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"Novog Talasa" U Rokenrol Muzici

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ORIGINALNI NAU 5NI RAD 316.723:784(497.11 BEOGRAD ) Marija Ristivojevi 4 Institut za etnologiju i antropologiju Filozofski fakultet,Univerzitet u Beogradu [email protected] Korelacija muzike i mesta na primeru ∗ beogradskog "novog talasa" u rokenrol muzici Apstrakt: Rad predstavlja pokušaj da se osvetli veza izme 7u "muzike" i "mesta". Budu 4i da je re 6 o sociokulturnim kategorijama, njihov odnos predstavlja vid kulturne konstrukcije, a samim tim postaje mogu 4a antropološka tema. Ovu problematiku sam razmotrila na primeru uticaja "novog talasa" u rokenrol muzici osamdesetih godina, na formiranje specifi 6nog beogradskog identiteta, koji je za potrebe analize ozna 6en kao "novotalasni" identitet. Analizom narativa o tom fenomenu u vreme njegovog na- stanka i trajanja, uo 6ila sam i kao klju 6ne identitetske elemente ozna 6ila, tri klju 6ne beogradske muzi 6ke grupe ( Elektri 6ni orgazam , Šarlo akrobata , Idoli ), teme i jezik na kome su pesme pisane, važna mesta okupljanja, kao i originalni muzi 6ki izraz. Kroz isticanje elemenata koji konstituišu pomenuti identitet, nastojala sam da skrenem pa- žnju na formiranje odre 7ene lokalne autenti 6nosti koja se razvila kao rezultat sadej- stva "novotalasnog" muzi 6kog izraza i svakodnevnog iskustva života u tadašnjem Be- ogradu. Klju 6ne re 6i: muzika, grad, lokalni identitet, Beograd, "novi talas", antropologija Uvod Rezultati istraživanja izloženi u ovom radu predstavljaju jedan deo šireg is- traživa 6kog poduhvata koji za cilj ima razumevanje kompleksnog me 7uodnosa muzike i mesta. Promišljanje tog odnosa nalazim važnim jer iz njega, izme 7u ostalog, obe pomenute sociokulturne kategorije crpu svoja zna 6enja. Naime, re- lacija muzike i mesta predstavlja jedan vid kulturološkog procesa iz koga se raz- vijaju zna 6enja koja potom oblikuju identitete kako muzike, tako i mesta. Prem- da je tu korelaciju neophodno sagledavati kao dvosmeran odnos, ovom prilikom težište je stavljeno na jednu stranu klackalice, tj. muziku posmatram kao ele- ∗ Rad je rezultat istraživanja na projektu "Transformacija kulturnih identiteta u savremenoj Srbiji i Evropska unija", br. 177018 koji finansira Ministarstvo prosvete i nauke Republike Srbije. K , . . 6. . 4 (2011) 932 MARIJA RISTIVOJEVI 3 ment konstrukcije jednog (od mnogih) gradskih identiteta. Pod "gradskim iden- titetom" podrazumevam sve ono što je u odre 7enom vremenskom i prostornom kontekstu percipirano kao "važna identitetska odlika" prou 6avane sredine (od strane odre 7enog broja ljudi) slede 4i gledište po kome mesta predstavljaju ma- terijalizaciju i svojevrsni simbol društvenih odnosa (Cohen 1995, 438). Na taj na 6in shva 4en, gradski identitet svoju personifikaciju može prona 4i kako u raz- li 6itim fizi 6kim mestima (npr. klubovi, kulturni centri, kafi 4i, parkovi, odre 7eni delovi grada), tako i u svakodnevnom životu i doživljaju grada koji se reflektuje kroz specifi 6an na 6in ponašanja (npr. kretanje unutar grada, stil izražavanja, te- me za razgovor). Hipoteza od koje polazim jeste da muzika poseduje "sposobnost" da formira identitet nekog grada. Muzika "proizvodi" kako fizi6ka tako i simboli 6ka mesta tj. koncepte i simbole na osnovu kojih je mogu 4e zna 6enjski "obojiti" odre 7eni prostor