The Experts below are selected from a list of 27 Experts worldwide ranked by ideXlab platform
Vlastimir Sudar - One of the best experts on this subject based on the ideXlab platform.
-
Re-establishment of social classes through lifestyle and taste under socialism: The case of Aleksandar Petrović’s film 'I Even Met Happy Gypsies'
2014Co-Authors: Vlastimir SudarAbstract:Aleksandar Petrovic’s seminal film 'I Even Met Happy Gypsies' has been widely revered as the first film ever spoken in the Romany Language of the Roma community – a community scattered across Europe and better known as Gypsies. Made in 1967, the film portrayed authentic characters and locations and is praised in most film histories and encyclopaedias for its almost ethnographic veracity of detail. The film is hence known as one of the key documents of genuine Roma culture, especially their fashion and music. In this paper, I shall explore Petrovic’s portrayal of the Roma community not just as a picturesque and exotic ethnic group, but as a social class in itself. As the film was made in what was then Socialist Yugoslavia, I intend to examine how Petrovic explored Yugoslavia’s ostensibly classless society. Built on communist ideology, Yugoslavia’s socialism did its best to eradicate – if not iron out – social classes through the concept of ‘self-management’. This system was initially developed by Milovan Djilas, who later published the key dissident work, New Class, in 1957. In this book, he confronted his former revolutionary comrades for betraying the values of the revolution, through their adoption of petty-bourgeois values. While not himself, exactly a political dissident, in his film – as I will argue – Petrovic sharply exposed the ossification of the social classes in Yugoslavia, particularly through its most obvious signifiers – lifestyle and fashion.
Fragiskos Kalabasis - One of the best experts on this subject based on the ideXlab platform.
-
Language and Culture in Mathematics Education: Reflections on Observing a Romany Class in a Greek School
Educational Studies in Mathematics, 2007Co-Authors: Charoula Stathopoulou, Fragiskos KalabasisAbstract:This communication discusses an aspect of Language and culture that informs the identity of a group of Romany students as they learn mathematics. Observations were made by the authors in a multicultural community in Athens. We explore how Romany Language roles and features significantly affect the teaching and learning of mathematics. As examples, the use of Language to create belonging, and the centrality of oral traditions are considered. The wider context of this Language feature is situated in, and cannot be separated from, other cultural features such as the everyday economic reality of Romany culture.
Charoula Stathopoulou - One of the best experts on this subject based on the ideXlab platform.
-
Language and Culture in Mathematics Education: Reflections on Observing a Romany Class in a Greek School
Educational Studies in Mathematics, 2007Co-Authors: Charoula Stathopoulou, Fragiskos KalabasisAbstract:This communication discusses an aspect of Language and culture that informs the identity of a group of Romany students as they learn mathematics. Observations were made by the authors in a multicultural community in Athens. We explore how Romany Language roles and features significantly affect the teaching and learning of mathematics. As examples, the use of Language to create belonging, and the centrality of oral traditions are considered. The wider context of this Language feature is situated in, and cannot be separated from, other cultural features such as the everyday economic reality of Romany culture.
Stewart - One of the best experts on this subject based on the ideXlab platform.
-
Un Peuple sans Patrie (A people without a nation)
1990Co-Authors: StewartAbstract:The Roma of Europe are not a diaspora population. Despite living dispersed amongst other peoples and despite having a historical connection, via the Romany Language, to Indian ancestry the Roma themselves do not 'ancestralise' their identity and live quite happily without recourse to the notion of nation or homeland. This article explores various affordances of Romany social life that allow for strong cultural transmission in the absence of many of the institutional and ideological conditions that social theory tends to take for granted as basic to modern cultural transmissionl
Carol Silverman - One of the best experts on this subject based on the ideXlab platform.
-
Staging Strife: Lessons from Performing Ethnography with Polish Roma Women by Magdalena Kazubowski-Houston (review)
Journal of American Folklore, 2016Co-Authors: Carol SilvermanAbstract:Staging Strife: Lessons from Performing Ethnography with Polish Roma Women. by magdalena kazubowski-houston. (montreal: mcGill-Queen's university Press, 2010. Pp. 264, 6 black-and-white photographs, appendices, and maps.)Staging Strife is a rich ethnographic exploration of the successes and failures of a collaborative ethnographic theater project undertaken by a canadian anthropologist with Polish roma women. The book deftly analyzes the multiple positionalities of the participants, including the author, the romani women, and the nonromani Polish actors. All of these interactions are placed in a broader framework of political and economic crisis in post-socialist Poland and pervasive discrimination against roma in all areas of life. reading this book, one can learn a great deal about Polish roma, about the power and problems of theater as a tool of social change, and about the challenges of collaborative anthropology.The ethnographic performance takes place in elblag, a midsized industrial town in northern Poland; the town is plagued by unemployment, but poverty disproportionally affects roma, who are almost all unemployed. The interviews with roma women about hierarchy and historical stereotyping are particularly revealing of their daily humiliations, family dynamics, educational challenges, and health problems; their meager incomes derive from fortune-telling and occasional market sales. Despite poverty and the structural violence they face, these roma women are extremely adaptable and resourceful. Although kazubowskihouston does not speak the Romany Language (the first and daily Language of her informants), she did get to know the women very well; her insights into gender relations and family conflicts are particularly valuable. The romani women provide detailed life histories chronicling non-romani prejudice plus a pointed self-critique of their own romani culture, including early marriage, male privilege, and domestic violence. This critique exists side by side with pride in some romani traditions and rituals such as music, dance, and cleanliness rules.The romani women's evaluation of their own culture as well as their constant exposure to the hostility of non-roma both played a major role in how they wanted to shape the theater piece at the center of the author's project. because of their vulnerabilities, roma were constantly afraid of negative consequences of the performance, and they never totally trusted the actors. roma advocated for a realistic staging of a tragic female life history with a melodramatic plot line, similar to a soap opera aesthetic. They insisted on including traditional folklore, as well as dance and ritual. the Polish actors (whom kazubowski-houston engaged), on the other hand, looked down on realism and melodramatic conventions, despised the soap opera aesthetic, and advocated for a more abstract avant-garde aesthetic that was foreign to the romani women. …
