Viele Kämpfe Und Vielleicht Einige Siege
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DOCTORAL (PHD) DISSERTATION by ANNA LUJZA SZÁSZ 2015
DOCTORAL (PHD) DISSERTATION by ANNA LUJZA SZÁSZ 2015 EMANCIPÁLT EMLÉKEZET KÉPES TÖRTÉNETEK A MAGYARORSZÁGI ROMA HOLOKAUSZT EMLÉKEZETRŐL írta SZÁSZ ANNA LUJZA KONZULENS: habil Dr. KOVÁCS ÉVA CSc EÖTVÖS LÓRÁND TUDOMÁNY EGYETEM, BUDAPEST TÁRSADALOMTUDOMÁNYI KAR SZOCIOLÓGIA TANSZÉK INTERDISZCIPLINÁRIS TÁRSADALOMKUTATÁSOK DOKTORI PROGRAM 2015 MEMORY EMANCIPATED EXPLORING THE MEMORY OF THE NAZI GENOCIDE OF ROMA IN HUNGARY by ANNA LUJZA SZÁSZ TUTOR: habil Dr. ÉVA KOVÁCS CSc EÖTVÖS LÓRÁND UNIVERSITY BUDAPEST FACULTY OF SOCIAL SCIENCES DEPARTMENT OF SOCIOLOGY INTERDISCIPLINARY SOCIAL STUDIES PROGRAM 2015 Acknowledgements As the submission of my dissertation was approaching I started getting emotional about it. It was the realization that this text is not only about the exploration of the memory of the Nazi genocide of Roma but it is also a context which made me possible to meet great people, to gain incredibly meaningful experience and knowledge academically, socially and personally, and to learn to be aware of the position from where I am speaking. It was a little bit more than four years of my life, and this project was developed, nurtured and completed together with many people whom I am thankful to and whom I shall keep in my memories. This research would have never begun if I had not met Júlia Szalai at a course titled “Sociological Approaches to Race and Ethnicity: The Roma in Post-communist Central Europe” at the Central European University in 2008. A year later I had the chance to be her research assistant in an FP7 research project on ethnic differences in education. I was in that privileged position that Júlia paved my way for many years and I immersed myself in the realm of her knowledge and enjoyed every bits and pieces of the work we did together. -
Manelele Ca Underground Pop. O Radiografie a Scenei Bucureștene
Primăria Municipiului București MANELELE CA UNDERGROUND POP. O RADIOGRAFIE A SCENEI BUCUREȘTENE ANAliză de ADRIAN SCHIOP Realizată la comanda ARCUB, în cadrul procesului de elaborare a Strategiei Culturale a Municipiului București (2015) Realizat sub coordonarea MANELELE CA UNDERGROUND POP. O RADIOGRAFIE A SCENEI BUCUREȘTENE În ciuda denigrării constante de care au avut parte în România, manelele au intrat de curând într-o eră a profesionalizării (industria are canale tv, case de producții proprii și localuri specializate) și în sfera cool-ului, fiind valorificate de evenimentele clasei creative bucureștene. Industria se autosusține economic și este racordată la evoluția scenelor europene de etnopop, de la care primește și trimite influențe, iar artiștii români din domeniu colaborează cu alții de pe scene similare din Balcani. Cu toate astea, genul muzical este în continuare ghetoizat și suferă de o percepție negativă din partea publicului și a autorităților, în ciuda avantajelor pe care le promit manelele: savoare locală pentru turiștii occidentali în căutare de exotic, promovarea unor valori comunitare (familie, onoare), capaci- tatea de a reda realități sociale și de a combate rasismul și elitismul societății. Pentru a le scutura de stigmă și a le permite să îndeplinească aceste misiuni, autoritățile publice pot face eforturi de reabilitare a manelelor ca gen muzical, prin care să modifice percepția elitistă cum că ele ar reprezenta muzica proștilor și să sporească self-esteem-ul publicului lor marginal, precum și să înlăture din aspectele negative asociate genului (calitatea uneori slabă a producțiilor, materialismul exacerbat al domeniului, conexiunea artiștilor cu lumea interlopă etc.). DEFINIREA MANELELOR ȘI ÎNCADRAREA LOR CA GEN MUZICAL n primul rând, trebuie spus că manelele, pop/dance, acest lucru se datorează unor factori ca gen muzical, au o structură de ianus sociologici din afară (rasism structural, elitism, bifrons. -
