Alica Heráková: I am Roma myself and I see it differently

2 June 2014, 1:00

Alica Heráková: I am Roma myself and I see it differently

The biggest problems are those we find closest to us. This applies to cities just as it does to people. The area between the streets Cejl and Francouzská is widely considered to be the most dangerous and the most problematic part of Brno. It is, in fact, a small area which one can cover on foot within just twenty minutes. Or thirty, if one walks really slowly. In our eyes, it has gradually become a major problem we refer to as the Brno Bronx. Many Roma live there and if you go there at night you may never walk again. Why do people think so? What are the local people like and why does this part of Brno host the Ghettofest festival? I sought answers from the co-organiser of the festival Alica Heráková.

I admit I don’t know where to start because there is so much to talk about. So I’ll start with the simplest of questions: what is Ghettofest and what is it good for?
It is a multi-genre cultural festival whose concept was conceived with regard to the specific attributes of the part of Brno known as the Bronx. It was conceived by people who live here or who are otherwise related to it. Their contribution to the festival is based on the fact that they feel good and safe here. The general perception is that it is a dangerous location that has turned into a ghetto. The purpose of this event is to prove, through first-hand experience, that it actually is not. And so we have come up with something that gives space to locals and, at the same time, attracts people from other parts of the city. It is not like the Khamoro festival which offers a purely Roma line-up. In the case of our festival, various genres and various types of people gather.

The area bordered by Bratislavská, Francouzská and Cejl streets is nicknamed the Brno Bronx. What’s behind this nickname?
The most typical attribute of the area is that it is the “Sudetenland of Brno” of sorts. This area has seen, on several occasions, the departure of the local populace which defined the atmosphere of the area. First of all Jewish people, and then the German population after WWII. After WWII this area was settled, in an organised effort, by the Roma and now they are leaving. It is not violent deportation like their predecessors. It is a result of the process of gentrification. It means that the downtown Brno is expanding, this location is attractive to construction developers and socially disadvantaged classes have to move.

This has never been a richer part of the city…
It was the industrial outskirts of Brno. Of course you could find classier houses with large apartments but also apartments for the workforce or factories. After WWII the large apartments were divided into smaller ones so that they could accommodate as many Roma workers as possible. No, it has never been a nice neighbourhood. But its atmosphere is determined by the fact that the original inhabitants who originally created the atmosphere are no longer here. And one can tell. The local Roma mingle with a younger generation of newcomers who like lower rents or the specific multicultural spirit. Several decades have passed and the local populace is changing again.

Ghettofest is not a festival for the support of the Roma. But whenever one mentions Cejl, Bratislavská or Francouzská (streets), most people immediately think of them. How is the focus of the festival on the coexistence of various communities and ethnic group reflected in the programme?
The programme is based on practical multiculturalism, because this neighbourhood is home to various groups that have to co-exist one way or the other. Initially, the coexistence between the majority and the Roma was strongly reflected in the programme as it is the most discussed public topic. The present day nature of the location is most affected by its most populous ethnic group, i.e. the Roma. We cooperate with the Museum of Roma Culture or with Roma artists. They are given the opportunity to present themselves and to interact with artists from the broader cultural contexts. Due to the increasing demand we have added a food festival to the programme. We would like to somehow address the international cuisine. We are negotiating with the representatives of various communities to invite them to bring and set up vending booths.

In the last population census, the Roma language was indicated as the native language by 40,000 people, while approximately 13,000 respondents identified their nationality as Roma. How come there are so many emotions around such a small number of people?
Any detailed explanation would require a separate interview. Basically this issue can be divided into several categories. Most Roma do not declare their nationality as such and they would indicate they were Czech nationality in the census. The Roma nationality is indicated by individuals who are not afraid to present it publicly, which many Roma are. It is mostly based on their general experience associated with the admission of their identity. Sooner or later they often suffer from the consequences of this admission. So that’s one thing – there are more Roma than the census data provided by them may suggest. Second, the issue of personal identity is a very specific and intimate matter and any generalisation is very tricky. I did indicate the Roma nationality but many people I know did not do the same, simply because it was not a key issue for them and they did not want to be classified as such.

