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1

Rekonstrukcja i dokumentacja cyganskiego zycia i folkloru

100%
Bessonov N.
Studia Romologica
|
2016
|
vol. 9
127-133
EN
Author is a painter. Together with the members of the Romen Theatre in Moscow he carries out a project of theatrical reconstructions of the traditional scenes and situations of the gypsy camp life (dances among others). The acts are prepared according to detailed historical studies. They are subsequently photographed and filmed to form an archival collection to be used by researchers in the future.
2

Sztuka – Romowie – Mobilizacja

100%
Kapralski S.
Studia Romologica
|
2016
|
vol. 9
13-18
EN
The subject matter of this introduction to the thematic part of the current issue of “Studia Romologica” is the relation between Roma art and Roma politics, and its main assumption is a conviction that art always has a political dimension while politics is always present in the art. This relation is particularly visible in the field in which agency and identity of social groups are produced, especially of minorities that are not in a position to control the political and aesthetic means of identity expression. Moreover, in the case of Roma those means have been historically involved in discrimination against and stereotypical representation of Roma. In this context, contemporary Roma political and artistic movement can be perceived as an indication of Roma mobility understood as an attempt to go beyond the space designated for Roma by majority and to encounter that majority on its own ground. This attempt subverts the right of the majority to control the discourse in which Roma are represented. Does Roma art exist? What is its political character? Can art be an efficient tool in the struggle for political agency? These questions, among many others, form the core of reflection of the authors who contributed to this issue.
3

Od cyganerii do sztuki post-romskiej i z powrotem. Mapowanie Czarnej Gory

86%
Szymanski W.
Studia Romologica
|
2016
|
vol. 9
31-44
EN
The paper entitled La Boheme to post-Roma art and back. Mapping of Czarna Gora makes an attempt to define and display Roma contemporary art today. In its first part the history of bohemianism seen as a cultural background for European artistic modernism has been shown. Popular views and unjustified beliefs concerning 19th-century Roma communities were crucial and basic for the beginning of the bohemian, early-modern art and life. The moment of break off between bohemian artists and Roma art is also discusses. Although, the 19th-century Roma communities were a decisive impulse for the emergence of modernist avant-garde movements, their own artistic production was classified as a kind of unprofessional, naïve, folk art and as such attracted ethnographers’ and ethnologists’ interest rather than art historians’ or critiques’ fascination. This state of affairs was accurate until the early 21st century when the first exhibitions of Roma contemporary art came out. According to the author the most important feature of Roma contemporary art is its transnational character. In the second part of the paper two strategies of practicing and introducing Roma contemporary art have been presented: the first one characterized by a very strong transnational but ethnic component and the second one described here as the post-Roma approach. The latter abandons an attempt to define its own ethnicity and, instead, focuses on hybrid, transversal, and precarious beings. Czarna Gora (Rom. Kali Berga, Eng. Black Mountain), a Polish-Roma village where plein-air workshops and artistic residencies for both Roma and not-Roma artists take place is presented as this kind of post-Roma strategy.
4

Uczac sie od romskiego koczowiska

72%
Weychert-Waluszko M.
Studia Romologica
|
2016
|
vol. 9
81-97
EN
Roma from Romania have been setting their camps in Poland since the early 1990s, so for a quarter of a century now. Yet this phenomenon of inhabitation has not been too often subjected to theoretical or conceptual reflection. This essay focuses on the possible reasons of this exclusion: entrenched stereotypes that obscure the socio-economic background of Roma migrations, as well as on the significant difference between the permanent architecture of houses or housing schemes inhabited by Roma versus the temporary architecture of the camps. An analysis of cultural texts indicates a shared interest in this temporary dwellings on the part of the historical Situationists and contemporary Polish and Roma visual artists; the Dutch architect Constant’s utopia of nomadic cities belongs to the former. Today the architecture of Roma camps can be treated not only as a ‘shadow architecture’ excluded from the public discourse, but also as an inspiration and challenge for present-day thinking about housing design: low-cost, time-effective, in tune with ecological and recycling ideas.
5

Od Romani Art do Jaw Dikh…

72%
Mirga-Wojtowicz E.
Studia Romologica
|
2016
|
vol. 9
45-52
XX
The Author begins with taking note of the phenomenon of the first Roma Pavilion at the Venice Biennale (2007) and the preceding exhibition in Budapest: First National Exhibition of Self-taught Roma Artists (1979). These events serve as a background to her essay about the beginning of the Roma artist movement in Poland. The Author writes about Romani Art movement in Poland, initiated in 2007 by Malgorzata Mirga-Tas, which consisted of herself, Bogumila Delimata and Krzysztof Gil, and about the directions taken by the artists in the following years. Author of the article presents one by one artistic activities of Romani Art movement, especially those of Malgorzata Mirga-Tas. It turns out, that the present Roma artist movement in Poland is not only an artistic phenomenon, but a manifestation of the newly born, contextual, modern identity of young Roma elite.
6

Na bister. Zeby pamietac

72%
Gancarz N.
Studia Romologica
|
2016
|
vol. 9
283-292
EN
Article about genocide memory project by Regional Museum in Tarnow Na bister (rom. ‘Do not forget’), which effect is web site (www.na-bister/muzeum.tarnow.pl) with base of Roma victims commemorated sites: monuments, plaques etc. Project was financed by Ministry of Culture.
7

Tajsa czyli skad cyganski mural znalazl sie w Tarnowie

58%
Laczynska-Widz E.
Studia Romologica
|
2016
|
vol. 9
279-282
EN
The Author write about cultural project – quasi-exposition with few events about and with Roma, realized in Tarnow in 2014.
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