putem svakodnevnih društvenih interakcija i praksi kao što su druženja, ve 6ernji izlasci, posete koncertima, spontana okupljanja, žurke i tome sli 6no. U tom smislu, predmet analize predstavlja "novi talas" u okviru beograd- ske rokenrol (u širem smislu tog žanra) muzi 6ke scene osamdesetih godina. Sam fenomen "novog talasa" nije autohtona ve 4 "uvozna" pojava, koja je do- živela svoju lokalnu interpretaciju ka kojoj je moje interesovanje i usmereno. Naime, iako rokenrol muzika, kao i "novi talas" nisu muzi 6ki pravci koje je doma 4a sredina iznedrila, utiskuju 4i u nju lokalne specifi 6nosti, svakodnevno iskustvo života u Beogradu (a i tadašnjoj državi SFRJ), ta muzika postaje lo- kalna. Njena lokalna autenti 6nost proizlazi iz interakcije sa lokalnom publi- kom kao i sredinom. Moti Regev, posmatraju 4i izraelski rokenrol kao lokalnu autenti 6nu muziku, uo 6ava da ukoliko želimo da shvatimo na koji na 6in lokal- ni pop/rok stil prerasta u "autenti 6nu" muziku odre 7ene kulture, predmet naše analize bi trebalo da bude proizvodnja zna 6enja koja iz te muzike proizlaze (Regev 1992, 1). Imaju 4i to u vidu, cilj ovog rada je da na primeru novotala- snog muzi 6kog fenomena ukažem na proces formiranja specifi 6nog beograd- skog identiteta. Kroz analizu narativa o ovom fenomenu u lokalnom diskursu, nastojim da identifikujem i apstrahujem klju 6ne elemente novotalasnog iden- titeta Beograda osamdesetih godina. Koncept "novog talasa" se odnosi na mnogo šire polje od muzike, me 7utim, ovde ga posmatram najpre kao lokalni muzi 6ki (i kulturni) fenomen. Na razmišljanje o odnosu Beograda i "novog talasa", podstakao me je i pro- šlogodišnji Belef 1 koji je svojom temom Na novom talasu omogu 4io remini- scenciju ovog muzi 6kog fenomena. Trideset godina od postojanja "novog tala- sa" obeleženo je razli 6itim manifestacijama (izložbe, predstave, projekcije fil- mova, tribine) me 7u kojima su prednja 6ili koncerti grupa koje su na neki na 6in po- vezane sa ovim talasom, bilo da su predstavnici nekadašnje ili tzv. Nove srpske 1 Skra 4enica od Beogradski letnji festival. Issues in Ethnology and Anthropology, n. s. Vol. 6. Is. 4 (2011) MUZIKA I MESTO "N OVOG TALASA " 933 scene 2. Posve 4ivanje manifestacije od lokalnog zna 6aja novotalasnom fenomenu upu 4uje na zaklju 6ak da je "novi talas" nešto zna 6io (u) ovom gradu, tj. da je zna 6enjem koje mu je pridato (kroz percepciju muzi 6ara, kriti 6ara, publike, lju- bitelja i ne-ljubitelja) uticao na (muzi 6ki) identitet grada, ili kolokvijalnim jezi- kom re 6eno – obeležio je jedno vreme u Beogradu. Obeležavanje pomenute tri- desetogodišnjice ukazuje i na postojanje želje da se, makar kroz ta dvadeset i 6etiri belefska dana, novotalasni beogradski "duh" u neku ruku oživi i da pruži impuls nekim novim "novim talasima". Materijal na kome se analiza zasniva 6ine 6lanci jugoslovenskog rokenrol 6asopisa Džuboks koji tretiraju pitanje beogradske rok scene i pojave "novog talasa". Ovaj muzi 6ki 6asopis je, sa sedištem u Beogradu, u periodu svog po- stojanja (od 1966-69. i obnovljeno izdanje od 1974-1985. godine) važio za bitnu pojavu u medijskoj istoriji beogradskog rokenrola (Vuksanovi 4 2007, 591), što mu daje legitimnost relevantnog izvora informacija o tome kako su ljudi koji su tu scenu pratili ili bili njeni akteri posmatrali "novi talas" i prema njemu se odnosili. Budu 4i da se ro 7enjem "novog