Do you want to expand the festival so that it covers other less popular parts of the city? I am talking about certain parts of Husovice or Dornych…
The area that includes Bratislavská or Hvězdová, and simply the heart of this neighbourhood, poses certain advantages in terms of the production of the event. Plus it is a tradition. Many people will come here. We made one small exception this year; one event will take place at Svitavské nábřeží – namely the sporting activities on Sunday. We had to find space for the large stage because the traditional location, the Hvězdička park, is undergoing renovation. Eventually we decided to stay on the streets of the Bronx because of the convenient transportation. Plus it makes a lot of sense from the point of view of the festival. The expansion of the festival is limited by the fact that all members of the staff are volunteers who have certain limitations. We have recently decided to stretch the programme over several days. If it proves effective, we will be looking for more venues for next year. However, the outcome is a natural product of the people’s interest in being a part of it.

The purpose of Ghettofest is to open this location for one day and offer space for social encounters. What about the remaining 364 days of the year? Does the world outside mix with this world?
The world outside gets in through the gentrification process. This issue is addressed in the expert part of the festival which is strongly community-oriented. Apart from the conventional debate we will offer a seminar focused on community services. That plays a big role here. There are some traditional non-profit organisations specialised in social exclusion issues and in the provision of individualised services to particular clients – such as
Podané ruce or NGO’s specialising in social services. Plus there are several initiatives which are provided a space within the framework of Ghettofest. These initiatives have their roots directly in this neighbourhood. One of them is Sdružení rodičů za férovou školu, which is an informal association of Roma mothers founded about a year ago. They have formed a choir and they will perform at the festival. It is an inside community activity. Other examples include the initiatives of young people who have come from the outside; they rent apartments here with the intention to do something about this place. These efforts include a project named Kreativní centrum in the former prison. So we can definitely see these efforts and the festival should serve as the showcase of these activities. The people who are interested in this location direct their efforts towards Ghettofest so that they can present their activities to the public.

So Ghettofest is a concentration of existing events and activities, it does not create a tailor-made programme?
The two go hand in hand. I live here, I work in the museum and I have certain ties to this place. And even my colleagues can offer a certain know-how and familiarity with this location. We try to use it to our advantage, which I think is the most important thing. Most of the programme created specifically for Ghettofest comes from outside. For example, we can invite 100°C
(band) to perform and we have to pay them. We are going to invite all the dancers from Brno. So essentially the programme is a combination of both of these methods.

What would have to happen before people are able to pass through this neighbourhood on a normal day, for example on their way home to Černá Pole from an evening show at the Radost theatre, without the fear of getting robbed?
I think the “mindshift” is the most important thing. I have recently discussed it with Kamila Zlatušková who referred to it as “the ghetto in your head”. It is the feeling that I am entering a ghetto and I will be robbed on the first corner. So I start avoiding going there altogether. First of all, you need to convince yourself that it does not necessarily have to be like that. And second, Ghettofest gives people the opportunity to meet the Roma. We are creating some space that has been missing here. They spend a few hours together and they eventually realize that there is nothing to be afraid of. The fact that a group of Roma women is standing at a corner does not automatically mean any risk. This has been the main feeling – that a larger number of the Roma automatically means danger. You can get into trouble anywhere in downtown Brno and you have to be prepared if you want to be out at night. The ability to get rid of the preconception that “there is a group of the Roma, they are going to hurt me” is the main prerequisite for the change. I am a Roma myself and I see it differently, but all people who live here keep telling me that it is not a dangerous neighbourhood. It is not a ghetto and it is not the Bronx within the meaning of the French suburbs or a large U.S. city.

Yes, the comparison is ironic because there are 1.5 million inhabitants in the real Bronx...
When a group of artists from Germany came to visit me, one day we were walking down Cejl
(street) at 10:30pm and the street was almost empty and silent. I told them it is the most dangerous street in Brno and they started laughing because their own experience with the most dangerous street was completely different. There are cities in the world where walking is strongly advised against, people use cars and bikes. Compared to that the atmosphere in Brno is completely different.

