3,804 matches
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of their parents. On that day, the two brotehrs hâd been walking around Cluj (Imre hâd a several days pass from the labor câmp în Baia Mare) without wearing the yellow star, which saved them from the first wave of deportations. But aș their neighbors, friends and parents hâd been deported, the two brithers could not go back home and hâd to go to Baia Mare, pondering whether to stay în the labor câmp or look for their parents în the ghetto; eventually
„Cred că nu e numai ţelul nostru, e interesul umanităţii.” Supravieţuitori români ai lagărului de concentrare Buchenwald () [Corola-website/Science/295842_a_297171]
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pentru Institutul Național pentru Studierea Holocaustului din România Elie Wiesel, se găsește aici: http://www.inshr-ew.ro/media/interviuri/interviu-matei-gall [:en]By David Schwartz [...] The present text is not a historical research, nor does it aim for an exhaustive approach, but rather attempts to draw some basic directions - primarily on the basis of personal histories of progressive militants - în what concerns the way în which the political regime în interwar and wartime România treated leftist movements: from marginalization to outlawing, from
Persecutarea activistelor și activiștilor de stânga în România înainte de 1945 () [Corola-website/Science/295829_a_297158]
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attempting to draw an equivalence between political persecution and ethnic/racial persecution. The latter is fundamentally different în that the respective persons, unlike those persecuted for political beliefs, did not choose to be a part of that respective ethnicity/ “race”, but were categorized aș such by the oppressor without their consent. But în the case of interwar and especially wartime România, ethnic and political persecutions intertwined and overlapped. After 1924, the year the Romanian Communist Party was outlawed, persecutions against Communist
Persecutarea activistelor și activiștilor de stânga în România înainte de 1945 () [Corola-website/Science/295829_a_297158]
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persecution. The latter is fundamentally different în that the respective persons, unlike those persecuted for political beliefs, did not choose to be a part of that respective ethnicity/ “race”, but were categorized aș such by the oppressor without their consent. But în the case of interwar and especially wartime România, ethnic and political persecutions intertwined and overlapped. After 1924, the year the Romanian Communist Party was outlawed, persecutions against Communist militants intensified. They were usually arrested at random and beaten for
Persecutarea activistelor și activiștilor de stânga în România înainte de 1945 () [Corola-website/Science/295829_a_297158]
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1, nr.2/2009, p. 39-55. [3] Comisia Internațională a Holocaustului din România: Raport final, 2004, p. 236. [:en]By: Isabel Panek, Jelena Steigerwald În the last years, the Romanian authorities have officially recognise Romă aș victims of the Holocaust. But still their suffering and loss is not firmly fixed în the memory culture. Different projects and initiatives exist to support Romă survivors to receive compensation and to give their story a voice, such aș the film “Valley of Sighs” or
„Fie zi, fie noapte, afară tot întuneric era. Asta era Transnistria, unde-am trăit iadul pe pamânt.” Deportarea romilor în Transnistria () [Corola-website/Science/295835_a_297164]
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the Romanian authorities have officially recognised Romă aș victims of the Holocaust, especially after the Internațional Commission on the Holocaust în România published a Final Report în 2004 and substantiated the Romanian responsibility on the crimes against Jews and Romă. But despite this fact, a lot of Romă survivors did not received compensation for their suffering and loss until know. The project “Helping Romă Survivors of Deportations to Transnistria” from the Community Resource Centre Association and its partners tries to identify
„Fie zi, fie noapte, afară tot întuneric era. Asta era Transnistria, unde-am trăit iadul pe pamânt.” Deportarea romilor în Transnistria () [Corola-website/Science/295835_a_297164]
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the work of the project is also a “way to understand more about the Holocaust în a scientific way (...); to give some information to what happened then not using only the dry language provided by the authorities of the perpetrators but also to give the voice of the victims.” Based on the law 189/2000, “victims of the oppressive regimes în România from 6 September 1940 to 6 March 1945, victims on ethnic grounds” are able to apply for reparation such
„Fie zi, fie noapte, afară tot întuneric era. Asta era Transnistria, unde-am trăit iadul pe pamânt.” Deportarea romilor în Transnistria () [Corola-website/Science/295835_a_297164]
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of them do not know about this law, some are old and sick, and some illiterate, others live far away from the cities and archives. The project informs the survivors and offers assistance to get în contact with the archives. But the archive work and the discovery of the documents are facing a lot of problems. În his archive work, Petre Matei found that în 1942 the police didn’ț registered all the deportees but rather just the father’s name
„Fie zi, fie noapte, afară tot întuneric era. Asta era Transnistria, unde-am trăit iadul pe pamânt.” Deportarea romilor în Transnistria () [Corola-website/Science/295835_a_297164]
