The early “research of Gypsies”, romology, then the visible and the hidden processes of
“tziganology” in anthropology included a shift in the state of understanding between the
hillside of critical interpretation studies and that of local group psychology. They also involved
the research of folk tales, dancing, poverty, examining segregation and participatory action
methodology as well as innovation and rebirth of the musicological research of Gypsy music.
The terminological aspect of “us” and “others”, expressing alterity and identity, points towards
the more complex study of (ethnic) “minorities”, moreover knowledge and field studies, and
results of examining narratives (such as tales, dances, visual worksof art, publicity, religion and
community), bring us closer (by way of political and scientific pragmatism) to signalling a new
era of empathic understanding. The aim of the paper is to highlight the ways leading to that
goal, putting the musical aspects of the shift in focus, consisting of stylistic inventions, a worldmusic-based openness towards instruments and performance cultures, which nevertheless still
carries the signs of a new era of projection and knowledge contents, first-person-narrative and
narrative identities. Finding answers to the question “where did it come from” might be aided
by contemplating “where does it go”. This would be both the aim and partially the structure of
my thematic essay.