Life in this neighbourhood has always been specific. It was home to TetraHydroClub or, even earlier, Harlem that also alluded to an infamous part of NYC. It would appear this is a minor problem we are dealing with, but the allusion to the boroughs of NYC makes it more serious.
It is essentially a label. From the point of view of you and me, we can see it. But the point of view of people is different in the case of people who think they see bigger problems. Many people will cross the street if they see a group of Roma coming towards them. The reasons are totally irrational. It is a setting in their heads. As soon as I convince myself that I am somebody’s victim, the probability to actually become one is much bigger. However, this setting is very individual and specific and you cannot just convince people otherwise…

you cannot just tell them “don’t think about it, don’t be afraid of the dentist, don’t be afraid of the Roma”.
Exactly. It is an individual process of self-realisation.

In terms of crime statistics, is it worse here than let’s say in Bohunice?
There is no easy answer because the location known as the Bronx belongs to two boroughs. Crime statistics are kept for boroughs. One of the boroughs begins at, and covers the area to the north of, Francouzská, while the other borough continues in the opposite direction. The crime statistics cannot be used considering the method of collection. That being said, the drug scene is much more active than in the Lesná neighbourhood (as every drug prevention specialist will tell you).

As long as there is no precise data, I will skip this and ask one more thing: what is the most positive and the most negative stereotype about the Roma?
The most positive stereotype is that “all Roma sing and dance”. Some time ago I met a girl, a 100% Roma with zero musical talent. I was really happy and I told her “We need more people like you. You will be a teacher, you will teach what you study, stay away from singing and dancing”. And the most negative stereotype is that the Roma are genetically crime-prone. Everyone who thinks so ought to come to the Museum of Roma Culture, and visit the permanent exhibitions where an old tale is told about the origins of this stereotype. It will be easily refuted.

Comments

Reply

No comment added yet..


The final concert of this year’s instalment of the Barbara Maria Willi Presents series offered a unique project that on 4 December brought together two ensembles in the Convent of the Brothers of Mercy:  Cappella Pratensis and Ramillete de Tonos. They showed the audience the many different ways in which one can work with the polyphonic repertoire of the 15th and 16th centuries. The programme intertwined sacred and secular music, and purely vocal, vocal-instrumental and purely instrumental pieces.  more

The rediscovery and digitisation of the Brno polyphonic manuscripts BAM 1 and BAM 2 has opened a new chapter in the study and performance of Renaissance music. At the crossroads of historical research, modern technology, and artistic interpretation stands Past Forward, a cross-border project connecting institutions from the Netherlands, Belgium and the Czech Republic. At its artistic core are two musicians whose approaches complement each other: Tim Braithwaite, artistic director of Cappella Pratensis, and Kateřina Maňáková, lutenist, teacher of early plucked instruments at Janáček Academy of Performing Arts and guarantor of the entire initiative. In this conversation, they discuss working with previously overlooked sources, the challenges of historically informed performance, the promises of international collaboration, and their vision for the future of early-music interpretation.  more

The concert by Filharmonie Brno under Dennis Russell Davies on Thursday 6 November in Besední dům offered a fascinating programme combining the work of two contemporary composers from the former Soviet Union. The performers included Armenian baritone Aksel Daveyan, violist Julian Veverica, percussionist Lukáš Krejčí, and the Austrian Hard-Chor Linz choir under choirmaster Alexander Koller.  more

Brno-born pianist and Director General of the Czech Philharmonic, David Mareček, is appearing together with cellist Václav Petr on a concert tour in South Korea. During the first week of November, the duo is presenting Czech repertoire on prestigious stages, including the Seogwipo Arts Center, Yongin Poeun Art Hall and Daegu Concert House.  more

Moravian Autumn, organised by the Brno Philharmonic Orchestra, has long been one of the most important musical events of the autumn season. For the third time it also included the student project New World of Moravian Autumn – living proof that the connection between academia and professional practice can yield stimulating and deeply artistic results. This project, which originated at JAMU as an experiment within the course in practical dramaturgy, has evolved into a fully-fledged and respected part of the festival programme over the past few years.  more

