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Roma & Sinti Culture as Modern 
German and Austrian Studies: A 
Guide for Researchers  
 
Arushi Nair 
  
 
Abstract 
 
The history and culture of Roma and Sinti, especially within Germany, has faced repeated 
attempts of erasure and suppression. Although the Roma and Sinti form an integral part of 
German society today and comprise important periods of Germany’s long history, this is a 
culture and history deliberately kept from the public. I began my project investigating the 
existing literature and canon of historical works on the Roma and Sinti to better understand 
their origins and culture for myself, but also to see the landscape of the work and better 
understand the figures behind it. I found overwhelmingly that these works were outdated 
by today’s standards, with little scholarship having emerged in recent decades. This came 
with a whole host of problems: the labels used to refer to Roma and Sinti, the lack of 
consent in ethnographic interviews, and large generalizations or assumptions about Roma 
across Europe. 
 
Secondary Sources 
 

Two books stood out in their ability to highlight the shortcomings of previous 
scholarship: Isabel Fonseca’s anthropological work Bury Me Standing: The Gypsies and Their 
Journey and Klaus-Michael Bogdal’s historiographic work Europa Erfindet die Zigeuner: Eine 
Geschichte von Faszination und Verachtung. Fonseca, an anthropologist, conducted 
interviews with Roma families with whom she stayed across Central and Eastern Europe 
throughout the late 1980’s and early 1990’s. The book often retells of extremely intimate 
and vulnerable stories that her interview subjects shared. Fonseca also added her own 
commentary. While this style of writing was engaging and conjured vivid images of Roma 
life and folklore, it ultimately bridged into a realm of fiction, solidifying preconceived 
negative stereotypes about the Roma and Sinti into an unforgiving public consciousness. 
Fonseca’s retelling of false stereotypes and mass generalizations about the Roma and Sinti, 
such as the tendency for women and girls to marry young and thus be kept out of 
educational institutions, do more harm to their autonomy and existence than help to 

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educate on their plight. While Fonseca’s intentions cannot truly be determined, it is not 
unlikely that she, like many authors working within this area of study at the time, plays 
with a personal fascination to achieve literary success at the expense of the Roma. This is a 
concept Klaus-Michael Bogdal closely investigates in his work. A trained historian, Bogdal 
explores the idea that Europeans have been fascinated with the Roma and their culture for 
centuries yet have deliberately taken efforts to ensure their suppression. He retells many 
important historical moments involving or revolving around the Roma and Sinti, including 
their banishment from the South Asian subcontinent in the 11th century, their arrival in the 
European continent between the 14th and 15th centuries, and recountments of their 
discrimination from these early periods leading into the Second World War.1  
 

One notable example of early discrimination and stereotyping that Bogdal 
elaborates on is Carmen, the operatic work by George Bizet. Though this departs from the 
German regional example, it serves a larger point; Europeans have often taken from the 
marginalized what they deem of cultural value for themselves and discarded the rest. In 
Spain, this was Flamenco; in other countries, like Germany and Romania, it has been the 
outsourcing of cheap and undesirable labor, explicit exclusion from educational institutions 
through geographic isolation, and even antiquated laws that permitted and encouraged the 
hunting of Roma people. Bogdal responds to previous scholarship, like the work of Fonseca, 
stating: “Die Ethnographie verfremdet, indem sie vorrangig Kollektive in den Blick nimmt 
und nicht Individuen. Ihr Interesse gilt dem, was alle Menschen eines Volkes miteinander 
teilen und ausüben, also jenen Erscheinungen, die über eine lange Dauer bestehen und sich 
in Ritualen wiederholen.”2 Bogdal attempts to offer a comprehensive history without doing 
the Roma and Sinti injustice, and while he rightly establishes a more objective and critical 
perspective on the Roma and Sinti, his work still lacks an authentic voice and room for 
autonomy from the Roma themselves.3 This reveals that the state of scholarship on Roma 
and Sinti in Germany remains largely unexplored, perhaps because the previous 
scholarship has created a strong narrative that many are uninterested in reinvestigating or 
critically analyzing. The work of Fonseca is just one of numerous examples in the 
scholarship about Roma and Sinti, which has solidified their image in the public 
consciousness as a crime-ridden, uneducated, and impoverished - while also granting a 
strange fascination for or seduction of the Roma woman. This potent combination has been 
a cornerstone for the white male-dominated European culture because it both preserves a 
sacred hierarchy and creates a convenient scapegoat for societal and economic issues that 
cyclically recur.  
 
