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Steampunk Gypsy

Steampunk Gypsies: The many names of the Rromani People

If you’ve been following this blog for a while now you’ll know that the word Gypsy (especially with a lower case g ) is a highly offensive word to most Rromani people. What you might not know is why it is so upsetting. You might also want to know the correct term to use instead and a google search might well leave you even more baffled on that score! So, hopefully this post will be a good resource for this subject and of course if you have any questions (or if you’re fed up with me banging on about all this) feel free to leave your comments  in the … er… comments section 🙂

In order to understand this subject clearly, you first need to understand a bit about our language and history…

The Rromani People are a displaced diaspora of India. Back around  the time of the crusades, Rajput military units were formed to protect different regions of India from invading Muslim armies. As these soldiers and their families and attendants all spoke different dialects /  languages, a military language had to be formed which all could understand. This language formed the basis of what is now the spoken and written language of Rromani people worldwide.

When we refer to the way we speak might say ‘Romanes.’ But that is not the name of our language. The word Rom (s) / Roma (pl) means ‘a person / us / the people / (one of) the group / the family / ‘ so to speak Romanes means to speak ‘in the way of the group / the family / the people / us / to speak in our way … it is not the name of a language and, strictly speaking therefore, ‘Rom / Roma’ is not the name of our people.. it just means ‘(one of) the people.’ (It can also mean husband but not in this context – like the word ‘man’ can mean ‘a man’ or ‘people in general.’)

So, if you refer to Rromani people as The Roma or a Rromani person as ‘A Rom’  (which a lot of people do) you are saying ‘The People’ / ‘The Group’ / ‘The Family’ or ‘One of the people / the group / the family’.  That is absolutely fine, many Rromani people speak in that way, most don’t mind it even if they don’t use it themselves. It’s certainly a polite, respectful way to speak to or about Rromani people.

Getting back to the Rajputs again, two groups were defeated by the Muslim armies and forced to leave their lands. Some were captured by Turkish armies and forced to join as slaves, those who escaped into Eastern Europe were immediately captured and enslaved for hundreds of years, those who fled west were unable to find a place to settle but continued travelling through Greece and eventually into the rest of Europe, using their military skills, skills in metal work and horse trading (as well as trades they learnt along the way such as entertaining, dancing and fortune telling – more about that in another post I think? ) to make money.

Obviously during this time The Group was forced to split many times. As each new splinter group moved through different countries, new words were added to the military language they all spoke – thus each clan now speaks a slightly different version of that first ‘Language of The Group.’ They also began to refer to themselves by different names, names that for the most part described their skills and trades  much in the same way as surnames do the world over.

I belong to the Petulengros (Smiths) who are of the English clan known as Romanichals (which literally means ‘Rromani Chaps’ ) and the Kalderash (The cauldron makers /  copper-smiths who turned their pots on fat posts hammered into the ground). Often a Rromani family have kept their clan name (or a version of it). Sometimes though they have had to change it in order to hide the fact they are a Rromani person and so allow them to avoid persecution and live an integrated, peaceful life with the rest of society.

So, some Rromani people don’t like to be called Rom or The Roma – you can understand that now right? They don’t want to be called ‘One of the group’ or ‘The People’ … they want to be called by their clan / family name (Like you might say ‘I’m a Jones’ or ‘I’m a McGill’) they prefer to identify as something related to who their family is and what they do / did.

If you think at this point that Rromani people seem incredibly fussy and it is all terribly difficult to know what to call them please look at it this way…

You might call yourself ‘English’ or ‘American’ defining yourself by your location.

If you do so / have ever done so, please take a moment to consider that it is a privilege to be able to claim a geographical location as an aspect of your identity. It implies that you are an accepted member of that place, you belong there, it is a part of you, it’s your home.

Rromani people do not have that privilege, have not been permitted to join another nation and call it home, they have been refugees for hundreds of years and so they must find different ways of defining themselves. (And, I feel, this is food for thought for all of us when we consider the long term impact of our treatment of refugees and immigrants today.)

