The Nationalisation of Cultural Space on the Example of the Guča Trumpet

CEU eTD Collection

than one Serbia? Thenationalis Serbia? than one the example of the Guča trumpet festival trumpet Guča the of the example In requirements fulfilment ofthe partial Advisor Nationalism Studies ProgramNationalism Studies Central European University Professor Florian Bieber Budapest, Hungary s Ralf Grabuschnig : Professor Anton Pelinka : Professor Anton Master of Arts s ubmitted to ubmitted 2015 and by

ation ation

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the degreeof of cultural space space of cultural

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‘First’, - down and bott to traditional routinely has additiona has why

then contrasted withthe experienc then contrasted so many people inSerbiaso many people om applied tothe trumpetapplied festival Guča, in attaching - nationalist anda nationalist - up. The first part presents l potential implications in in potential implications the sensel that the event B esides showingtheinfluencediscourse ofthe research methods, I investigate perspectives:research two from the methods, issue state and state - Eastern Europe,

‘Second’, I

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CEU eTD Collection Bibliography Conclusion Chapter3: T Chapter2: T Chapter1: T Introduction Table of contents Methodological framework Everyday ethnicity Festivals, (World) Music and ethno Discursiveconstruction of thenation Chapter summary Perceptions ofparticipants the Nationalisation theof festival Serb Music, festivals and national meaning Chapter summary discursiveThe construction of two Serbias Orientalism and emergenceThe aof Second Serbia Commercialisation and the logic Worldof Folklorisation Gučaa form as pilgrimageof Festivals, publicevents and identity Music and identity Discoursein web forums Areas theof TwoSerbias discourse Newspaperdiscourse ian brass andmusic thefestival in Guča

...... he national colouring of the Guča trumpetfestival wo or more Serbias heoretical framework and methodology

......

...... Balkanism

......

- ...... marketing ......

......

...... Music

...... ii ......

......

70 66 64 58 56 54 51 49 47 46 45 44 43 40 37 35 30 29 27 25 23 17 14 11 .

7 7 1

CEU eTD Collection domest therefore isfarthe region it from knownallwhile being andbeyond, over uncontroversial increasingly festival and Europe theGuča also is elsewhere.Today trumpet from Western furthermore (population 2,000)inthe south music eventsdrawing visitors Europe, in million tothetiny more a thanhalf Gučatown of past decades, two this intellectual asinthe circlesas broader well is thetrumpet festival publicGuča. in the Over One manifestation ofthis areas Serbiannotablyalso most thecultur publiclife, of widely very Serbian can This muchspecifictothe context. also beseenthatt inthe fact immense influence generalisatiand thisdiscursiveandits omnipresencedistinction of conservative of a acourse parts phenomenon society isof not democracy. rooted in tradition andnati describing two more clearly orless definedvisions developed intoa tothe Miloševićopposition regime,general, in and inYugoslavia thewars nationalism it Serbian intellectual originally While refer debate. to used to Inearly the 1990s, Introduction ically. shared

do not come onlydo notcome fr While such aWhile between blackwhite differentiation and liberal themore andmore

distinction is not at not all is distinction

broader a about discourse aso originally small categor discursive distinction onalism, theother inEuropeanis - west om Serbia and the neighbouring andcountries the om Serbia anybut more y. A - fter the regime change of 2000, the distinction hardened,fter changeregime of2000, the thedistinction Serbian region of Dragačevo each year. ofDragačevo TheseSerbianeach visitors region limited topoliticslimited regional - called ‘S 1

festival grew biggest intooneoffestival the folk

often in comingboth upindiscussions econd for(the a‘F Serbia, future one any more, al sphere. Serbia’( ation, m the quite

part of Serbian societypart of Serbian in Druga Srbija

but extends into many into extends otherbut odernis unique to Serbia, the unique ation and ation ) appeared in oday this irst Serbia’) ons is ons is soon