Genre, Ethnoracial Alterity, and the Genesis of Jazz Manouche
Genre, Ethnoracial Alterity, and the Genesis of jazz manouche SIV B. LIE It’s French jazz. Why suggest that it’s jazz manouche? Django obviously started it, the whole movement, on account of him being a superstar, being a Gypsy, and then afterwards the Gyp- sies copied him, and it evolved into that. It’s a category that doesn’t correspond to reality. People should say “Django style.” For me, jazz manouche doesn’t exist, in fact. It’s a fiction. [Jazz manouche] must exist because everyone talks about it.1 n the above quotations, speakers address the ontology of “jazz ma- nouche,” a genre originally grounded in the recordings of guitarist Django Reinhardt (1910–53) and invented several decades after his I 2 death. They represent only a fraction of the musings on the subject that I recorded while interviewing musicians and others involved in the jazz ma- nouche scene in France. Centered on the reproduction of Reinhardt’s musical style, the genre is commonly associated with the Manouche subgroup of I am deeply grateful to Patrick Andresz, Alain Antonietto, Stella Funaro, Gérard Gerber, Engé Helmstetter, Michel Lefort, Gigi Loeffler, Marcel Loeffler, Mandino Reinhardt, and numerous others in France for sharing their stories and lives with me. I would like to thank Michael Beckerman, J. Martin Daughtry, Maureen Mahon, Will Robin, David Samuels, Davin- dar Singh, and especially Benjamin Givan for their thoughtful comments on earlier versions of this article. I would also like to thank the anonymous reviewers of this Journal for the helpful feedback they have provided. -
Roma As Alien Music and Identity of the Roma in Romania
Roma as Alien Music and Identity of the Roma in Romania A thesis submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy 2018 Roderick Charles Lawford DECLARATION This work has not been submitted in substance for any other degree or award at this or any other university or place of learning, nor is being submitted concurrently in candidature for any degree or other award. Signed ………………………………………… Date ………………………… STATEMENT 1 This thesis is being submitted in partial fulfilment of the requirements for the degree of PhD. Signed ………………………………………… Date ………………………… STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated, and the thesis has not been edited by a third party beyond what is permitted by Cardiff University’s Policy on the Use of Third Party Editors by Research Degree Students. Other sources are acknowledged by explicit references. The views expressed are my own. Signed ………………………………………… Date ………………………… STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available online in the University’s Open Access repository and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed ………………………………………… Date ………………………… ii To Sue Lawford and In Memory of Marion Ethel Lawford (1924-1977) and Charles Alfred Lawford (1925-2010) iii Table of Contents List of Figures vi List of Plates vii List of Tables ix Conventions x Acknowledgements xii Abstract xiii Introduction 1 Chapter 1 - Theory and Method -