22 September this year marks the 150th anniversary of the birth of Mikalojus Konstantinas Čiurlionis (1875-1911) - Lithuanian artist, composer, painter and choirmaster, founder of Lithuanian national music and a representative of Symbolism and Art Nouveau. The concert entitled Mikalojus Konstantinas Čiurlionis - MKČ 150, which clearly referenced this anniversary, took place on Thursday 23 October at Besední dům. The programme combined Čiurlionis’s compositions with works by František Chaloupka, who also collaborated on the project as dramaturge. The concert was given the umbrella title Mikalojus Konstantinas Čiurlionis / František Chaloupka: Moje cesta (My Journey), a nod to one of Čiurlionis' pictorial triptychs. Chaloupka's work, however, does not follow directly on from Čiurlionis. It follows its own path, but connects with him through inspiration in mythology, where it sees a strong reflection of the present.  more

The concert evening by PhilHarmonia Octet Prague with guest baritone Roman Hoza brought a programme conceived with curatorial sensitivity - with emphasis on the continuity of the classical tradition and its later metamorphoses.  more

The Brno staging of Janáček's Jenůfa at the Moravian Autumn Festival once again proved that even after many years, an original directorial concept can still reveal new dramatic and musical nuances when refreshed through a partly renewed cast and interpretive inventiveness. Martin Glaser’s direction remains firmly grounded in a realistic reading of the work, yet in combination with Robert Kružík’s musical leadership the production feels alive, gripping, and emotionally genuine.  more

The chamber music programme of the 53rd Moravian Autumn International Festival on Thursday featured songs by Franz Schubert arranged for guitar and voice by the duo María Cristina Kiehr (soprano) and Pablo Márquez (romantic guitar). The evening, entitled Longing, took place in Brno’s Besední dům.  more

Liane Sadler and Elias Conrad bring an intimate synthesis of Renaissance flutes and lutes to Brno. They adapt polyphonic compositions, various dance forms and airs de cour for their instruments, using historical improvisation techniques such as diminution or bastarda. Sadler & Conrad is an ensemble included in the prestigious pan-European S-EEEmerging project focused on the professional and sustainable development of young early music ensembles. They come to Brno at the invitation of the Concentus Moraviae festival, which is one of the twelve partners of this project. As part of their residency, they will perform at a concert in the series "Barbara Maria Willi presents..." on 7/10 at 7 pm in the Convent of the Brothers of Mercy.  more

The prologue of the annual Lednice-Valtice Music Festival took place in Brno's Reduta Theatre on Saturday 20 September 2025. The festival’s opening evening featured the Brno chamber Ensemble Opera Diversa with conductor Gabriela Tardonová. The 10th anniversary year of the festival is subtitled From the New World, which is probably why the dramaturgy focused on young artists - pianist Ayla Bárta and violinist Matteo Hager, as symbolical representatives of the future world.  more

With Sunday's opening concert, Filharmonie Brno embarked on its seventieth anniversary season and also its eighth led by conductor Dennis Russell Davies. The Kantiléna children's choir is celebrating the same anniversary as Filharmonie Brno, and so the two ensembles coming together for the opening concert of the season was the perfect choice. At the Janáček Theatre this conjunction was provided by Gustav Mahler's monumental Symphony No. 3 in D minor. The aforementioned performers were complemented by mezzo-soprano Kateřina Hebelková and the Czech Philharmonic Choir of Brnomore

Jelena Popržan is a viola player. Born in Serbia, she studied in Austria, where she now lives, and this year she will be a guest at the Brno Music Marathon Festival. On Sunday, 10 August, she will perform in the courtyard of the House of the Lords of Kunštát as part of the Balkan Soirée. We are talking to Jelena Popržan about her path to music, the challenges and joys of playing the viola, the historical perspective of this instrument and the various groups and projects she is involved in.  more

This year, more than 41,000 people visited the International Folklore Festival in Strážnice, a record-breaking number. Indeed, a surprising number. Such a vast number of people gathering in one place at a time when the demise of folklore and folklorism had been predicted many times over. What made them do it? This year’s 80th anniversary year certainly helped, but the anniversary alone would not have been enough. What is the charm? Every visitor takes away a different experience, a different memory, a different story. And I will offer you mine now. So, what was my Strážnice 2025 experience like? And did I find the answer to the question of what lies behind its immense appeal?  more