(It has been suggested that Rromani people reclaim their Indian connection and that is ‘all well and good’ but as many of us now have fair skin and hair and look anything but Indian, that idea seems a little laughable really! So we continue to be ‘The Family’ / ‘That Group that left India together’ because no other nation has welcomed us and we cannot now go back.)  

There are so many Rromani clans in the world today (Wikipedia has a quite dreadful map showing a very few in simple blocks which can only act as a rough guide) many, as I say, call themselves Rom / Roma and some prefer their specific clan name.

 

So, there you have it – When referring to a Rromani person or people you can say…

Rom – One of the people

Roma – The People

Romany (/ Romani / Rromani / Rhomani ) person – A person who is of the group (spelling is dependant on dialect)

Romany (/Romani / Rromani/ Rhomani) people – The people who belong to the group

Or you can use the specific name of the clan the person / people belong to eg: Sinti, Kalderash, Kale, Romanichal etc…

My advice is to just be clear about what word / spelling you are using, what it means and why you are using it.

 

“But why not gypsy?” I hear you say … well, again we need to look at history and language…

 

The word is a shortening of ‘Egyptian’. When Rromani people first fled into Europe their dark skin and hair caused people to mistake them for Turkish invaders and later either for Egyptians or people from Little Egypt (sources are unclear as to which). They were nick named ‘gyptians’ which soon became ‘gypsies.’ Obviously a homeless refugee population are powerless to dictate what they ‘should be called’.

The word gypsy became so far removed from the word Egyptian that, rather than describing the mistaken place of origin of a group of people, it instead took on its own bizarre set of definitions. Various leaders including Vlad The Impaler, Henry The Eighth and Hitler, all used the word gypsy to justify the de-humanisation and murder of thousands of Rromani people. Rromani people were burnt with the ‘gypsy brand’ on their skin which marked them as belonging to animal rather than to human kind and having no right to existence. They were then tortured, sterilised or simply murdered.

At least 250,000 Rromani people were murdered during the Holocaust alone, at least 85% of Germany’s Rromani population were branded ‘gypsies’ and exterminated because they were seen as sub-human.

During the industrial revolution, the notion of ‘being a gypsy’ was seen as a desirable alternative to the horrors of factory and inner city life. The dehumanisation of ‘gypsies’ at this time took a different turn as they were seen as wild, free, close to nature or at one with it, romantic, mysterious, magical, desirable, roguish, care free… writers, poets and artists failed to see the poverty and persecution suffered by a people who were not nomadic or ‘free’ , but shackled to a seasonal circuit of a few safe ‘atching tan’ (‘stopping places’) where seasonal farm work could be found, not allowed to own property, speak their own language or step foot inside shops. The Gypsy Law Society epitomised the attitude when they declared membership of their elite ‘research group’ required that the gentleman must first ‘bed a gypsy.’

You can, I hope, see why nobody would want this label. Why it is distasteful, sickening and upsetting for a Rromani person to be called a gypsy. Is it any different with a capital G? I don’t think so.

 

So, as writers and readers and steampunk enthusiasts who write and read and cosplay in an era where Rromani people were very visible and were habitually branded ‘gypsies’ how can we include the experiences of Rromani people of that time period without perpetuating the ongoing prejudice?

It might seem like a challenge but it’s really a no-brainer – look at other oppressed groups of the colonial period. How should they be referred to / treated / spoken about in historical or punk fiction? You might for example have a racist or ignorant English character refer to an African character using the N word, but you wouldn’t use the N word in the main text of the narrative to refer to that African person would you? You also wouldn’t call them ‘The N….’ , you would use their name. Just consider the G word, exactly the same as the N word. Because, to Rromani people , it is the same.

( Some Rromani people do use the word Gypsy – either because they are trying to re-claim and re-shape it as a form of empowerment or because the word Rromani is so often met with confusion from non-Rromani people. Many cultures take words that have historically been used against them and turn them into a form of personal power – that, surely, is their prerogative. )

If we couple the respectful use of language to talk about Rromani people, with an accurate portrayal of their history and culture, hopefully we can move the image of Rromani people away from the fantastical / de-humanised ‘gypsy’ and back into reality.