ART3-3 Andresz P.132-143 Maquette
La musique des Manouches1 Sinti Alsaciens, Le tournant des années 1970 -1980 { Patrick Andresz * Au début des années 1970, la musique interprétée par les Sinti Alsaciens va connaître de profondes mutations. La composition des orchestres, leur répertoire, le public concerné... tout est bouleversé. Fondateur* de Que s’est-il passé ? Quels sont les acteurs de ces évolutions musicales ? l’orchestre Sweet Chorus. Quelles sont les conséquences pour la communauté manouche alsacienne ? Quelle est cette communauté alsacienne ? Comment s’est-elle constituée ? Jusqu’à la fin du XVIIIe siècle les mentions concernant les Tsiganes en 1 Ceux que la Alsace-Moselle sont épisodiques, géographiquement disparates et sans langue française continuité chronologique. appelle Tsiganes ou Manouches En 1790, le prince allemand de Hesse-Darmstadt qui entretenait une n'utilisent pas importante garnison à Pirmasens, au nord de l’Alsace, constituée ces termes. En Alsace-Moselle, partiellement de soldats mercenaires d’origine manouche, décède. ils préfèrent Désormais sans travail, les Sinti migrent vers le sud et s’installent dans les dire en villages et bourgs alsaciens des Vosges du Nord (Reipertswiller, romanès : « Sinto » Wingen...). Puis ils se dirigent à l’ouest, vers Forbach (Moselle) et plus au (masculin sud, vers Strasbourg. L’origine « allemande » des Manouches alsaciens- singulier) et « Sinti » mosellans est souvent mentionnée par leur mémoire collective. C’est (masculin l’État-civil (création de la Révolution) qui permet de suivre ces pluriel). mouvements de population. Certains abandonnent l’Alsace-Moselle et s’installent en « vieille France ». À titre d’anecdote : après la défaite française de 1870, la famille maternelle de Django Reinhardt quitte Strasbourg (Charles Delaunay : Django, mon frère, p. -
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@oaumt&r'q #£2 q'erspecthe poCitice Bogalie Tnalti $i incredere scizuti in universul semantic al manelelor Abstract. This research explores the message o$.,manete", a contemporaytype ofethno-pop music that is strongly contested by intetiectua{ elites, arguing that maneie's semantic universe reproduces representations af the practices af localisation o$a capitalism tacking Protestant ethic, in which the logic o$economic exchange is depicted through the metaphor of the "imecher"(one who is crazy, curlning, or siy) who defeats his enemy. tn addition. the celebration of wealth and the onstentatious consumerism are accompanied by the !ack of trust in others. inducingjeetings ofinsecurity and causing the individual to return to hisfamity. Keywords: Manele, distrust. pop, ";mecherie" (slyness) Obiectul $i metodologia cercetdrii Cercetarea de fate se bazeazi pe corelarea maimultor metode. Astfel, in descifrarea mesajului din manele, a fast folositi analiza de discurs tip codare directs, corelati cu interviuri semi-structura- te, realizate cu fad ai genului gi cu figure din interiorul industries Piesele supuse analizei au fost selectate corelind maimulte cri- teria. In primul rand, frecvenla cu care au fast difuzate pe Taraf TV, un post tv specializat pe manele, Tn care piesele sunt difuzate la comanda spectatorilor - trimitand un SMS suprataxat (3,5 - 4 euro) ei pot asculta piesa favorite in direct. Un criteria secundar fast alegerea pieselor Adrian Schiop care trec proba timpului gi continua si fie drd. SNSPA difuzate la o jumatate de an / un an de la ([email protected]) aparitie. In al treilea rand, un criteriu a fest gi numirul de vizualiziri pe site-ul www. -