Memoirs 

This realization led me to investigate new avenues of approach, still searching for 
this voice but hard-pressed to find it. I learned that emerging from the horrors of the 
Holocaust were the first memoirs and published writings by Roma. In the past, the Roma 
identity of authors or artists was deliberately hidden, or non-Roma authors outright stole 

3 Bogdal, Europa erfindet die Zigeuner, 478. 
2 Bogdal, Europa erfindet die Zigeuner, 279. 
1 Bogdal, Europa erfindet die Zigeuner. 

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their pieces. But then there was Philomena Franz, one of the first German Roma authors 
and one of the first female Holocaust survivors to be published. Rather than reduce her 
work through a simple summary, I offer a quote from the beginning pages: 

 
Ich wünsche mir von ganzem Herzen, daß dieses kleine Buch dazu beiträgt, die 
Wiederholung von Geschehnissen zu verhindern, die man bei uns in Deutschland 
‘Vergangenheit’ nennt. Die Wahrheit ist schmerzlich, aber nur mit ihr können wir 
unser Glück aufbauen. 

  
Die Liebe ist Vollkommenheit. Sie gibt uns Freude, Sie ist Weisheit und Wahrheit, denn 
sie kommt von Gottes Güte und Gerechtigkeit, Liebe fördert immer wieder zum 
Verzeihen heraus. Wenn wir Liebe nicht haben, zerstört die Menschheit sich selbst, 
sind wir Menschen verloren.4 

  
In her retelling of her life story and the traumas she survived, Franz adopts a 

framework of love and forgiveness towards hatred, something deeply rooted in her 
upbringing in a multigenerational Roma family. At the time of its discovery during my path 
of research, this was a revelation. It was the first time I was hearing from a Roma person 
themselves about their culture and life experiences without worry of its authenticity. I 
learned a lot from this account. As I read more memoirs and enquired more about 
survivors like Philomena Franz, I discovered that writing accounts like these took a heavy 
toll, often leaving their writers in shambles, having to relive their trauma during the 
writing process while simultaneously having to reckon with ongoing discrimination 
against Roma and Sinti. While the Holocaust memoirs offer some of the first authentic 
recountings of Roma and Sinti experience and expression, they are limited in that they 
only speak to the experiences of the generation of Holocaust survivors, with only 
anecdotes about the ancestors (whose voices and stories we have little hope of 
recovering) and the successors of this now dying generation. These memoirs tend to 
unintentionally center the horrors of genocide and the role of the Nazis and their 
collaborators.  

 
Memory politics was something that Bogdal also warned about extensively 

throughout his book because the aftermath of the Holocaust, in many ways, forgot 
non-Jewish survivors. LGBTQ+ survivors, disabled survivors, and Roma and Sinti survivors 
have often been relegated as “the others,” and have been treated as such in the immediate 
aftermath of the liberation. While LGBTQ+ survivors remained imprisoned as other 
survivors were liberated, disabled individuals did not receive proper and necessary 
medical care, and Roma and Sinti were not publicly acknowledged in Germany as 
survivors worthy of reparation until the 1980s, after mass-mobilization efforts. 
Additionally, Holocaust memoirs have a limited scope; they take on a victim perspective of 
what has happened to an individual, which, while the acknowledgment is important and 
necessary, can often be insufficient in the larger goal of gaining autonomy. In the 
story-telling of Roma experience, I wanted to see what Roma did, and this was the push 
from memoirs into poetry. Poetry revealed itself in this context to be a medium uniquely 
suited to allowing writers to express themselves without the same limitations that a 

4 Franz, Zwischen Liebe und Haß, 9. 

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memoir or other mediums might require, additionally expanding the scope of experiences 
beyond the atrocities of the Holocaust with an emerging image of a rich and colorful 
history and culture.  

So, the question emerged: How can we spotlight the voices and experiences of 
second-generation Roma and Sinti in the German-speaking world? This second generation, 
as I am using the term, refers to the children of Holocaust survivors. This generation offers 
a new perspective and addresses the existing gaps in scholarly research, shifting the 
narrative on Roma and Sinti towards one rooted more closely in authentic experiences and 
accounts. The road of memoirs led me to a woman named Dotschy Reinhardt – a Sinti 
woman born in Ravensburg, Germany on November 10th, 1975. She belongs to a long 
lineage of Sinti musicians, including the famous Django Reinhardt, and was born into a 
generation removed from World War Two. In her own memoir, Gypsy: Die Geschichte einer 
große Sinti Familie, Reinhardt addresses her experiences living in an intergenerational 
family, the distinctions of Roma versus Sinti identity, and the role that mediums of poetry 
and music have played in processing identity struggles and generational trauma. I became 
increasingly interested in her work as a musician and poet, which she only referenced in 
her memoir. 

