Selimović and Ronen, Roma Armee, 2017

Categorized as 300 or 400-level course, Gender & Sexuality, Lesson Plan, Migration Studies, Queer Literature, Race & Ethnicity, Women Creators, Yael Ronen

Frame and Preparation

Roma Armee (2017, Gorki Theater, Selimović, Ronen, & ensemble)

Conceptual Frames and Background

  • Romani, Jewish and Turkish-German identities & culture
  • Queer identities
  • Feminism
  • Community Formation & Kinship
  • Transculturality

Introduction

Throughout the course of their history, which has been marked by persecution and oppression, the Roma have never had their own army nor demanded their own country. The dream of “Romanistan,” an imaginary place of equal coexistence and a political vision without territorial claims (as articulated by RomaTrial.org), is brought to life through the performance of/performed formation of the Roma Army. Developed by sisters Simonida and Sandra Selimović and produced by Israeli director Yael Ronen, Roma Armee was performed in 2017 at Berlin’s Gorki Theater as an artistic-political task force, as a means of joyful self-empowerment, as a group to tell one’s own story. Supranational, diverse, feminist, and queer, the members of this army have distinct nationalities, clan affiliations and even belong to other marginalized groups (such as the Turkish-German or Jewish communities). This diverse cast explores personal experiences, historical events and current incidents of oppression through song, dance, rap and monologue/dialogue, transforming these narratives into a dazzling, breathtakingly energetic show.

(Trigger warning: The performance includes scenes and descriptions of violence, simulations of gunshots and depictions of self-injury).

Other performances to discuss in tandem with Roma Armee include:

  • Verrücktes Blut (2010, Gorki Theater, Erpulat & Hillje)
  • Schwarze Jungfrauen (2013, Gorki Theater, Zaimoğlu & Senkel)
  • Romacen – Age of the Witch (2019, Howlround, Drăgan & Turnheim)
  • Krieg der Hörnchen (2021, Ballhaus Naunynstraße, Dede Ayivi)

Preparation

Provide biographical information about Yael Ronen, the director, and describe the cast and actors that perform Roma Armee. Discussion of the diversity and terminology of Romani communities in Europe, along with a brief presentation of the long history of oppression, marginalization and exploitation of the “G*psy” trope in popular culture is essential background. An overview of Greek tragedy may help contextualize/provide vocabulary for discussing Roma Armee’s departure from traditional structural and formal qualities. Alternatively, one could discuss the history of state-funded vs. independent (Freie Szene) theaters. 

Text and Discussion

Homework Questions (students should answer the following questions while watching the performance at home):

  1. Answer this question before watching: What do you expect to see given this performance’s title of Roma Armee?
  2. How does the performance make you feel? Were you uncomfortable? Entertained? Apprehensive? Bored? Invested?
  3. Why do you think this performance is titled “Roma Armee?” Does it align with what you expected before watching the performance?

Discuss Questions for Class:

  1. What are the formal and structural elements of Roma Armee: does the performance conform to or resist key characteristics of Greek tragedy/theater?
  2. Look more closely at the actors’ respective introductions: What parts of their identities do they emphasize and why?
  3. Do the costumes reflect or seem to contrast with aspects of selfhood asserted by the actors?
    • Particular scenes to watch in response to this question can be found in Lindy’s opening sequence (0:00-2:36), the actors’ introductions (3:43-10:40) and Simonida’s monologue (25:51).
  4. What does community formation look like in a post-colonial and increasingly transnational world?
  5. How does Roma Armee challenge national and boundary-dependent understandings of belonging or community?
  6. How is the identity of “Roma” being presented by this cast of actors? What does it mean to be “Roma”?
  7. What do you observe in the stage design? What effect does it have on Roma Armee’s political and social commentary?
  8. One scene depicts the actors dressed in military attire (58:11-64:12). Sandra gives a passionate speech about Roma rising up to claim their rights and privileges, but the actors turn on one another, shooting each other in turn. Based on your positionality (as Roma or non-Roma), what do you think this scene conveys about the diversity of Roma and inter-Roma relations? [The following is a dialogue excerpted just before this scene.]
    • Sandra: And for the white gadje, who want to stand with us now, joining our revolution in solidarity, we say, “It’s too late now.” [The Jewish and Turkish-German actors step forward, brandishing their weapons in a symbol of solidarity. Both are shot by the Roma actors and crumple to the ground.]
    • Lindy interjects: Sorry guys, I think –
    • [Roma actors turn and point their guns at Lindy, who perches atop Damian Le Bas’ stage design/artwork.]
    • Sandra: Total domination of the white, northern-European, heterosexual man, we say.
    • Lindy: I’m a gay Romani Traveller.
    • Sandra: Romani Traveller are not even Roma.
    • Simonida: Roma are not gay. 
    • Mihaela: You are very white! [shots ring out].
    • Riah: So it is about skin color now! [the remaining Roma actors turn to Riah and shoot her as well].
    • Simonida: She calls herself Gypsy, I don’t like it.
    • Hamze: What the fuck is going on? [the remaining Roma actors shoot Hamze].
    • Simonida: And you, Romanians, who make us look bad [shoots Mihaela] (58:11).
  9. There are numerous intertextual references in the performance: Lindy’s singing/re-enactment of Zarah Leander’s Von der Puszta will ich träumen; extensive discussion of menstruation with parallels to Schwarze Jungfrauen and Vagina Monologues; elements of drag performance (cross-dressing, dramatic make-up, performance of dance and song). What significance may these intertextual references have in the context of creating a “Roma Army”?
    • This question can be guided towards other scholarly work, performances or texts that emphasize solidarity between marginalized populations (such as queer communities, groups advocating for intersectional feminism, racial minorities, individuals with (dis)abilities, among others) as a means of advocating for political activism and change.
  10. Each student/groups should choose a scene to “close-read.” Have them discuss lighting, music, costumes, text, gestus and other performance aspects. Does it use humor, address serious topics, etc.? How does this scene fit into/contribute to the main issues raised in Roma Armee?

Developed by Natasza Gawlick, Ph. D. Candidate, Carolina-Duke Graduate Program in German Studies