Strasbourg, 2 April 2004 MIN-LANG/PR (2004) 1 Second
Strasbourg, 2 April 2004 MIN-LANG/PR (2004) 1 EUROPEAN CHARTER FOR REGIONAL OR MINORITY LANGUAGES Second Periodical Report presented to the Secretary General of the Council of Europe in accordance with Article 15 of the Charter GERMANY SECOND REPORT submitted by the FEDERAL REPUBLIC OF GERMANY under Article 15, paragraph 1, of the EUROPEAN CHARTER FOR REGIONAL OR MINORITY LANGUAGES 2003 SECOND REPORT submitted by the FEDERAL REPUBLIC OF GERMANY under Article 15, paragraph 1, of the EUROPEAN CHARTER FOR REGIONAL OR MINORITY LANGUAGES 2003 2nd State Report Germany: European Charter for Regional or Minority Languages Table of Contents Nos. Part A General Situation and General Framework 1 - 104 Part B Recommendations of the Committee of Ministers 105 - 117 Part C Protection of Regional or Minority Languages under 118 - 207 Part II (Article 7) of the Charter Part D Implementation of the obligations undertaken with 208 - 1385 regard to the various languages D.2.1 Danish Danish in the Danish speech area in Schleswig- 252 - 357 Holstein Art. 8 252 - 278 Art. 9 279 - 282 Art. 10 283 - 302 Art. 11 303 - 337 Art. 12 338 - 347 Art. 13 348 - 353 Art. 14 354 - 357 D.2.2 Sorbian Sorbian (Upper Sorbian and Lower Sorbian 358 - 514 (Wendish)) in the Sorbian speech area in the Länder of Brandenburg and Saxony Art. 8 358 - 424 Art. 9 425 - 432 Art. 10 433 - 457 Art. 11 458 - 482 Art. 12 483 - 505 Art. 13 506 - 514 D.2.3 North North Frisian in the North Frisian speech area in 515 - 625 Frisian Schleswig-Holstein Art. -
Wolfgang Lackerschmid
KULTURTERMINE NACHRICHTEN, TERMINE UND POSITIONEN für Augsburg Stadt/Land und Wittelsbacher Land 01.04. – 30.04. FEUILLETON FÜR AUGSBURG STADT/LAND UND WITTELSBACHER LAND #04 | APRIL 2019 monatlich/gratis - RWendejahreund 400 Fotografien veröffentlichte Daniel Biskup in seinem neuen Bildband »Wende jahre. Ostdeutschland 1990–1995« beim Verlag Salz und Silber. Dasehr dazuSchaezlerpalais auf S. 7 zeigt ab dem 14. April eine Auswahl dieser einzigartigen Werke. M Anzeige: JAMMEN WIE DJANGOORT MIT BEGABUNG 10 FRAGEN ZU BRECHT Das Internationale Django Reinhardt Das Gelände des ehemaligen Gaswerks Trägt Augsburg als Geburtsort den Festival im Parktheater steigt heuer wird zu einem einzigartigen Standort Titel Brechtstadt per se oder sollte vom 14. bis 16. Juni. Drei Tage voller der Kultur- und Kreativwirtschaft, der man diese Ehre nicht immer wieder Gipsy-Jazz erwarten das Publikum. Kunst- und Kulturszene entwickelt. aufs Neue erwerben müssen? Sonderveröffentlichung I Sonderveröffentlichung II Seite 3 www.a3kultur.de POLITIK & GESELLSCHAFT 1. bis 30. April 2019 02 Über 300.000 Die Chance ist die Vielfalt Besucher*innen Der Städtetourismus boomt. Seine wirtschaftliche Bedeutung liegt vor dem Maschinenbau und Einzelhandel. Die Kultur spielt dabei die tragende Rolle. Kunstsammlungen und Museen Augsburg ziehen Bilanz Ein Interview von Jürgen Kannler Rund 304.000 Gäste konnten die Kunstsamm- a3kultur: Herr Beck, welche Bedeu- Trend. Das sind die Leucht- lungen und Museen Augsburg 2018 in ihren acht tung hat der Tourismus für unsere türme, die man für den Häusern begrüßen. In der Gunst des Publikums Region? Tourismus braucht. Vor Ort steht das Schaezlerpalais mit 152.632 Götz Beck: Die Chance der ist allerdings die mikrokul- Besucher*innen an erster Stelle, gefolgt von: Maxi- Stadt und der Region ist die turelle Atmosphäre aus- milianmuseum (95.049), Römisches Museum im Vielfalt. -