 

I really hope this info has been helpful – I’m by no means a linguistic scholar or historian though so if you think that I’ve made a mistake anywhere do please forgive me and feel free to discuss it, we are all learning together afterall 🙂 And of course if you have any questions or want me to cover any more topics on this subject let me know,

Big blessings, Penny 🙂

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


Steampunk Gypsies: Rromani Character Creation – Papusza

Greetings! Here, as promised, is another careful look at how to respectfully draw on aspects of Rromani culture and history in order to construct a Steampunk character. Again, I’ve used the word Gypsy in the title here because many people mistake the word Rromani for Romanian but most Rromani people find the term Gypsy offensive so it really is better not to use it. As several people have asked me for more details about this I will do another post soon explaining in detail where the various spellings of Rromani come from, which to use, the history of the word ‘Gypsy’ and why it is offensive.

But for now, let’s look at our next character…

Papusza

Papusza means ‘dolly’ in the Rromani way of speaking and was the nick name given to real life Rromani poet Bronislawa Wajs by her mother. She was called ‘dolly’ because of her beauty but the word is a double edged sword – a ‘dolly’ is a pretty, powerless play thing, manipulated as suits the one who plays with it and then dropped when that player becomes distracted or bored.

 

Bronislawa’s poems about the difficulties faced by Rromani people on the road were used against the Rromani community by various government regimes as an excuse for the execution, sterilisation or forced settlement of Rromani people (not into decent housing and mainstream society, which most would have desired) but onto filthy containment camp sites where their strict religious codes of cleanliness and ritual (Rromanipen) could not be observed. The problems of illness, poverty, persecution and social segregation which Papusza wrote about were obviously not solved by this move and the Rromani community blamed her for the trouble she had caused them by trusting her words to the hands of non-Rromani people.

A lot of lies can be found about her on the internet – for example, that she was cast out by her people for being a poet, that women are not allowed to be poets in Rromani society, she was not allowed to read and write because Rromani people believe these things are evil, that she agreed with the forced settlement regime and that the Rromani family she travelled with were lawless nomads.

A film has been made about her life but I haven’t seen it personally and so I’m not sure how authentic and accurate it may be…

 

The sad truth is that most of her work is now out of print, recordings are like gold dust  and versions that do exist have sometimes been altered slightly / interpreted differently “Dikchaw daj, dikchaw doj…” I look here, I look there, I cannot find my Papusza…

 

So I found myself wanting to pay tribute to her in my own small way, by basing a steampunk character around her real life self. But I know I’m on very dangerous ground here – what I absolutely don’t want to do is add to the false mythology that has grown up around her and now prevents people with a genuine interest from discovering the whole truth. I must remain respectful to the truth and evidence of who she was, as well as to her family and clan, her friends and everyone who may be affected  by my actions in characterising her.

So, instead of trying to take Bronislawa (as little as I can ever know of her) and plonk her clumsily into my steampunk world, I’m going to build an entirely new character who suffers the same problem of being exploited because she happens to have a particular talent.

And I’m going to call her Dolly Cauldari…

Dolly’s Story:

Dorothy Cauldari (Dolly) is a Sho’vani character. The Sho’vani are a technologically advanced, displaced diaspora of the Jentacular Landmass. Their rebellion against Wiz and his evil army of Wizards went horribly wrong when the automaton army they had created rebelled against them and the twelve tribes, led by twelve princesses, fled across the sea to the scattered Isles Of Ire where they have been outrageously persecuted ever since.

(Colonialism is an important and troubling part of our world history but so is the historical and current treatment of refugees and immigrants and I wanted to reflect this part of Rromani history in the history of the Sho’vani.)

As the Jentacular Isle is believed by most to be purely mythical (Collin and Max can personally vouch for the fact that it is not!) the government has decreed that the Sho’vani must have come from Bohemia. They first arrived in Ire during the reign of Henry The Eighth and the mechanical wonders they brought with them caused them to be instantly branded as witches (an offence in Ire that is still punishable by death.)