Poetry 
Reinhardt authored the Foreword to a book entitled Die Morgendämmerung der 

Worte: Moderner Poesie-Atlas der Roma und Sinti, a Poetry Anthology of collected works of 
Sinti and Roma poets and artists from across the world and translated into German. In the 
quote below, Reinhardt captures the importance of poetry and anthologies like this one, 
when she details the ways in which survivors otherwise struggle to express their traumatic 
experiences in traditional literary formats: “Oft standen die Überlebenden vor dem 
Problem, dass die extreme Traumatisierung nicht in die Sprache einer 
lebensgeschichtlichen Erzählung gefasst werden konnte. Die Lyrik, die Musik und die 
bildende Kunst war für viele Sinti und Roma ein dankbares Medium, mit dem sie ihr 
unausgesprochenes Leid zu artikulieren und zu vermitteln vermochten.”5 In naming the 
additional trauma that is incurred by recounting generational trauma for the explicit 
consumption of others, Reinhardt leaves readers with a deeper understanding that only 
mediums like poetry can offer a safe haven and a way for survivors to articulate their 
unspoken pain and to share their stories how they choose to and potentially find means of 
healing. Audre Lorde famously speaks to the value of poetry in her essay “Poetry is Not a 
Luxury” and writes: 

  
This is poetry as illumination, for it 
is through poetry that we give name to those ideas which 
are - until the poem - nameless and formless, about to be 
birthed, but already felt. That distillation of experience 
from which true 
poetry springs births thought as dream births concept, as feeling 
births idea, as knowledge births (precedes) understanding.6  

6 Lorde, Sister Outsider, 36. 
5 Reinhardt, Die Morgendämmerung der Worte, 20. 

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Again, Lorde reiterates the idea that poetry is a necessary medium for those in need of 
free expression and liberation, where it cannot otherwise be found in their everyday 
lives. Furthermore, Lorde states:  

 
 For women, then, poetry is not a luxury. It is a vital necessity 

of our existence. It forms the quality of the light within which 
we predicate our hopes and dreams toward survival and change, 
first made into language, then into idea, then into more tangible 
action. Poetry is the way we help give name to the nameless so it 
can be thought. The farthest horizons of our hopes and fears are 
cobbled by our poems, carved from the rock experiences of our 
daily lives.7 

 
As a format without binding rules or structure, poetry allows individuals to work through 
their pain and trauma with a unique opportunity to confront complications with their 
identity freely. Lorde’s personal experiences studying and writing in Germany, coupled 
with her ability to draw connections back to the generations of trauma survivors in the 
United States, further demonstrates the irreplaceable role of poetry in academic 
discourse and especially in the pursuit of under-researched (or poorly researched) topics. 
She inspired grassroots activism among the Afro-Deutsch community and mentored 
Black feminists like May Ayim. This movement and Lorde’s invaluable contributions to 
the decolonization of German culture are imperative to this research project and any 
project that aims to broaden the horizons of German Studies.8  

 
Die Morgendämmerung der Worte: Moderner Poesie-Atlas der Roma und Sinti also features 
one of Dotschy Reinhardt’s poems “Chaplins Geheimnis,” or Chaplin’s Secret. In this poem, 
she references a letter uncovered by Charlie Chaplin’s daughter in which it is revealed by 
the sender that Chaplin has ethnic ties to the Roma. The anthology features a German 
translation of Reinhardt’s song with the same title, originally written in English: 