talasa" može smatrati 1980. godina, jer tada nastaju i postaju diskografski vidljive klju 6ne grupe Beograd- ske Alternativne Scene (tada popularno nazivane BAS) Elektri 6ni orgazam, Šarlo Akrobata i Idoli , analizirani su svi brojevi 6asopisa u razdoblju od 1980. pa do 1985. godine. Krajnja granica postojanja "novog talasa" se sama namet- nula budu 4i da su sve grupe pomenute scene (osim Elektri 6nog orgazma koja i danas postoji) do 1984. godine prestale sa radom. Idoli su u tom sastavu svoj poslednji album " 5okoladu" objavili 1984. godine, me 7utim, traže 4i mogu 4e "odjeke" novotalasne pri 6e, moje interesovanje se proteže i na narednu godi- nu. Trideset godina 6ini sasvim solidnu vremensku distancu te bi bilo intere- santno i zna 6ajno uvideti na koji na 6in se ovaj fenomen percipira u današnjem kontekstu. Me 7utim, mislim da bi ipak trebalo po 6eti "od po 6etka" i najpre utvrditi kako su "novi talas" doživljavali oni koji su njime bili zapljusnuti, a koji su jednim delom i doprineli njegovom stvaranju. Konceptualno i teorijsko pozicioniranje Povezanost muzike i mesta ne mora na prvi pogled biti vidljiva, no svaki sle- de 4i pogled tu vezu 6ini evidentnijom. Pre nego što se upustim u promišljanje 2 Termin predstavlja pokušaj da se pod njim okupe (i kao takve dalje prezentuju publici) muzi 6ke grupe koje su aktuelne na alternativnoj rok muzi6koj sceni Srbije, a koje su mahom još uvek neafirmisane (v. o kompilaciji Jutro 4e promeniti sve u izda- nju PGP RTS 2007. na internet stranici http://www.popboks.com/jutro/index.php, a s tim u vezi i rubriku Scena na http://www.popboks.com/scena.php, 20. 7. 2011. K , . . 6. . 4 (2011) 934 MARIJA RISTIVOJEVI 3 tog odnosa, neophodno je da pojasnim šta podrazumevam pod konceptima mu- zika , grad i identitet . Samo zna 6enje re 6i muzika je teško odrediti jednom definicijom i sa time se slažu gotovo svi oni koji su se u tome oprobali. Možda je stoga najbolje po 4i od uo 6avanja neke smislene distinkcije izme 7u muzike i ne-muzike, od- nosno tišine, buke kao i mnoštva zvukova koji nas svakodnevno okružuju a ne potpadaju pod pojam "muzika" tj. ne tretiraju se na taj na 6in (kao na pri- mer, svima toliko znan zvuk automobilske trube). Šta je ono što muziku za- pravo 6ini muzikom? Pre svega, muzika jeste sistem. Taj organizovani si- stem proizvo 7enja zvukova osmislio je 6ovek vo 7en nekim ciljem, potre- bom, znanjem, ose 4ajem. U tom smislu moglo bi se re 4i da muzika predsta- vlja "smišljeno 6ovekovo nastojanje da pomo 4u nje deluje na spoljni svet" (@uri 4 1999, 1). Da bi se neki zvuk mogao okarakterisati kao muzika, neop- hodno je da se u odre 7enom sociokulturnom kontekstu na taj na 6in i percipi- ra. Sledstveno tome, pojam muzike predstavlja sociokulturnu kategoriju 6ije zna 6enje može varirati ne samo "od kulture do kulture" ve 4 i me 7u konzu- mentima iste kulture (npr. svima poznate prozai 6ne "rasprave" oko toga šta je (prava) muzika , a koje, pak, 6esto odražavaju sklonosti ka odre 7enim mu- zi 6kim žanrovima). Muzika svoje zna 6enje crpi sa dve strane. Jednu stranu 6ine autori odnosno muzi 6ari, dok bi drugu stranu predstavljali recipijenti tj. publika. Budu 4i da ju je sa nekim razlogom, porivom i idejom osmislio, autor je u svoju muziku utisnuo odre 7enu poruku (ili više njih) koja u datom kontekstu dobija odre 7eno zna 6enje.
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