Gender, ethnicity, and education in lăutar (Romani musician) families in Romania: Personal and professional strategies for twenty-first-century life choices

Geografia dezvoltării. Abordări centrate pe om

“…Trebuie precizat și că majoritatea textelor au fost scrise de autori români (Ghebrea, 2006;Popescu, 2012;Samoilă, 2018), însă au existat și colaborări cu autori străini (Del Baldo, Tiron-Tudor, Faragalla, 2018;Dumbrăveanu et al, 2016;Vanc, White, 2011;) sau chiar texte scrise exclusiv de autori străini (Beissinger, 2018;Dobrotić, Stropnik, 2020;Weiner, 2009). Au fost identificate și câteva texte unde România era doar unul din teritoriile analizate (Garcia-Ramirez et al, 2020;Manea, 2013;Krizsan, Roggeband 2018), dar au fost incluse datorită importanței lor pentru studiul genului în contextul național comparativ cu cel internațional.…”

Untitled

“…Lăutari were originally slaves in the Romanian Principalities: along with other Roma who migrated north, they were systematically subjugated by the state, church, and nobility starting in the late fourteenth century (Achim 1998). As male musicians, lăutari were settled house slaves (ţigani de vatră) who performed for upper-class Romanians and formed a select rank among the enslaved (Beissinger 1991). Following the full abolition of slavery in 1864, lăutari continued to pursue musicmaking for public consumption, a niche that still exists today.…”

“…Playing instruments is a gendered activity reserved for men, while singing can be pursued by both male and female family members; some lăutar wives sing with their husbands' ensembles. "Lăutar" as a term incorporates ethnicity, gender, and vocation (Beissinger 2001). Strictly speaking, lăutari are Romani men who make music as their occupation.…”

“Lăutar Space”: Marriage, Weddings, and Identity among Romani Musicians in Romania

“…Lăutari were originally slaves in the Romanian Principalities: along with other Roma who migrated north, they were systematically subjugated by the state, church, and nobility starting in the late fourteenth century (Achim 1998). As male musicians, lăutari were settled house slaves (ţigani de vatră) who performed for upper-class Romanians and formed a select rank among the enslaved (Beissinger 1991). Following the full abolition of slavery in 1864, lăutari continued to pursue musicmaking for public consumption, a niche that still exists today.…”

“…Playing instruments is a gendered activity reserved 98 for men, while singing can be pursued by both male and female family members; some lăutar wives sing with their husbands' ensembles. "Lăutar" as a term incorporates ethnicity, gender, and vocation (Beissinger 2001). Strictly speaking, lăutari are Romani men who make music as their occupation.…”