  
Mitunter frage ich mich selbst 
warum ich mich verstecke 
vor der Wahrheit 

meine ethnische Herkunft 
leugne und dann höre ich mich 
sagen 
es ist einfacher für mich so zu verfahren 

mein Geheimnis sehr tief in mir zu 
verstecken tief in mir 
tagtäglich 

  
Deine Gedanken sind ohne Vorbehalte, 
deine Liebe ist schlicht rein 

8 Plaum, “Audre Lorde.” 
7 Lorde, Sister Outsider, 37. 

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ich wünschte ich könnte sein 
wie du gelobt sind immer 
diejenigen 
die immer noch glauben 

es gäbe Menschenrechte für Alle 

du ermutigst mich damit aufzuhören mich weiterhin 

zu verstecken weiterhin mein Geheimnis sehr tief in 
meinem Innern 

zu bewahren 

tief in mir 
tagtäglich 

  
Aber es gibt viel mehr als nur schwarz und 
weiß nun sehe ich endlich sie sind nicht im 
Recht 
und nur kulturelle Vielfalt die Wahrheit 
offenbart und Liebe alle Mauern des Hasses 
einstürzen lässt ich werde nicht mehr 
verleugnen mich, nicht mehr 
Und ich werde mein Geheimnis nicht mehr verbergen in mir 
niemals mehr 
nie mehr, nie9 

  

The “ich” in the poem addresses Chaplin directly, trying to understand why he would 
spend his life hiding his Roma background. She recognizes her secrecy in his secret, 
which brings many questions and conflicting emotions to the surface. Charlie Chaplin 
might have concealed his identity in pursuit of a successful career. The message in four 
lines are particularly striking: 
du ermutigst mich damit aufzuhören mich weiterhin 

zu verstecken weiterhin mein Geheimnis sehr tief in 
meinem Innern 

zu bewahren10  
 

  
Reinhardt uses the “ich” speaker in the poem to indicate a sense of motivation to 
embrace one’s ethnic identity as Roma, elicited by the shame that Chaplin held for his 
own identity. And yet, she acknowledges the complexity of this choice, knowing that an 
outspoken embracing of a marginalized identity may come at a severe cost, namely to 
one’s social status. Roma and Sinti history is a cyclical one of people who have been 
killed for their mere existence, and the trauma and fear to proudly represent that 
identity is passed down through generations. In a culture that values the wisdom of its 
elders and respects the knowledge within the family unit, this is a cycle that cannot be 
broken easily and has only emerged in recent generations, empowered through a rise in 
social movements to embrace and recognize diverse cultural heritages in Germany. 
Through the “ich” in the poem, Reinhardt grapples with her own dilemma of this cost, a 

10 Reinhardt, Die Morgendämmerung der Worte, 42. 
9 Reinhardt, Die Morgendämmerung der Worte, 42 

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seemingly common motif among second-generation Roma and Sinti artists and writers. 
In choosing to stray from Chaplin’s path of secrecy and hiding, Reinhardt is also less 
overtly exemplifying generational differences that perhaps Chaplin, or others from this 
older generation of Roma, could not choose to be proud and outspoken about their 
identity, for the fears of discrimination that undoubtedly faced them. We begin to see that 
agency in the second/younger generation takes shape in the necessity to choose to be 
outspoken and to be able to choose in the first place. A refusal to compromise between 
your identity, community, career, and success is the essence of the emerging voice within 
the second generation, which researchers and advocates must continue to foreground.  
 

This piece also addresses issues that many historians, especially in relation to the 
Holocaust, are continuing to grapple with: memory politics. The memories of events that 
have induced extensive trauma in communities have become increasingly politicized 
because of how those traumas are measured against other communities that suffered 
under the same powers of oppression. Additionally, the ways in which communities have 
been treated and been able to recover from these traumas has a significant impact on the 
way their traumas are remembered across generations. In the case of the Roma and Sinti, 
memories around the Holocaust and periods of discrimination before that are certainly 
remembered and still felt deeply in succeeding generations, arguably because they were 
acknowledged as victims several decades after the end of the Holocaust and continue to 
face harsh discrimination to this day. Often, Roma and Sinti struggle and treatment is 
overlooked because it is compared to that of other marginalized groups who were 
targeted during the Holocaust. As a researcher, I found it important to distinguish these 
groups, in order to preserve, honor and respect their memories. 
 