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get în contact with the archives. But the archive work and the discovery of the documents are facing a lot of problems. În his archive work, Petre Matei found that în 1942 the police didn’ț registered all the deportees but rather just the father’s name and than only the number of family members; at the same time only the mother’s name was mentioned în birth certificates of a lot of Romă survivors. Moreover, some archives lack organized inventories
„Fie zi, fie noapte, afară tot întuneric era. Asta era Transnistria, unde-am trăit iadul pe pamânt.” Deportarea romilor în Transnistria () [Corola-website/Science/295835_a_297164]
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a reason for this could be the lack of interest of the authorities to make such sources accessible. În those cases, the project team tries to help the archives deal with the problems, în order to identify the needed documents. But aș nowadays anti-Roma attitudes are anchored deep în the society, and thus among lawyers and civil servants, the work becomes even more difficult. În the last months Petre Matei and his team interviewed more than 100 survivors, collected pictures and
„Fie zi, fie noapte, afară tot întuneric era. Asta era Transnistria, unde-am trăit iadul pe pamânt.” Deportarea romilor în Transnistria () [Corola-website/Science/295835_a_297164]
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explained who we are the poor woman, who was alone and scared, said: “I am not saying anything, because you might take me back to Transnistria.” Șo în that moment we decided to leave and hâd to let it go. But în other cases people were really keen to tell their story. Were there criteria according to which you choose the interview partner? What did you ask them? The only criterion was to get people of the two different specific communities
„Fie zi, fie noapte, afară tot întuneric era. Asta era Transnistria, unde-am trăit iadul pe pamânt.” Deportarea romilor în Transnistria () [Corola-website/Science/295835_a_297164]
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criterion was to get people of the two different specific communities - the nomads and the sedentary people. The order of Antonescu was that all nomads hâd to be deported and from the sedentary only those who hâd a criminal record. But there were exceptions from that rule. Many were taken, also if they hâd a home and no criminal record, because the local authorities reinforced the order în order to take their Gold, for instance. The film is divided în these
„Fie zi, fie noapte, afară tot întuneric era. Asta era Transnistria, unde-am trăit iadul pe pamânt.” Deportarea romilor în Transnistria () [Corola-website/Science/295835_a_297164]
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to these wonderful interviews? First of all we wanted to give the voice to the survivors - a voice that was not very much shared în films. Our main concept was just to keep the voice, to make an interview film. But then that leaves ouț the context, șo how do you focus on the context? Then we said, we do not have to focus on that șo much because this is not what it is the film about. The film is
„Fie zi, fie noapte, afară tot întuneric era. Asta era Transnistria, unde-am trăit iadul pe pamânt.” Deportarea romilor în Transnistria () [Corola-website/Science/295835_a_297164]
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the beginning of the film. We said the historical context hâș been discussed în other films about the Holocaust which deal with the same issue. And we do not want to do that again, although it is necessary to know, but let’s leave this part a bit ambiguous and let’s just use the specific military orders. And that is how the second layer came up: we emphasised the historical context via this cold military voices and tried to interconnect
„Fie zi, fie noapte, afară tot întuneric era. Asta era Transnistria, unde-am trăit iadul pe pamânt.” Deportarea romilor în Transnistria () [Corola-website/Science/295835_a_297164]
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memories of the people you heard - I think it was a good counterpoint în the whole discourse. Some of the people find these images beautiful. Some are - some are not that beautiful, you have like this broken and burned houses. But still it makes a nice image. It creates this uncomfortable feeling of dealing with a nice image and the bad stories. But there is another thing to it. For me it was very important when we decided to do this
„Fie zi, fie noapte, afară tot întuneric era. Asta era Transnistria, unde-am trăit iadul pe pamânt.” Deportarea romilor în Transnistria () [Corola-website/Science/295835_a_297164]
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these images beautiful. Some are - some are not that beautiful, you have like this broken and burned houses. But still it makes a nice image. It creates this uncomfortable feeling of dealing with a nice image and the bad stories. But there is another thing to it. For me it was very important when we decided to do this. We kind of wanted to go explicitly to those places where these people were killed and buried back then and în our
„Fie zi, fie noapte, afară tot întuneric era. Asta era Transnistria, unde-am trăit iadul pe pamânt.” Deportarea romilor în Transnistria () [Corola-website/Science/295835_a_297164]
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anything from it and now everything is beautiful again. We were playing with this absence of the present and the presence of the absence. The image refers back to a moment of time, when you hâd the present person standing but that was back then, șo this is why I think this poetics of the image of the present and the absence going both ways is really relevant. În the film you cannot actually see the evil, you cannot see somebody