CEU eTD Collection Etnoantropološki Problemi Etnoantropološki Lukić Miroslava (2011); Muzič Etnicizacija Ljudi: Običnih Srbiji,” USavremenoj Identiteta 1 discursive battle. from the I arguewill of the thattheperception theexperiencesterms in andhowreflects this made questions, influential tothe overall when comes it re attract somenationalistically minded people? festival indeed happening a event nationalist ratheran happens many just orlike to others that by themajority clearly aother to significant hand,young thecrowd consists of part and Serbs the counterfeits war ofSerbian criminalsare omnipresent glance, symbols as nationalistic Yet, it whenfestival, visiting the for unquestioned this granted happens thatitselfjust in the festival to T mentioned Serbia. andis abackward, nationalist happening, traditionalist a European unworthy modern of Quite onthe contrary,

As has been done in much literature this far e.g.: e.g.: far this literature much in done been As has wo Serbias It seems broader

in this thesis I thesis in this seek toanalys opposition to opposition the EXIT rock

discourse, while it is unclearwhile itis discourse, why this

that the differingGučathat theon (and opinions festival esp Two Serbias The music playedThe at music the event - Krstanović, “The Festival Order: Music Stages of Power and Pleasure?,” Pleasure?,” and Power of Stages Music Order: “The Festival Krstanović,

. 1

it facesit from immensegroups opposition society, diverse in claiming it

3, no. 3 (2008): 129 3 (2008):3, no. did notcome forreasons. How do suchdid ke Tradicije Na Primeru Sabora U Guči.,” UGuči.,” Sabora Primeru Na ke Tradicije Kultura

discourse such as is , no. 116 no. ,

difficult

festival as a nationalist eventa festival for as e –

and pop flags, militaryeven costumes and T 43. – – why putation of the event? of theevent? putation 117 (2007): 98 117 (2007):

the festivalthe

Marina Simić, “EXIT U Evropu: Popularna Muzika I Politike Politike I Muzika Popularna UEvropu: “EXIT Simić, Marina

not to agree againstat it first with the accusations

And i and 2

be a nationalistic event, leaving thereasons on theother handon festival in Novi in festival how is thecase, f so:why minority thenisthis so

by participants its – being

122; Waldemar Kuligowski, “Nacionalizam “Nacionalizam Kuligowski, Waldemar 122; the festival innational coloured is

on the streets of the town on thestreets ofthe

only one of the arenas ofthe one only Anthropology Magazine Anthropology

es this fit together? Is es fittogether? this this and one cannot takecannot and for one To giveanswer an tothese

Sad) followthe lines ofthe , whilenaturally being the .

a major parta derives major other ecially its -

Shirt Europeanswho s showing

11, no. 1 no. 11, frequently in . Onthe

this this

CEU eTD Collection Nationalism in a Globalising Wor Globalising a in Nationalism Ecstatic of Significance ofthe Understanding an Towards Emotion?’. Surplus of “‘Carnivals Skey, Michael Tim Edensor, 3 Wodak, Ruth 2 the discursive ofthe construction nation playroleresearch. afor Using crucial a my them as undertaking C colouring i and howexactly,a seemingly a cultural banal like event trumpet festiva top research,existing twoperspectives combining everyday belonging national natureof scholarlyWhile onthe discursive of worksconstruction national both meaning national belongingarereinforced. experience whether toanswer ornot can Guča then tu considerationstop about the such politicalas aswell economicand as historical logic c established I am going toconsolidate analys which iswhy are methods notgoingapplied thesis. musicological inthis tobe main motivati

E.g : E.g. hapter 1 - .: down and a bottom Michael Billig, Billig, Michael Jon E. Fox and Cynthia Miller Cynthia and Fox Jon E. ing the discourse in Serbia’s main newspapers and web portals over the p Serbia’s and mainportals web over newspapers thediscoursein ing rn tothemicro andanalyse nationalis level this how

will will n its reputation and appearance reputation n its what and

National Identity, Popular Culture and Everyday Life Everyday Cultureand Popular Identity, National The Discursive Construction of National Identity National of Construction DiscursiveThe (by adherents ofa(by adherents Second Serbia) . Mytheoretical basis on for most visitors set to out Banal Nationalism Banal

- up approach. By doing this, the present thesis aims to explain why approach.thepresenttoexplain Byup aims thesis this, doing introduce thetheoretical my ld,” ld,” - down construction nationalI colouring of as astarting point, will

claim - Idriss, “Everyday Nationhood,” Nationhood,” “Everyday Idriss, Studies in Ethnicity and Nationalism and Ethnicity in Studies