The opera King Roger by Polish composer Karol Szymanowski had its Czech première at the Janáček Theatre. The title character was played by Jiří Brückler, the king's consort Roxana was portrayed by Veronika Rovná, Roger's right hand man, the sage Edrisi, was played by Vít Nosek, while Petr Nekoranec appeared as the Shepherd and the main source of Roger's trouble. The role of the High Priest was performed by David SzendiuchJana Hrochová appeared as the Deaconess and the soprano and tenor solos were performed by Eva Daňhelová and Pavel Valenta. In addition to the soloists, the Janáček Opera NdB Choir and Orchestra conducted by Martin Buchta and the Brno Children's Choir with choirmaster Valeria Mat'ašová also performed. It was directed by Vladimír John, with set design by Martin Chocholoušek and costumes by Barbora Rašková. The lighting design was by Martin Kroupa and the choreography by Jan Kodet and Michal HeribanRobert Kružík, who also directed the première performance, took over the musical direction.  more

Editorial

Now in its 32nd year, the international Mozart-themed competition Amadeus, open to young pianists up to the age of 15, is a prestigious platform showcasing rising talent. While there is no lower age limit, the upper one is set at fifteen. Amadeus will see 87 children from ten countries compete. The concert showcasing young piano talents from all over Europe will take place in Besední dům.  more

Händel’s Alcina, prepared musically by Václav Luks with Collegium 1704 and staged in Jiří Heřman’s lavish production, returns to the Janáček Theatre stage for just four performances. In the title role, Magdalena Kožená will make a rare appearance.  more

The Brno Culture Newsletter presents an overview of upcoming events and opportunities concerning theatres, clubs and various cultural events in Brno.  more

Brno Christmas, organised by TIC BRNO, will begin this year on Friday 21 November. On náměstí Svobody, Dominikánské náměstí and in the courtyard of the Old Town Hall, visitors can look forward to an Advent full of lights, music and new surprises. The opening will unfold as a Christmas story brought to life by actors from Brno City Theatre. The 'Ordinary–Extraordinary Family', known from this year’s Brno Christmas posters by illustrator Tomáš SMOT Svoboda, will guide us through the festive afternoon.  more

The concert organised by Filharmonie Brno has been cancelled as one of the soloists is ill. A replacement date is being arranged.  more

The National Theatre Brno invites audiences to explore its online exhibition IN THE ROLE OF KOSTELNIČKA, tracing 120 years of Brno interpretations of one of the most renowned operatic roles.  more

The theatre hall of Dělnický dům (Workers’ House) in the Brno district of Židenice has, for more than a century, been a place where the worlds of people and beetles meet. Concerts and theatre performances alternate here with entomological fairs and gatherings of lovers of beetles, butterflies, bees and other insects. It is for this reason that the Brno Contemporary Orchestra will present the concert Šestinozí bohatýři (“Six-Legged Warriors”), offering a meeting point between the structured, pragmatic sound world of insects and the chaos, freedom and democratic spirit of human music. The concert will feature two world premieres, two Czech premieres, and one revival of a work originally written for the BCO in 2018.  more

A unique probe into musical history, a glimpse into the author’s private life, a visual chronicle of Czechoslovakia in the latter half of the twentieth century, a testament to the ever-changing photographic style of the age... The new book Systém Stivín, just published, is all of this. Above all, however, the book proves that Jiří Stivín is a master not only of every conceivable wind instrument, but also of the camera and the craft of photography. This extensive volume contains nearly three hundred images taken by the musician from the 1950s to the present. Editors Jiří Pátek and Roman Franc selected them from more than 50,000 negatives in Stivín’s vast archive. Alongside family snapshots depicting children, wives and parents, the book includes black-and-white images from the "golden sixties," offering valuable testimony to the atmosphere of the era in which Czech popular culture was being born.  more

A dance–theatre hommage to bygone times and their masters – Josef Topol, Vlastimil Harapes, Jan Kačer, Marie Tomášová and Jan Tříska. The Brno premiere of the new ProART project will take place at the Löw-Beer Villa.  more

Brno City Council has appointed Petr Štědroň the new Director of the National Theatre Brno. He will take up his post on 1 August 2028, succeeding the current director Martin Glaser, who will step down on 31 July 2028 and move to lead the National Theatre in Prague.  more