Staging Strife: Lessons from Performing Ethnography with Polish Roma Women by Magdalena Kazubowski-Houston (review)
Notice bibliographique
Résumé
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. …
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