The screenplay seems to be based on Papusza’s own account of her life - the events before the early 1950s in particular.īorn around 1910 in Lublin, she was declared to be fated to bring either pride or shame to her family. The idea of someone calling her songs “poetry” seemed outlandish to her. He translated what Papusza viewed as her “songs” into Polish. In addition to Papusza, Jerzy Ficowski, a student on the run from Communist repression - who, for a time, shared the couple’s life of traveling in the late 1940s - is in focus. The film offers interpretations of several phenomena: the fate of the Roma community in Poland from the interwar period to the 1970s the personal fate of the renowned Romani poet “Papusza”2 (Bronisława Wajs) and the poet’s relationship with her husband, Dionizy Wajs. Papusza was first screened in autumn 2013. The Roma people have entered the spheres of media, education, and popular culture on an unprecedented scale.1 The film Papusza can be seen as a result of these processes. This has partly been a result of normal assimilation processes, but there has also been a shrinking distance between Roma and non-Roma, as well as a growing mobilization and sense of agency within Roma society. In recent decades, new relations between the majority population and Roma have been developing in Poland.
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