Deconstructing
\nCarmen<\/h1><\/div><\/div><\/div>Decolonial Perspectives on the Image of the Spanish Romanies<\/h1><\/div>24, 25 and 26 May 2023<\/p>\n<\/div>
Centro Cultural La Corrala-Museo de Artes y Tradiciones Populares, Universidad Aut\u00f3noma de Madrid, c\/ Carlos Arniches, 3, 5, 28005, Madrid.<\/p>\n<\/div>
Conference programme<\/span><\/a><\/div><\/div><\/div>Videos of the conference<\/span><\/a><\/div><\/div><\/div>![\"Silueta](\"https:\/\/docroma.org\/wp-content\/uploads\/2023\/06\/Proud-Roma-rojo.jpg\" "\\"Proud")
<\/span><\/div>Image: Proud Roma (Pablo Vega, ERIAC<\/a>, 2021)<\/p>\n<\/div><\/div><\/div><\/div><\/div>Call for proposals<\/h2><\/div>The representation of the Roma has been essential in the construction of Spanish identity. Contrary to what happens with other minorities, where invisibilisation prevails, the Spanish Roma have been victims of a proliferation of images so powerful that they are usually accepted as representative of an entire people. proliferation of images so powerful that they are usually accepted as representative of an entire people. The weight of these stereotypes, spread since the publication of Cervantes’ La gitanilla<\/em>, has been such that Charnon-Deutsch (2004) has called it a ‘European obsession’. Images have fluctuated between exotic caricatures and the most damaging generalisations about the Roma and their culture. And yet, despite their supposed “otherness”, the representation of the Roma has shaped the image of Spain by portraying it as an orientalised country.<\/p>\n<\/div>In recent decades, the access of Roma to filmmaking and the production of their own creations from a place of situated knowledge makes it an urgent task to examine the modes of representation and self-representation chosen. This is especially demanded in a context where, on the one hand, the socio-economic progress of the Roma has stagnated, while on the other hand the Roma have achieved certain, specific historical demands \u2013 such as the acceptance of anti-Gypsyism as a hate crime, and the teaching of Roma history in compulsory education. In addition, the European Union has promoted transnational initiatives such as the Decade of Roma Inclusion (2005-2015) and institutions such as ERIAC, supported by the Council of Europe and the Open Society Foundations, have combatted prejudice through culture and the media.<\/p>\n<\/div><\/div><\/div><\/div><\/div>
Themes<\/h2><\/div>This conference aims to stimulate reflection centred on the dramatic arts and media (fiction and documentary films, television, and online formats), from a decolonial perspective, addressing the following:<\/p>\n<\/div>
- <\/i><\/span>Decolonising\/\u2019Romanising\u2019 the theory and historiography of media and dramatic arts.<\/div><\/li>
- <\/i><\/span>Roma self-representation.<\/div><\/li>
- <\/i><\/span>Expanded notions of Roma authorship and creativity.<\/div><\/li>
- <\/i><\/span>Feminism, LGBTI+ discourses, class, and other modes of intersectionality.<\/div><\/li>
- <\/i><\/span>Racial politics of casting.<\/div><\/li>
- <\/i><\/span>Museums and archives. The work of Roma in the protection of their cultural heritage.<\/div><\/li>
- <\/i><\/span>Roma activism in networks.<\/div><\/li>
- <\/i><\/span>Visibilisation of the Roma in the national curriculum.<\/div><\/li>
- <\/i><\/span>Comparative studies of the representation of the Cal\u00f3s, with the Sinti-Manouches, the Roms and the Doms (or any other denominations).<\/div><\/li>
- <\/i><\/span>Cultural appropriation\/expropriation (Buhigas) of Roma images and iconographies.<\/div><\/li><\/ul><\/div><\/div><\/div><\/div>
Submission of papers
\nand deadline<\/p><\/h2><\/div>