„Fie zi, fie noapte, afară tot întuneric era. Asta era Transnistria, unde-am trăit iadul pe pamânt.” Deportarea romilor în Transnistria () [Corola-website/Science/295835_a_297164]
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is guilty and it is kind of uncomfortable în the end to have nobody to blame. Did you intend this impression? Yes we intended it to be like that. You know the voices of the guilty ones you cannot hear, but you see the orders, that specific part of these military reports that coordinated the whole tragedy. You can see the military thinking behind it. Șo we are not trying to say that Antonescu [alone] was guilty - we were trying to
„Fie zi, fie noapte, afară tot întuneric era. Asta era Transnistria, unde-am trăit iadul pe pamânt.” Deportarea romilor în Transnistria () [Corola-website/Science/295835_a_297164]
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see the military thinking behind it. Șo we are not trying to say that Antonescu [alone] was guilty - we were trying to say that everybody was guilty and everybody knew about it. No one did anything to prevent these actions. But, at the end the message we were trying to transmit through the film is a humanist message. We were not trying to stress about who is the guilty one and who is the victim. But how these people hâd solidarity
„Fie zi, fie noapte, afară tot întuneric era. Asta era Transnistria, unde-am trăit iadul pe pamânt.” Deportarea romilor în Transnistria () [Corola-website/Science/295835_a_297164]
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anything to prevent these actions. But, at the end the message we were trying to transmit through the film is a humanist message. We were not trying to stress about who is the guilty one and who is the victim. But how these people hâd solidarity with each other during WW ÎI and then afterwards. At the end of the film we showed a commemoration at a monument made by the local community în Krasnenkoe, Ukraine. And one main reason why
„Fie zi, fie noapte, afară tot întuneric era. Asta era Transnistria, unde-am trăit iadul pe pamânt.” Deportarea romilor în Transnistria () [Corola-website/Science/295835_a_297164]
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made by the local community în Krasnenkoe, Ukraine. And one main reason why we choose to end the film like this is that it becomes an example for the Romanians. We were în the position of doing all this crimes but we do not have any monuments about the Romă Holocaust- only one together with the Jewish Holocaust memorial [în Bucharest]. We need more memorials, let’s puț monuments în some villages for instances, let’s puț places of memory în
„Fie zi, fie noapte, afară tot întuneric era. Asta era Transnistria, unde-am trăit iadul pe pamânt.” Deportarea romilor în Transnistria () [Corola-website/Science/295835_a_297164]
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new film at the moment. What is this film about? The new project is called ,”85 grams” it is a film directed by Ion Gnatiuc and produced by me and Triba Film. It is a continuation of Valley of Sighs but this time a film about what happens today with the survivors of the Romă Holocaust. It will be a film about the whole process of compensations. Petre Matei, our historical scientific advisor for the Valley of Sighs is working on
„Fie zi, fie noapte, afară tot întuneric era. Asta era Transnistria, unde-am trăit iadul pe pamânt.” Deportarea romilor în Transnistria () [Corola-website/Science/295835_a_297164]
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just referring to the big event în 2007, when president Băsescu actually honoured all the victims of the Holocaust and admitted the Romanian Holocaust în the Romanian Parliament, șo this is the highest part of this discourse you can get. But the fact is that the gap between official statements and the reality started at that point. Basically we will be exploring at one point the gap between this specific event and how all of this works - with the pensions and
„Fie zi, fie noapte, afară tot întuneric era. Asta era Transnistria, unde-am trăit iadul pe pamânt.” Deportarea romilor în Transnistria () [Corola-website/Science/295835_a_297164]
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me when and how did you come to Ploiești? I did my nursing studies în Ploiești between 1972 and 1974, coming from Râmnicu Sărat, Buzău County. I was assigned by the state to work în the city after nursing school, but Ploiești hâd been declared a closed city. However, that year the government issued an ordinance which said that those who have been assigned to work în a certain city could become citizens of that city of they contracted housing thorough
„[C.E.C.] nu aveau voie să-mi rețină mai mult de o treime din salariu, pentru că atunci se considera că trebuie să mai și trăiesc din banii ăia” () [Corola-website/Science/296006_a_297335]
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of they contracted housing thorough OCLPP... The Department for the Construction of Private Homes, set up în 1966... Yes, that’s right. Șo you contracted the place according to some plâns, and then you waited. They weren’ț ready immediately, but depending on what you chose, what you really wanted. You could choose a one-bedroom flat, a two-bedroom, a three-bedroom or more. Depending on the size and the area - because the suburbs were being extended at the time, towards the north
„[C.E.C.] nu aveau voie să-mi rețină mai mult de o treime din salariu, pentru că atunci se considera că trebuie să mai și trăiesc din banii ăia” () [Corola-website/Science/296006_a_297335]