Kunst Tut Not: Roma in Europa Art As a Rescue
4 N° Genshagener Noten Kunst tut Not: Roma in Europa Art as a Rescue: Roma in Europe Eine Akademie unter Bäumen An Academy under Trees 11. bis 13. September 2014 September 11 to 13, 2014 Kunst und Kulturvermittlung in Europa Die »Genshagener Noten« sind eine Publikationsreihe des Bereichs »Kunst- und Kulturvermittlung in Europa«. Sie widmen sich aktuellen gesellschaftsrelevanten Themen aus der Sicht der Kunst und Kultur. Der Schwerpunkt liegt hierbei auf der deutsch-französisch-polnischen Zusammenarbeit im europäischen Kontext. Das flexible Format dieser Reihe erlaubt es, in prägnanter Form Ergebnisse aus unseren Projekten darzustellen wie auch einzelne ausgewählte Personen zu Wort kommen zu lassen. Ziel dieser Reihe ist es, unsere Arbeit einer breiteren Öffent- lichkeit zugänglich zu machen. Die Genshagener Noten erscheinen mehrmals im Jahr, sind online erhältlich und liegen auch in gedruckter Form vor. Inhalt D Vorwort von Christel Hartmann-Fritsch 4 Geleitwort von Romeo Franz 7 Ein zentrales europäisches Thema 10 Noémie Kaufman Zur Repräsentation von Roma in der europäischen Kunst 14 Prof. Dr. Klaus-Michael Bogdal Stimmen und Zitate 24 Die Hintergründe der »Roma-Frage« in Frankreich und Europa 26 Dr. Olivier Peyroux Stimmen und Zitate 34 Die Rolle von Roma-Kultur im politischen Kampf für Inklusion 38 Ágnes Daróczi Roma, eine politische Konstruktion? 48 Ein Gespräch über Identität und kulturelle Differenz Inseln des Gelingens 55 Kulturinstitutionen und künstlerische Projekte in Europa Typisch »Zigeuner«? Mythos und Wirklichkeiten 70 -
Hundert Jahre Musik Der Reinhardts – Daweli Erzählt Sein Leben
Hundert Jahre Musik der Reinhardts – Daweli erzählt sein Leben I. Das bin ich Heute bin ich fast 71 Jahre alt und habe in all den Jahren viel erlebt. Wenn ich so zurückblicke, dann waren es eigentlich drei Dinge, die für mich wichtig, zum Teil überlebenswichtig waren: meine Familie, meine Musik und meine Art, auf Menschen zuzugehen und mich nicht unterkriegen zu lassen. Davon will ich erzählen. II. Meine Familie Ich stamme aus einer Musiker-Familie. Fast alle Verwandten von mir haben oder hatten irgendetwas mit Musik zu tun. Dabei reicht meine Erinnerung exakt nur bis zu meinen Eltern zurück. Mein Vater Karl – er ist im Jahre 1900 geboren, also vor ziemlich genau einhundert Jahren – war ein Alleskönner. Er spielte Akkordeon, Geige, „singende Säge“ und war außerdem ein großer Sänger. Besonders bewundert habe ich ihn, wenn er auf der Mundharmonika musizierte. Dabei spielte er nicht eine sondern mehrere und das gleichzeitig. Er hatte einen Riemen um seinen Nacken und vor sich ein Gestell mit mehreren Mundharmonikas. Diese konnte er drehen und dann gleichzeitig mehrere bedienen. Auch konnte er die Pikkolo spielen, also eine ganz besonders kleine Mundharmonika. Er war so vielseitig, dass er ganz allein auf der Bühne die verschiedensten Instrumente gespielt hat. Mein Vater hatte mehrere Geschwister. Ich erinnere mich noch an die Brüder Deus, Herz, Bizzo, Launi und an dessen Zwillingsschwester Launza. Deus, der älteste Bruder, spielte Gitarre und Bizzo, der zweitjüngste, war ein guter Geiger und Sänger. Nicht unerwähnt lassen möchte ich schon wegen der weiteren Geschichte, dass diese beiden Brüder meines Vaters Soldaten im Ersten Weltkrieg waren; mein Onkel Deus wurde sogar schwer verwundet und kam noch während des Krieges nach Hause zurück. -
“Django's Tiger”: from Jazz to Jazz Manouche