It wasn’t until Elizabeth The First  came to the throne that this persecution eased up a little and a deal was struck – if the Sho’vani would abandon their nomadic lifestyle (ie – hiding in woods and running from the witch hunters) and share their technological knowledge with the queen’s wizards they would be allowed to live peacefully in squalid little hovels just like any other peasant. Many agreed and became known as Tinkers, others did not.

When Ann became queen she tried to strike another deal with the travelling clans – if they would agree to transport the queen’s tea safely from her plantations to the elite county of Devon in their mechanised vans and prevent it falling into the hands of land pirates, all accusations of witchcraft would be dropped.

Dorothy Cauldari’s  family were among the many Sho’vani clans who ‘agreed’ to this arrangement and so by the time Dolly was born, they had been transporting the queen’s tea from the plantations of Crumbria to the elite closed county of Devon for many generations. They moved from one government designated or safe known stopping place to the next, using their skills in technology to make life on the road that bit easier and their skills with spoon-playing and spoon-duelling to entertain themselves and break the monotony of the constant circular journeying. It was not the idyllic, nomadic lifestyle that poets like Christina Biscotti like to fantasise about, but neither was it as bad as the lives of the plantation workers, treacle miners or inner city factory workers.

Unfortunately, when Dorothy was about ten years old, the ideological militant sect know as The Pre-Cognitive Sisterhood (A group of women who violently enforce their beliefs that the world would be better off if The Cog had never been invented) attacked their convoy one night, destroyed the vans, burned the tea and murdered almost the entire clan.

Dorothy managed to escape and eventually made her way on foot to Lancaster where she soon made a home for herself, along with hundreds of other street urchins, high up amongst the new Skyway Rail system that criss-crosses the entire city, carrying the wealthy elite in safety away from the stench and commotion of the over-crowded and poverty-stricken streets below.

Here she quickly earned respect and notoriety in the illegal spoon-duelling rings that are run out of the basements of the many Tiffin Dens and Flop Houses that pepper the overcrowded docklands on the banks of the river Lune.

The urchins who live amongst the Skyway Rails are vulnerable to many predators. After her first few nights of clinging to the enormous metal girders, trying to wrap her skirts and shawl in such a way that would reduce the risk of falling should the wind blow too hard or her fingers become too frozen to grip on, Dorothy received a visitor. A kind and sympathetic woman who brought with her bottles of sweet, fizzy, sugar laden Lemonade.

Night after night the woman came, bring these little bottles of sweet, sweet hope, until Dorothy and the other orphans found their days melting into grey insignificance as they waited for their next sugar-fix.

Then one day when the woman came she was very sad, her money had run out and she couldn’t bring this free Lemonade any more. But she had a good idea! If the orphans could each sell two bottles of this illegal beverage and bring her the money, she could then buy them one bottle each. It seemed fair enough at the start. But the amount of bottles she expected them to sell in return for one bottle for themselves kept rising and when Dorothy decided that she had had enough of this game, the woman turned very nasty indeed and made it clear that opting out was not an option.

Dorothy was trapped and so she turned to the only resource she had left for comfort – her spoons. Dorothy had played the spoons since before she could walk and she often drummed out little rhythms on the Skyway Rails to pass the time. But now she threw herself into the art with a violent passion – drumming out her anger and frustration at the injustice and futility of the plight of all these children being secretly enslaved to the Lemonade Dealers. There were words too, but she never let those slip out.

People stopped to listen, although they couldn’t see the percussionist high above them, and then one day a curious theatre owner braved the climb and discovered twelve year old Dorothy. He persuaded her to come down, though she was careful to pay for her own coffee and oatcakes, and it wasn’t long before his ‘Little Dolly’ was making headlines at The Garish Theatre with her incredible displays of cutlery-based- percussion-craft.

As Dolly’s fame began to increase, she saw the opportunity to introduce lyrics to these  displays  and finally expose the true and dreadful story of the exploitation of Lancaster’s homeless children. Hearts broke, tears flowed, rallies were held and the government of Ire was backed into a corner – what was going to be done about this?

