbolizes its antiquity and continuity in our traditional culture. Thus, the constancy and antiquity of the dance of the Caluşari from Băseşti gives it the right to be called a custom specific to Băseşti, with all the rights that derive from it. The dream of a human intertwined with the beauty of this beautiful dance of the Caluşaris, against the background of passion and dedication of the members of the formations established over time, make history in Băseşti, representing a reason for national and, above all, local pride. If the glorious past is the basic piece in maintaining our national consciousness, the present is the link between it and the young saplings, the future generations that can be formed in the spirit of love for nation and country, with the due place given to the elements of national identity, and of course with love for the perpetuation of traditions and customs, especially arousing and developing the passion to play the dance of the Caluşar from Băseşti, this should be a reason for pride and joy for them, like their ancestors. Any spectator who has the opportunity to watch the dance of the Caluşari from Băseşti can claim that it was shown to him in all its archaic splendor, reinforcing his feeling that Romanians have.