Please send your proposal in Spanish, English, or Romani language<\/strong><\/h3><\/div>by email to docroma2227@gmail.com<\/strong> by 15 February 2023 with the subject: ‘Proposal for the DocRoma Congress’<\/p>\n<\/div>and include the following: an editable text document with your name; institutional affiliation (if any); email; title; abstract (maximum 250 words) and keywords (maximum 5); bibliography (optional); and biography (maximum 150 words).<\/p>\n<\/div>
Send now<\/span><\/a><\/div><\/div><\/div><\/div><\/div>Organised by<\/h2><\/div><\/div><\/div>DocRoma.<\/strong> The Image of the Roma in Documentary Film. With the support of the Convocatoria Atracci\u00f3n de Talento de la Comunidad Aut\u00f3noma de Madrid ref: 2020-T1\/HUM-20231<\/strong><\/p>\n<\/div>Organising Committee<\/h4><\/div>\n- Lidia Mer\u00e1s (Autonomous University of Madrid, PI)<\/span><\/li>\n
- Rafael Buhigas Jim\u00e9nez (Autonomous University of Madrid \/ Complutense University of Madrid, Network Coordinator)<\/span><\/li>\n<\/ul>\n<\/div><\/div><\/div>
Advisory Board<\/h4><\/div>\n- Petre Breazu (Loughborough University London)<\/span><\/li>\n
- Sebijan Fejzula (Coimbra University) <\/span><\/li>\n
- Patricia Galletti (IDAES, Argentina) <\/span><\/li>\n
- Fernando Mac\u00edas Aranda (University of Barcelona)<\/span><\/li>\n
- Margareta Matache (Harvard University) <\/span><\/li>\n
- Tamara Moya Jorge (Carlos III University, Madrid)<\/span><\/li>\n
- Idoia Murga Castro (CSIC, Spain) <\/span><\/li>\n
- Iv\u00e1n Peri\u00e1\u00f1ez Bola\u00f1o (University of Sevilla) <\/span><\/li>\n
- Mariana Sabino-Salazar (University of Texas at Austin) <\/span><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>
Decolonial Perspectives on the Image of the Spanish Romanies<\/h1><\/div>24, 25 and 26 May 2023<\/p>\n<\/div>
Centro Cultural La Corrala-Museo de Artes y Tradiciones Populares, Universidad Aut\u00f3noma de Madrid, c\/ Carlos Arniches, 3, 5, 28005, Madrid.<\/p>\n<\/div>
Conference programme<\/span><\/a><\/div><\/div><\/div>Videos of the conference<\/span><\/a><\/div><\/div><\/div><\/span><\/div>Image: Proud Roma (Pablo Vega, ERIAC<\/a>, 2021)<\/p>\n<\/div><\/div><\/div><\/div><\/div>Call for proposals<\/h2><\/div>The representation of the Roma has been essential in the construction of Spanish identity. Contrary to what happens with other minorities, where invisibilisation prevails, the Spanish Roma have been victims of a proliferation of images so powerful that they are usually accepted as representative of an entire people. proliferation of images so powerful that they are usually accepted as representative of an entire people. The weight of these stereotypes, spread since the publication of Cervantes’ La gitanilla<\/em>, has been such that Charnon-Deutsch (2004) has called it a ‘European obsession’. Images have fluctuated between exotic caricatures and the most damaging generalisations about the Roma and their culture. And yet, despite their supposed “otherness”, the representation of the Roma has shaped the image of Spain by portraying it as an orientalised country.<\/p>\n<\/div>In recent decades, the access of Roma to filmmaking and the production of their own creations from a place of situated knowledge makes it an urgent task to examine the modes of representation and self-representation chosen. This is especially demanded in a context where, on the one hand, the socio-economic progress of the Roma has stagnated, while on the other hand the Roma have achieved certain, specific historical demands \u2013 such as the acceptance of anti-Gypsyism as a hate crime, and the teaching of Roma history in compulsory education. In addition, the European Union has promoted transnational initiatives such as the Decade of Roma Inclusion (2005-2015) and institutions such as ERIAC, supported by the Council of Europe and the Open Society Foundations, have combatted prejudice through culture and the media.<\/p>\n<\/div><\/div><\/div><\/div><\/div>