There’s always a man with a plan isn’t there? Some bright Whitehall spark quickly saw that what these children needed was shelter, food, clothing, soap and the prospect of a life long career. Fortuitously, Her Majesty’s treacle mines and tea plantations were struggling due to the fact that the adults ’employed’ there were often too large to perform all the terrible tasks that needed to be done.

Dolly Cauldari’s name has now become a curse on the lips of every street orphan who lives in fear that tonight may be the night when Her Majesty’s ‘Good Folk’ will arrive in their wagons and spirit them away to a ‘better life’ in the treacle mines or tea plantations. Many Sho’vani people have also loudly expressed their condemnation of her actions – claiming that she should have known better than to trust the secrets of her fellow poor people into the hands of the hated rich, who will always see something that they can get out of the exploitation and powerlessness of the poor.

Ignoring her critics, however, Dolly has continued to attempt to use her fame, wealth and influence to improve the lives of the street children of Ire. She channels all her earnings into campaigning against the ill treatment of children in the mines and plantations and exposing the corrupt empires of the Lemonade Barons, many of which she claims are members of the aristocracy.

 

Costume For Dolly Cauldari

 

Despite her fame, Dolly spends very little of her earnings on herself. Her clothing is largely home made and she places great importance on certain religious and sentimental items. She always dresses in red – the feminine, protective colour of her people. Her shawl once belonged to her grandmother and, along with her handkerchief-bag, in which she keeps her heirloom amber bracelet and silver snake hair-charm and spoons, it is the only thing she has left of her original family life. She is a traditionalist and always wears a red dikhlo (head scarf) and still braids her hair in a crown braid. The locket and mulengi dori (ribbon of the wind people) she always wears in memory of her parents.

 

So, there you are! As with the character of Amelia Manylentils  , I have tried to draw respectfully on aspects of Rromani culture and history to create a character that is more realistic, respectful and removed from the Fantasy Creature we know from fiction and art as ‘The Gypsy.’  Again, I really hope this is helpful to anyone interested in writing Rromani characters into their Steampunk worlds or cos-playing a Steampunk Rromani character and if you have any questions feel free to leave them in the comments section.

Big Blessings, Penny 🙂

 


Steampunk Gypsies : Character Creation – Amelia Manylentils

Greetings! Here, as promised some time back now, is a careful look at how to respectfully draw on aspects of Rromani / Gypsy culture and history in order to construct a Steampunk character. I’ve used the word Gypsy in the title here because many people mistake the term Rromani for Romanian but most Rromani people find the term Gypsy offensive so it really is better not to use it. You wouldn’t use the N word to describe a person of African heritage would you? No.

Rromani people are a fairly visible part of the Steam Era, cropping up in folk tales, art, literature and ephemera of the time but our portrayal is usually colourful , romanticised, demonised and mis-representative of the reality of every day life for Rromani people living in Georgian and Victorian times. (I’ll write in more depth about this in a separate article).

But we can move on from the mistakes of the past and make sure that, by educating ourselves, we don’t repeat or perpetuate them when we write , create or cosplay in the Steampunk genre today 🙂

So here is how I used Rromani culture respectfully to influence the creation of one the the primary  characters here in Ire, Amelia Manylentils. If you have any questions about creating your own Rromani characters or other topics you want to me cover etc let me know in the comments as I’m happy to do more articles like this if folks find them useful.

 

Amelia Manylentils. 

Amelia is a Sho’vani character. I drew a fair bit on Rromani history and culture to create the Sho’vani people and so I have drawn on many aspects of Rromani culture to create the costume for Amelia.

The Sho’vani are a technologically advanced, displaced diaspora of the Jentacular Landmass. Their rebellion against Wiz and his evil army of Wizards went horribly wrong when the automaton army they had created rebelled against them and the twelve tribes, led by twelve princesses, fled across the sea to the scattered Isles Of Ire where they have been outrageously persecuted ever since.

Colonialism is an important and troubling part of our world history but so is the historical and current treatment of refugees and immigrants and I wanted to reflect this part of Rromani history in the history of the Sho’vani.

