The performative representation of the Spanish Roma woman reveals a historical journey that brings her closer to many symbolic elaborations of the feminine, giving her a special affinity with the imaginary concerning the colonized woman, particularly with the Orientalist vision. Developed initially by the travelling intellectuals in Spain who sought a fusion of the topics of sexualized exoticism, the myth was reworked by local artists and thinkers without undermining their power to silence and make invisible the reality of the most vulnerable and most represented members of the ethnic group, their women. Today, a growing awareness of the importance of collective action directs Roma women to initiatives such as the revision of their historical memory, at the intersection between the external gaze and self-perception. These searches lead to the pioneering creation of community museum institutions, which have arisen around feminine Roma associations and are a symptom of an emerging desire to be heard. Based on the terminological tools shared by women and memory studies, this article seeks the personal dimension of this invitation to listen. The authors analyse a series of interviews with Roma women that investigate the social agents of representation, self-representation and their conceptual and experiential foundations.

中文翻译：

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没有手鼓的吉塔纳斯：关于西班牙罗姆妇女的历史表现和个人自我表现的笔记

西班牙罗姆妇女的表演表现揭示了一段历史旅程，使她更接近女性的许多象征性阐述，使她与有关被殖民妇女的想象特别密切，尤其是东方主义的想象。这个神话最初是由在西班牙寻求融合异国情调主题的旅行知识分子开发的，当地艺术家和思想家对这个神话进行了重新设计，同时又没有削弱他们沉默和使最脆弱和最具代表性的种族成员的现实隐形的力量。组，他们的女人。今天，对集体行动重要性的日益认识促使罗姆妇女在外部凝视和自我认知的交叉点上采取一些举措，例如修正她们的历史记忆。这些搜索导致了社区博物馆机构的开创性创建，这些机构围绕女性罗姆人协会出现，是一种新出现的渴望被倾听的症状。基于女性和记忆研究共享的术语工具，本文寻求这种倾听邀请的个人维度。作者分析了对罗姆妇女的一系列访谈，这些访谈调查了表征、自我表征的社会代理及其概念和经验基础。