Themes<\/h2><\/div>This conference aims to stimulate reflection centred on the dramatic arts and media (fiction and documentary films, television, and online formats), from a decolonial perspective, addressing the following:<\/p>\n<\/div>
- <\/i><\/span>Decolonising\/\u2019Romanising\u2019 the theory and historiography of media and dramatic arts.<\/div><\/li>
- <\/i><\/span>Roma self-representation.<\/div><\/li>
- <\/i><\/span>Expanded notions of Roma authorship and creativity.<\/div><\/li>
- <\/i><\/span>Feminism, LGBTI+ discourses, class, and other modes of intersectionality.<\/div><\/li>
- <\/i><\/span>Racial politics of casting.<\/div><\/li>
- <\/i><\/span>Museums and archives. The work of Roma in the protection of their cultural heritage.<\/div><\/li>
- <\/i><\/span>Roma activism in networks.<\/div><\/li>
- <\/i><\/span>Visibilisation of the Roma in the national curriculum.<\/div><\/li>
- <\/i><\/span>Comparative studies of the representation of the Cal\u00f3s, with the Sinti-Manouches, the Roms and the Doms (or any other denominations).<\/div><\/li>
- <\/i><\/span>Cultural appropriation\/expropriation (Buhigas) of Roma images and iconographies.<\/div><\/li><\/ul><\/div><\/div><\/div><\/div>
Submission of papers
\nand deadline<\/p><\/h2><\/div>
Please send your proposal in Spanish, English, or Romani language<\/strong><\/h3><\/div>by email to docroma2227@gmail.com<\/strong> by 15 February 2023 with the subject: ‘Proposal for the DocRoma Congress’<\/p>\n<\/div>and include the following: an editable text document with your name; institutional affiliation (if any); email; title; abstract (maximum 250 words) and keywords (maximum 5); bibliography (optional); and biography (maximum 150 words).<\/p>\n<\/div>
Send now<\/span><\/a><\/div><\/div><\/div><\/div><\/div>Organised by<\/h2><\/div><\/div><\/div>DocRoma.<\/strong> The Image of the Roma in Documentary Film. With the support of the Convocatoria Atracci\u00f3n de Talento de la Comunidad Aut\u00f3noma de Madrid ref: 2020-T1\/HUM-20231<\/strong><\/p>\n<\/div>Organising Committee<\/h4><\/div>\n- Lidia Mer\u00e1s (Autonomous University of Madrid, PI)<\/span><\/li>\n
- Rafael Buhigas Jim\u00e9nez (Autonomous University of Madrid \/ Complutense University of Madrid, Network Coordinator)<\/span><\/li>\n<\/ul>\n<\/div><\/div><\/div>
Advisory Board<\/h4><\/div>\n- Petre Breazu (Loughborough University London)<\/span><\/li>\n
- Sebijan Fejzula (Coimbra University) <\/span><\/li>\n
- Patricia Galletti (IDAES, Argentina) <\/span><\/li>\n
- Fernando Mac\u00edas Aranda (University of Barcelona)<\/span><\/li>\n
- Margareta Matache (Harvard University) <\/span><\/li>\n
- Tamara Moya Jorge (Carlos III University, Madrid)<\/span><\/li>\n
- Idoia Murga Castro (CSIC, Spain) <\/span><\/li>\n
- Iv\u00e1n Peri\u00e1\u00f1ez Bola\u00f1o (University of Sevilla) <\/span><\/li>\n
- Mariana Sabino-Salazar (University of Texas at Austin) <\/span><\/li>\n<\/ul>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>
24, 25 and 26 May 2023<\/p>\n<\/div>
Centro Cultural La Corrala-Museo de Artes y Tradiciones Populares, Universidad Aut\u00f3noma de Madrid, c\/ Carlos Arniches, 3, 5, 28005, Madrid.<\/p>\n<\/div>
<\/span><\/div>Image: Proud Roma (Pablo Vega, ERIAC<\/a>, 2021)<\/p>\n<\/div><\/div><\/div><\/div><\/div> The representation of the Roma has been essential in the construction of Spanish identity. Contrary to what happens with other minorities, where invisibilisation prevails, the Spanish Roma have been victims of a proliferation of images so powerful that they are usually accepted as representative of an entire people. proliferation of images so powerful that they are usually accepted as representative of an entire people. The weight of these stereotypes, spread since the publication of Cervantes’ La gitanilla<\/em>, has been such that Charnon-Deutsch (2004) has called it a ‘European obsession’. Images have fluctuated between exotic caricatures and the most damaging generalisations about the Roma and their culture. And yet, despite their supposed “otherness”, the representation of the Roma has shaped the image of Spain by portraying it as an orientalised country.