(For those of you who are unaware, the Rromani people are a displaced diaspora of India. Two groups of Rajputs were defeated by Muslim invaders and forced to flee their land. Some were captured by Turkish regiments and forced into their army, those who managed to escape into Eastern Europe were enslaved for hundreds of years. Those who fled to the west were feared, outlawed, imprisoned, murdered, not allowed to settle down , speak their own language, have children or own property. Many are still facing this persecution today. As soldiers and their entourage, they already had skills with metal work , horses and other crafts which they tried to use to earn money. When this wasn’t possible, they took on farm and manual work and also picked up skills such as entertaining and fortune telling along the way. )

Amelia’s Story:

Amelia’s Sho’vani father was ‘adopted’ (read: stolen) by a rich Tea Time Lord and his wife because they could have no children of their own and they thought it would be an amusing project to ‘tame’ a little wild woodling and make him into a proper Ire-ish Gentleman. They succeeded but when he grew to manhood he annoyed his parents by falling in love with and marrying  the local watch maker’s daughter who was also Sho’vani. That is as far as his rebellion went however and he inherited his father’s estate and treacle mine and settled into life as a Tea Time Lord. His wife, who had always hated her father’s business and had been only too eager to escape her fate of having to become a ‘filthy Tinker’ (her words) took to the lifestyle like butter to a crumpet. Unfortunately their daughter Amelia was different…

Love Triumphant: 

“Amelia? Amelia where are you this time?” Gerda Manylentils wrung her hands anxiously as she scoured the ornamental gardens in search of her daughter.

From high amongst the whispering leaves of the grandfather willow, Amelia watched her mother’s progress through the labyrinth of repressed shrubbery. Each leaf of the neatly maimed privet hedges lapped at her crinoline skirts, like the wax-bright tongues of crouching goblins, green and catching the last drips of evening light like drops of honey.

“Amelia?” Her voice was grey with the coming dusk and it weighed on her daughter’s ears with the same impending doom.

Amelia carefully placed her dolls into their little wicker basket and secured it firmly to the hawser. She wiped her grease-stained fingers on an oil cloth and brushed an arm across her cheek, swiping off a layer of sweat and grime. She took one last look around the treehouse. Every nut, bolt and screw, every spanner, saw and wrench was neatly stowed away in its own private apple crate. The leaves of the old man were fainting and pale, fluttering as the tree drew his deep, ragged breaths. She tied the straps of her leather cap under her chin, flicked her goggles down over her eyes and clipped her utility belt to the hawser behind the basket.

“Amelia? Oh!”

Amelia sailed over her mother’s head like a whistling stormcrow and landed, inelegantly, beside the koi pond. She teetered for a moment on the brink, before steadying herself and unclipping the harness and the basket.

Meanwhile, her mother was passing through her usual colour scheme of emotional meltdown; parchment fright, scarlet shock and finally, purple rage. “Amelia, how could you? How, simply, could you do this to me? You know perfectly well that Watkin Caffiendish and his parents, Lord and Lady Sugar of Crumbria are here! That is to say, were here – they are leaving, and, to be perfectly candid, I cannot say I blame them.” She twisted her plump fingers together in agitation. “Oh, Amelia! I am not sure which is worse; that you didn’t make an appearance, or that you could have done and this is what you are dressed like!” She gestured despairingly at her daughter’s patched and grease-stained overalls. “No, it is no good, Amelia, no good at all. Your father will demand an explanation. I demand an explanation! What have you been doing all this time? Where have you been? Not up in that tree again? Oh no!” Her glance strayed to the basket, now hooked over her daughter’s arm. “Not those awful dolls?”

“Mother, they are not dolls they…”

“They were once!” her mother screeched. “Perfectly beautiful porcelain dolls, Amelia, which your Aunt spent months crafting the petticoats for! Why you have to…fiddle with everything, I do not know.”

“It’s not ‘fiddling,’ Mother, it’s ‘tinkering’ and look,” Amelia reached inside the basket and pulled out one of the dolls. It certainly didn’t resemble any of the prim and pouting manikins which graced the little bay windows of the toy shops in town. Any clothes it had once possessed were nowhere to be seen, large portions of the porcelain had been carefully hacked away and replaced with metal screw-plates and the entire chin was now a hinged collaboration of metallic scraps.