“Django’s Tiger”: From Jazz to Jazz Manouche Benjamin Givan Not long ago, I saw an online amateur video of the French guitarists Adrien Moignard (b. 1985) and Sébastien Giniaux (b. 1981), who are two of the leading players of the genre known as “jazz manouche” (or “gypsy jazz”) (Moignard and Giniaux 2010). They had been filmed in 2010 at the French village of Samois–sur–Seine during its annual Festival Django Reinhardt. Seated outdoors at sunset, closely encircled by throngs of festival–goers, the two musicians were performing a composition called “Django’s Tiger” by the festival’s dedicatee, the guitarist Django Reinhardt (1910–53). Midway through a breakneck virtuosic solo, Moignard insistently reiterated several high B–naturals, halfway down his guitar’s neck, before launching decisively into a four–bar phrase, high up the fretboard. A more tentative, indistinct arpeggiation followed. And then, for a fleeting instant, he stopped playing, his left hand slack against the instrument. After scrambling through an- other rapid arpeggiation, his left fingers only grazing the strings, Moignard fully reconnected physically with his guitar and confidently concluded the chorus. I laughed. It seemed to me that this was not merely the sort of everyday stumble that adventuresome, risk–taking improvisers inevitably make from time to time. Moignard was paraphrasing a melodic passage that Reinhardt had improvised on a recording years ago, but it did not work out as deftly as it had for Django. Its harmonic context was different, for reasons that were far from trivial. In fact, it occurred to me that this near–imperceptible musical disruption encapsulated an epistemological contradiction within an entire musical genre inspired by a single musician. -
Șmecherie Și Lume Rea Adrian Schiop S-A Născut La 7 Ianuarie 1973 (Porumbacu De Jos, Județul Sibiu)
Șmecherie și lume rea Adrian SCHIOP s-a născut la 7 ianuarie 1973 (Porumbacu de Jos, județul Sibiu). A absolvit Facultatea de Psihologie și Știinţe ale Educaţiei a Universităţii „Babeș-Bolyai” din Cluj-Napoca. Urmează, apoi, un mas- ter în lingvistică integrală la Facultatea de Litere a aceleiași Universităţi. A lucrat ca profesor de limba și literatura română (1997-2001, Cluj-Na- poca), zugrav (2002, Auckland, Noua Zeelandă), jurnalist (2004-2010, Evenimentul Zilei, Prezent, România Liberă). Și-a susținut doctoratul în manele la SNSPA, avându-l în calitate de conducător de teză pe Vintilă Mihăilescu. A debutat în revista Fracturi (2001) și a publicat romanele: pe bune/ pe invers (Polirom, 2004) și Zero grade Kelvin (Polirom, 2009), Soldații. Poveste din Ferentari (Polirom, 2013. Premiul revistei Observator cultu- ral, 2014, și Premiul „Cea mai bună carte a anului”, secțiunea Beletristică, acordat în cadrul Galei Industriei de Carte din România, 2014). În 2017, în regia Ivanei Mladenović, a apărut ecranizarea romanului Soldații. Adrian SCHIOP Șmecherie și lume rea Universul social al manelelor antropologic CARTIER Editura Cartier, SRL, str. Bucureşti, nr. 68, Chişinău, MD2012. Tel./fax: 022 20 34 91, tel.: 022 24 01 95. E-mail: [email protected] Editura Codex 2000, SRL, Strada Toamnei, nr. 24, sectorul 2, Bucureşti. Tel/fax: 210 80 51. E-mail: [email protected] Cărţile Cartier pot fi procurate online pe shop.cartier.md și în toate librăriile bune din România și Republica Moldova. Cartier eBooks pot fi procurate pe iBooks, Barnes & Noble și cartier.md LIBRĂRIILE CARTIER Librăria din Centru, bd. Ştefan cel Mare, nr.