Archival Research  
 

During the following summer, a continued effort to find a means of centering Roma 
voices and experiences took me to Maryland for a visit to the US Holocaust Memorial 
Museum (USHMM) Archives. While access to archives and their material are few and far 
between, especially within this area of study, it was important for my research to uncover 
what dimension an archive might add, if any. Searching broadly for terms like “Roma and 
Sinti” often delivers results in the thousands or more, which require some introspection 
and refining on behalf of the researcher. Given my background as an undergraduate 
researcher comfortably housed in the humanities, I was most interested in materials 
pertaining to the cultural study of Roma and Sinti within the time frame after the 
Holocaust. Each researcher has a different focus and can use this to guide their selection 
of materials within the archive. My own project focused on uncovering any original 
material written by Roma people or similar projects that might reveal the former, 
eliminating any objects or artifacts that the archive might hold, as they were not explicitly 
the focus of my project. This narrowed the options significantly and revealed a number of 
sources with which I could spend my time analyzing and collecting data for my project. 
The two most significant findings from this visit were the Mary Costanza Living Witness 
Collection, which documented an art exhibition and a scholarly text, Jewish and Romani 

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families in the Holocaust and its Aftermath edited by Eliyana R. Adler and Kateřina 
Čapková. 

  
The scholarly volume Jewish and Romani Families in the Holocaust and its Aftermath 

was fruitful because it provided detail on the transitional phase of post-Holocaust survival 
and readjustment, which I had not yet considered in my timeline. The book is an anthology 
comprising chapters by different authors and the three most salient ones were: “The 
Romani Family before and during the Holocaust: How Much Do We Know? An 
Ethnographic-Historical Study in the Belarusian-Lithuanian Border Region” by Volha 
Bartash, “Return to Normality?: The Struggle of Sinti and Roma Survivors to Rebuild Life in 
Postwar Germany” by Anja Reuss; and “The Postwar Migration of Romani Families from 
Slovakia to the Bohemian Lands: A Complex Legacy of War and Genocide in 
Czechoslovakia” by Helena Sádilkóva. The book adopts a framework of family and critical 
familial studies, a theme that I found in my own research to be particularly important in 
conversation about and with Roma and Sinti. Throughout many of the scholarly texts and 
in works pursued by Roma and Sinti authors or artists, the family unit recurs as an 
element central to the Roma culture and experience. For example, the idea that knowledge 
is passed from elder family members down to younger members (a point deemed higher 
in value than traditional education systems), ostracization from larger society meaning 
family members were often the only people to be relied on, and the intercultural pressure 
for women and girls to marry young which has long been a cornerstone of Roma and Sinti 
culture because it preserves the sacred unit of family and thereby longevity and survival of 
a culture and its people. Family has often been used throughout works by Roma and Sinti 
artists or authors to demonstrate continuous survival and perseverance through 
multi-layered discrimination, a point my own research has tried to expand upon, but 
truthfully survival is a key element to Roma and Sinti existence across history. While the 
first and the third chapters of Jewish and Romani Families in the Holocaust and its 
Aftermath depart from my own focus, the second chapter, authored by Anja Reuss, hits on 
the unspoken dialogue between the generations of Philomena Franz and Dotschy 
Reinhardt respectively. She discusses the politics of Roma and Sinti survivors left to fight 
the German government for acknowledgment of their persecution during the Holocaust, 
financial reparations, and recognition as Displaced Persons (DPs). Many of these efforts 
were ultimately shot down or unequally implemented due to existing prejudice and 
stereotyping of Roma and Sinti that remained in the aftermath of the Holocaust. She also 
looks at the minimal scholarship on survivors, often executed by non-Roma authors, and 
does a similar critical analysis of the victim narrative that strips autonomy over Roma and 
Sinti cultural expression and experience. In her work, she draws attention to the 
designation of Sinti and Roma as second-class citizens, quite literally only ever included in 
the margins of history and politics. She notes how the lack of aid and support for Roma 
and Sinti survivors in post-war Germany renewed a distrust among Roma and Sinti 
communities of state authority and only further ostracized them. This isolation led to the 
reproduction of many social inequalities that Roma and Sinti have faced for centuries and 
continue to fight for.  

 

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The second discovery during my visit to the archive was the work of Mary 
Costanza, an American artist born in 1927, who, in her late years, decided to pursue a 
research project with the ultimate goal of curating a museum exhibit on the art of 
Holocaust survivors. She had a specific interest and focus on art produced within 
concentration camps, and also worked with a group of 6 artists whose art she worked to 
recover and make known throughout her project. The USHMM Archive gave me access to 
her meticulous and extensive notes that aided in her project’s research and curation 
phase, all compiled and donated by her husband. I was particularly interested in her 
research methods and process—how she discovered these artists, the notes of her 
interviews with them, and her selection process on who to include or exclude from the 
final book and exhibit. Ultimately, she chose not to include works from non-Jewish 
survivors, due to a personal liking and kinship to the Jewish artists she worked with and 
for the sake of having a more cohesive narrative. While reviewing these materials was 
informative to my own research process and larger goals for my project, I saw that the 
curation of materials in archives is largely incomplete. I anticipated the resources and 
information on non-Jewish Holocaust survivors to be more extensive. I would advise 
researchers to be weary and critical of the offerings from archival collections and to look 
more deeply into the digital archive collections.11 My conclusion on this project is that I 
hope to see a similar one on Roma artists pursued in the future, with the same dedication 
and commitment to amplifying their art and stories of survival and resilience.12 
 