“Oh no, please, do not wind it up! Amelia, my nerves! You know I cannot abide…”

Amelia ignored her mother’s pleas and wound the key which protruded from the back of the doll. The moment she released it, the doll’s mouth began to slowly open and close and sweet string music, almost akin to lark song, filled the blushing air.

“See, it sings. I made it sing. And this one…”

“Absolutely not! No more, Amelia, no more! This whole nonsense has gone on for long enough. A Lady should not spend her time fiddling about with things like this, she…”

“It’s not fiddling, Mother…”

“No, enough!” Gerda snatched the basket of dolls and hurled it into the koi pond, where, of course, it floated like an infant Egyptian prince.

Amelia stared at it in silence.

“This is the last straw, my girl. Go to your room and make yourself presentable, whilst I speak to your father about what, exactly, can be done about you.”

 

Amelia let her head fall back, cradled against the warm wood of the ancient rocking chair which had been her grandmother’s, then her mother’s and was now hers. Her legs pulsed her back and forth like a living piston, the cogs of her brain whirring furiously. Above her bed, Love Triumphant rose on flaming wings into the golden dawn of eternity from the brooding brushwork wrought by G.F.Watts. Amelia pressed her index fingers together and a single eyebrow arched. To have wings. To rise from the grim clutches of the mortal bind. The drudge of duty and a course mapped out by incompetent navigators who would never sail this ship themselves, never set foot in the harbour for which they would doggedly insist it must be bound.

She continued to pulse. Each foot thrust a pump for the adrenaline that was fuelling her mind.

Above her head, the many ceiling fans looked down on her with sympathy, as redundant in the chill evening as a tinker at a tea party. The tiny automatons, arranged in regiment across her eiderdown, sat dutifully silent and even the pot bellied wardrobe seemed to suppress a sigh, bearing its burden of corsets and crinolines with sombre resignation.

Amelia scowled at the painting and out of the broad sash window to where bats were now looping gleefully like liberated gloves cast up in celebration into the greening light.

To have wings…

Amelia leapt to her feet, pulled her folding utility knife from her belt and wrenched a spring steel crinoline from the closet. Her furnace lit by the fuel of epiphany, she snipped at the light metal bands with her cutting tools, skilfully subduing the writhing serpents as they sprung and snapped, unleashed from their structural bindings.

Soon a nest of steel lay heaped in one corner of the room and Amelia turned her attention to the sheets beneath the eiderdown. Out came rulers and angle measurers, scissors and chalk and several tools she had designed herself; a rotating rivet setter and a hand held clockwork seam-stitcher.

Before long, a bat-like pair of wings lay spanning almost the width of the entire room. Amelia cast a critical glance at the rocking chair, made a few last minute calculations and then proceeded to strap the wings to the wooden framework at the back of the chair, using leather trunk-straps which she kept in store beneath her bed for just such emergencies. The wings concertinaed in on themselves perfectly and she arranged more straps which would release them at the precise moment of take off.

Next she turned her attention to the ceiling fans, which came down easily via the maintenance pulley system. Each fan came off in piece and was swiftly re-bolted to the chair, along with the small turpentine motor which powered them.

From somewhere deep in the belly of old house, a servant’s bell sang out its dainty falsetto like a knell. With no time to waste admiring her handiwork, Amelia heaved the chair up to the window and hoisted up the sash with practised difficulty, securing it with the tiny cheese wedges of splintering wood.

The giddy scent of pine teased through the fresh night air; exhilarating, promising adventure as it filled her senses until every cell stung with the anxiety to snap this leash of obligatory life.

Amelia raised the rockers of the chair against the sill and guided, slided, eased it into a position of perfect balance. Her breath caught in her chest, her heart a rapid rhythm as she carefully negotiated her way into the seat, feet now the stabilising factor and one arm braced against the rotting window frame, whilst the other tugged the motor into life.

The pang of pine was now intoxicating.

“Hello?”

A shadow eclipsed the green. The bats fled, piping indignation.

The rocking chair teetered on the sill.

