The lived experiences of lesbian, gay, bi, trans, intersex and queer (LGBTIQ) Roma, sometimes referred to as Romany Gypsies, remain invisible to most people, who are not aware that LGBTIQ Roma exist. The visual and textual data provide a unique opportunity to gain insight into the lives of LGBTIQ Roma through their lived experiences and visual self-representations, thus increasing the visibility of LGBTIQ Roma as well as demonstrating ways in which LGBTIQ Roma wish to be represented. These self-representations pose a direct challenge to the tropes, dominant representations, stereotypes and misconceptions that exist in the popular imagination about both Roma and LGBTIQ people.Romanticising or vilifying stereotypical representations of Roma often imposed by non-Roma have been instrumental in generating and maintaining negative perceptions of Roma. Roma, sometimes also referred to as 'Gypsies' or 'Travellers', are subsequently often seen as a risk to societal and national security (Van Baar 2015). Even in Romani Studies, the academic area of study, Roma have often been essentialised as 'eternal Gypsy nomads' that does not reflect their lived realities (Tremlett 2009, Willems 1997). Focusing on romanticised or villified notions of a shared identity has led to Roma being conflated with a stigmatised group identity (Tremlett and McGarry 2013). This collective conception of ethnic identity has led to all members of an assumed 'group' being reduced to possessing the same set of assumed characteristics and values. In the political landscape, neoliberal nation states have over-visibilised and used Roma to generate solidarity, belonging and identity among non-Roma (McGarry 2017); yet, at the same time, actual Roma lives remain 'hard to see' (Stewart 2010) or 'invisible' (Okely 2010). With this backdrop, LGBTIQ Roma have barely existed in this research, leading to the needs of Roma remaining largely invisible to governments, institutions and service providers (Fremlova 2017). The candidate's doctoral research (2017), which addressed this empirical gap, found that LGBTIQ Roma experience many types of discrimination and multiple objectification from non-Roma and Roma. LGBTIQ Roma are associated with stigmatising conceptions of ethnicity/race, sexuality and gender identity, and their voices, their narratives and life experiences, are barely registered in public discourses. Simultaneously, being heard and visibility is key to acceptance and belonging (Fremlova 2017). This indicates that there is tension between the (in)visibilities and representations of Roma. According to Tremlett (2014), accurate understanding of Roma requires a conscious effort made by non-Roma to transcend historically constructed stereotypes about Roma whilst addressing the history of oppression that has resulted in a distorted imagery portraying Roma. Research needs to attend closely to the self-representations - narratives and self-made images - of Roma people themselves (Tremlett 2017). The question 'How can we challenge dominant representations of LGBTIQ Roma in public spaces through queer creative and discursive research-informed interventions?' will guide the proposed investigation into questioning stereotypical representations of LGBTIQ Roma through analysing existing and new photos of LGBTIQ Roma. In answer to Tremlett's (2014c, 2017) call, this project will unpack the conceptual interplay of (in)visibilities, self-representations, the everyday/ordinary, acceptance and belonging. This will be done with a view to maximising the impact of the findings of the candidate's PhD by re-engaging with some of the research participants from her PhD and engaging with new ones in a top-up research exploring the potential of visual self-representations to contextualise, critique and challenge the dominant representational canons through queer (non-normative) creative and discursive interventions.

Data was generated through observation during two creative methods workshops (28-29 March and 10-15 September 2019); in four in-depth semi-structured photo elicitation interviews with key informants (17 May; 24 May; 6 June, 22 July 2019); and in a focus group (13 September 2019). The photos mentioned in the transcripts are available from the online gallery (see Related Resources).