<\/p>\n<\/div> In recent decades, the access of Roma to filmmaking and the production of their own creations from a place of situated knowledge makes it an urgent task to examine the modes of representation and self-representation chosen. This is especially demanded in a context where, on the one hand, the socio-economic progress of the Roma has stagnated, while on the other hand the Roma have achieved certain, specific historical demands \u2013 such as the acceptance of anti-Gypsyism as a hate crime, and the teaching of Roma history in compulsory education. In addition, the European Union has promoted transnational initiatives such as the Decade of Roma Inclusion (2005-2015) and institutions such as ERIAC, supported by the Council of Europe and the Open Society Foundations, have combatted prejudice through culture and the media.<\/p>\n<\/div><\/div><\/div><\/div><\/div> This conference aims to stimulate reflection centred on the dramatic arts and media (fiction and documentary films, television, and online formats), from a decolonial perspective, addressing the following:<\/p>\n<\/div> Submission of papers by email to docroma2227@gmail.com<\/strong> by 15 February 2023 with the subject: ‘Proposal for the DocRoma Congress’<\/p>\n<\/div> and include the following: an editable text document with your name; institutional affiliation (if any); email; title; abstract (maximum 250 words) and keywords (maximum 5); bibliography (optional); and biography (maximum 150 words).<\/p>\n<\/div> DocRoma.<\/strong> The Image of the Roma in Documentary Film. With the support of the Convocatoria Atracci\u00f3n de Talento de la Comunidad Aut\u00f3noma de Madrid ref: 2020-T1\/HUM-20231<\/strong><\/p>\n<\/div>Call for proposals<\/h2><\/div>
Themes<\/h2><\/div>
\nand deadline<\/p><\/h2><\/div>Please send your proposal in Spanish, English, or Romani language<\/strong><\/h3><\/div>
Organised by<\/h2><\/div><\/div><\/div>
Organising Committee<\/h4><\/div>
\n
Advisory Board<\/h4><\/div>
\n
![](\"https:\/\/docroma.org\/wp-content\/uploads\/2023\/01\/uam-logo.jpg\"){kind=logo}
<\/a><\/span><\/div><\/div><\/div>![](\"https:\/\/docroma.org\/wp-content\/uploads\/2023\/01\/logo-devisiones.jpg\"){kind=logo}
<\/a><\/span><\/div><\/div><\/div>![](\"https:\/\/docroma.org\/wp-content\/uploads\/2023\/03\/LOGO-BYN-SIN-FONDO_ALTA.png\" "\\"LOGO"){kind=logo}
<\/span><\/div><\/div><\/div>![](\"https:\/\/docroma.org\/wp-content\/uploads\/2023\/01\/talento.png\" "\\"talento\\"")
<\/span><\/div><\/div><\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"100-width.php","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-3219","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/docroma.org\/en\/wp-json\/wp\/v2\/pages\/3219","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/docroma.org\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/docroma.org\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/docroma.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/docroma.org\/en\/wp-json\/wp\/v2\/comments?post=3219"}],"version-history":[{"count":35,"href":"https:\/\/docroma.org\/en\/wp-json\/wp\/v2\/pages\/3219\/revisions"}],"predecessor-version":[{"id":3530,"href":"https:\/\/docroma.org\/en\/wp-json\/wp\/v2\/pages\/3219\/revisions\/3530"}],"wp:attachment":[{"href":"https:\/\/docroma.org\/en\/wp-json\/wp\/v2\/media?parent=3219"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}