“I say, hello? Amelia?”

In a fulmination of fragrant annihilation, the chair staggered, slipped and spiralled down into the ravenous clutches of the psychotic shrubbery below and combusted, leaving Amelia dangling, dumb struck, from the cross bar of the sash.

“Oh dear. Er, terribly sorry about that. Hold on…”

The vivid lights, cast upward from the flaming shrubbery, illuminated the profile of a pathetically small dirigible, from which a rope was now being lowered. Amelia grasped the life line without hesitation and hauled herself up into the gondola which hung beneath.

“Grab an oar then.”

“Excuse me?” Amelia stared incredulously at the synergist of the Armageddon below, as silhouettes of servants began pouring from the house, to leap in frenzied state around the flaming privets like demons around a hell pyre. “Who even are you?”

“Watt.”

“I said who are you?”

“No, sorry, I mean I am. I am Watt. Watkin Caffiendish, er, knight in shining armour, come to rescue you and all that shenanigans. So, grab an oar, fair lady. She rows out like a dream in this weather.”

Amelia looked down, bitterly, at the wreckage of her marvelous machine, now being stoically dowsed by the household domesticons. Behind the dark shutters of the house, the hue and cry was already up.

She picked up an oar and, for one glorious moment, considered trouncing this ballooning buffoon around the head with it and pitching him over the side into the dark abyss that was soon to be her past.

The scent of smouldering turps was becoming acrid and adrenaline-fuelled ecstasy was fast waning to fatigue and resignation.

Sighing inwardly, she fitted the oar into the rowlock and began to pull.

 

….

Above is one of the many mythical re-tellings of Amelia’s early life and the beginning of her infamous voyage to discover Siberia but rather than begin a philosophical debate on that subject, let’s have a look at her costume…

 

 

Amelia is more interested in dressing practically rather than in a way that is perceived as ‘feminine’ (a taboo both in Upper Class Western and Rromani society of the Steam Era!) so I made her a pair of the classic wide legged trousers worn by our Kalderash men and waistcoat to match from heavily embroidered fabric.

Embroidery is of great cultural significance in Rromani culture and I still have a lot of my family’s embroidered pieces which I wouldn’t dare use for costuming! In Ire, one of the Sho’vani families play an important role in the revolution and they use a cog-based embroidery to code messages into clothing they are ‘mending’.

Amelia likes to keep her inventing equipment close to hand. Belly dancing belts stitched with coins are a mark of shame and anger for many women – not just Rromani. In days where women (and men) were seen as property which could be bought to entertain rich people with dancing and other ‘tricks’ , many people were forced to lay aside their religious beliefs about modesty and proper sexual conduct in order to survive. The passion in many Rromani dances is an expression of the anger felt by the slave dancers at being forced to act against Rromanipen (their beliefs) in order to entertain the rich. For Amelia’s costume I decided to take the belly dancing belt of coins and re-purpose / re-claim it as a tool belt  – a status-symbol for an independent young woman – so I have attached cogs and gears and similar things to the sash instead of coins.

steampunkrromani3

 

I chose red for the belt because it is a sacred protective colour in Rromani culture and a very feminine colour too. I hate the fact that femininity is often seen as inferior and that when women choose to pursue traditionally masculine careers they are somehow seen as being un-feminine. I wanted to wrap Amelia in her femininity – her inventing and creating are expressions of her womanhood, not a rebellion against that. By the end of our little saga here she is a wife, mother, grandmother, chrononaut and the greatest inventor the world has ever seen and none of these aspects of her character contradict or corrupt the others.

The cap and goggles are necessary for any wife and mother and are just my own everyday wear for nappy changes , cricket matches etc. but I love the black and white lace and pearls adding lots of magpie-pretty to these functional items.

So, there you have it; part one of creating an authentic Rromani Steampunk character. In the not too far future I’ll do a completely different character for you, based on the real historical Rromani poet Bronislawa Wajs. (Yep, we have poets!)

Until then, best wishes for all you splendid steampunk capers and I hope you’ll join the boys in the parlour tomorrow for some marvellous masquerade madness 😉

Penny 🙂