final public activities took place in 1962, when he attended the International Congress on African Culture, organized by English curator Frank McEwen and held at the National Gallery in Salisbury, Southern Rhodesia. He died one year later in his Paris home, and was buried at the Cimetière du Montparnasse. Literary contributions Identity issues Much critical commentary about Tzara surrounds the measure to which the poet identified with the national cultures which he represented. Paul Cernat notes that the association between Samyro and the Jancos, who were Jews, and their ethnic Romanian colleagues, was one sign of a cultural dialogue, in which "the openness of Romanian environments toward artistic modernity" was stimulated by "young emancipated Jewish writers." Salomon Schulman, a Swedish researcher of Yiddish literature, argues that the combined influence of Yiddish folklore and Hasidic philosophy shaped European modernism in general and Tzara's style in particular, while American poet Andrei Codrescu speaks of Tzara as one in a Balkan line of "absurdist writing", which also includes the Romanians Urmuz, Eugène Ionesco and Emil Cioran. According to literary historian George Călinescu, Samyro's early poems deal with "the voluptuousness over the strong scents of rural life, which is typical among Jews compressed into ghettos." Tzara himself used elements alluding to his homeland in his early Dadaist performances. His collaboration with Maja Kruscek at Zuntfhaus zür Waag featured samples of African literature, to which Tzara added Romanian-language fragments. He is also known to have mixed elements of Romanian folklore, and to have sung the native suburban romanza La moară la Hârța ("At the Mill in Hârța") during at least one staging for Cabaret Voltaire. Addressing the Romanian public in 1947, he claimed to have been captivated by "the sweet language of Moldavian peasants". Tzara nonetheless rebelled against his birthplace and upbringing. His earliest poems depict provincial Moldavia as a desolate and unsettling place. In Cernat's view, this imagery was in common use among Moldavian-born writers who also belonged to the avant-garde trend, notably Benjamin Fondane and George Bacovia. Like in the cases of Eugène Ionesco and Fondane, Cernat proposes, Samyro sought self-exile to Western Europe as a "modern, voluntarist" means of breaking with "the peripheral condition", which may also serve to explain the pun he selected for a pseudonym. According to the same author, two important elements in this process were "a maternal attachment and a break with paternal authority", an "Oedipus complex" which