Conclusion 
 

In summary, this resource guide aims to highlight the primary and secondary 
sources available to researchers and call attention to the work being done to uplift Roma 
and Sinti voices and enrich the curricula of German Studies. While not exhaustive, this 
guide uses my own research to aid others pursuing similar projects of an understudied 
nature to encourage ethical, holistic, and even unexpected pathways of research and 
discovery. The ambition behind my research was to center the voices of the Roma and Sinti 
through a compilation of materials and works that successively led me closer to this goal. I 
hope to have demonstrated throughout the course of this guide how integral Roma and 
Sinti are to German Studies and the work that still needs to be done to include their 
experiences and history into the discipline.  
 
Acknowledgements:  
 

12I was recently informed of a similar project that recently debuted in Austria - centering Roma artist and Holocaust 
survivor Ceija Stojka. This body of 90 paintings and drawings captures life pre-war, the family unit, and experience 
within concentration camps and under Nazi rule. This historic exhibition demonstrates concrete movement in a 
direction where Roma and Sinti people have autonomy in the narratives of their lives and experiences.  

11I found the most useful aspect of visiting an archive in person was the access to incredibly knowledgeable and 
helpful archival librarians. For new researchers and old, these librarians tend to hold years of knowledge and 
experience working in the specific subject area of the archive. Likely, they will be the people pulling and requesting 
the materials not housed in the archive itself, which you request prior to your arrival. Additionally, they assist you in 
digitizing different materials and navigating their digital archive selections.  

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This project was made possible due to the guidance and support of my professors and 
mentors at Macalester College. I want to express my gratitude to Professors David Martyn, 
Sonita Sarker and Karín Vélez for their encouragement and needed pushback throughout 
the course of my research. Additionally, I would like to thank and acknowledge the Mellon 
Mays Undergraduate Fellowship, without which I would not have been able to pursue this 
project. 
 

Bibliography: 
  
Adler, Eliyana R., and Kateřina Čapková. Jewish and Romani Families in the Holocaust 

and Its Aftermath. Rutgers University Press, 2021. 

Bogdal, Klaus-Michael. Europa erfindet die Zigeuner: eine Geschichte von Faszination und 
Verachtung. Berlin: Suhrkamp. 2011. 

Costanza, S. Mary. The Living Witnesses: Art in the Concentration Camps and Ghettos. 
TheFree Press: New York. 1982. 

Franz, Philomena. Zwischen Liebe und Haß: Ein Zigeunerleben. Freiburg im Breisgau: 
Herder, 1985. 

French, Lorely, Catrina Kurta, and Stephanie Buhmann. “What Should I Be Afraid of? Roma 
Artist Ceija Stojka.” Austrian Cultural Forum New York, September 28, 2023. 
https://acfny.org/exhibition/what-should-i-be-afraid-of-roma-artist-ceija-stoika/.  

Janetzki, Ulrich and Ihrig, Wilfried editors. Die Morgendämmerung Der Worte : 
Moderner Poesie-Atlas Der Roma Und Sinti. Die Andere Bibliothek: Berlin. 
2018. 

Lorde, Audre. Sister Outsider: Essays and Speeches. The Crossing Press Feminist Series. 
Trumansburg, NY: Crossing Press. 1984. 

Plaum, Alexander. “How Audre Lorde Made Black and Feminist History in Germany and 
Beyond.” Europeana, October 26, 2022. 
https://www.europeana.eu/en/stories/how-audre-lorde-made-black-and-feminist-
history-in-germany-and-beyond.  

Reinhardt, Dotschy. Gypsy: Die Geschichte einer großen Sinti-Familie. Scherz, S. Fischer 
Verlag: Frankfurt am Main. 2008. 

Romero, Angel. “Dotschy Reinhardt’s Jazz and Sinti Heritage.” World Music Central: 
Durham, NC. 2019. 

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