(London: SAGE (London: consists ofthreeconsists to attendthe

that the nationalist colouringthat thenationalist discursively ismainly 3

exist, this this thesisexist, adds *** , while , while , 1995); 1995); ,

3 commonly be seenbe festival

and methodological big

(Edinburgh: Edinburgh University 2009). Press, Edinburgh (Edinburgh: further

also

, clusters of literature. Firstly, literature. on clusters of works also

(Oxford; New York: Berg Publishers, 2002); Publishers,2002); Berg York: New (Oxford; does not Ethnicities

not neglecting other perspectives separated in the existing literature:existing inthe a separated ircumstances. Taking these ation reflectspeople’s in

as a placewhereas of notions a implications this may this implications have. a different approach

6, no. 2 (2006): no. 143 6, playa significant role inthis,

8, no. 4 (2008): no. 8, 536 framework this for l take s –

Instead, b on nationalist 2 61.

ast few years,ast few and the to the – 63;

CEU eTD Collection International Journal of Cultural Policy Cultural of Journal International Reader Worldin Music,” through ‘Local’ the Redefining “On Guilbault, Iocelyne Difference,” for Search the and Music “World Jo Haynes, JeanComaroff, and Comaroff L. John Press, 2000); California 4 stands for modernis Serbia broad Startingregimechange from the marking thespa a todistancethepolicies political regime statement,group of this from used theMilošević and asgroup intellectuals pronounced ofopposition a theearly in by 1990swas not entirely Serbiana phenom unique being in intellectual circles amongstgeneral and public the discourse construction of (national)meaningand role its inthe colouring of C devoted to mundane constructioni of commercialis as hasbeenbywell established with the logicMusic and dealing scholars of World these dynamics economic are manifold, interests clearly play a r dominating comprises literatureguiding dynamics onother this bas Jelena Gligorijević, “World Music Festivals and Tourism: A Case Study of Serbia’s Guca Trumpet Festival,” Festival,” Trumpet Guca Serbia’s of Study A Case Tourism: and Festivals Music “World Gligorijević, Jelena

Such as: Such hapter 2 is, Igoingis, am toanalys

discourse isfinallyhow this and and tomusic festivals. show applied Thesecondcluster

set of ideological positions concerningset positions ofideological pl Serbia’s

(New York: Routledge, 2006); York: Routledge, (New came isolationismand overall whileth tosignifynationalism, backwardness, Simon Frith, “The Discourse of World Music,” in in Music,” World of Discourse “The Simon Frith,

in question is the notionofTwo is in question Serbias

presents thetop an overview of thean methodsused overviewof ation of culture ce ofanother,ce ation

, cosmopolitanism and cosmopolitanism Europeanis, dentity andethnicity everyday - e the Two eSerbias the down . 4

non T

Ethnicity, Inc. Ethnicity, he lastcluster of literature

20, no. 2 (2012): no. 139 20, in October 2000, the idea ofain October2000, analysis - nationalist, open

of theissue

(Chicago: University of (Chicago: University enon

throughout this discourse, identifyimportantdiscourse, themost areas of 4 music

Ethnicities . While theoriginalWhile a. idea S of Western Music and Its Others Its and Music Western , which Serbia, isveryin both muchpresent – 54. - minded , while,as hasbeen mentionedalready, s

festivalsevents. and cultural While

concerned ace inthe world, whereas .

5, no. 3 (2005): no. 365 5, The remainder of chapterremainder ofThe be 1will

finally, ation. As it must be tothe must obvious ation. Asit

Serbia was ,this to thesis. Ethnomusicology: A Contemporary Contemporary A Ethnomusicology:

Chicago Press, 2009); Press, Chicago Two Serbias –

cultural space.cultural main The contains works onthecontains

the discursive the discursive –

(Berkeley: University of of University (Berkeley: 85;

first andforemost ole in this respect,ole inthis developed intoa

econd Serbia shift

the First the the e S

later on. econd

CEU eTD Collection question in appearance of Guča, 3 Chapter finally developed inthefirst place, yearsover topic.Thereby,this the past on 15 chapter anewspaperanalysis discoursearticles ofand be discussion on 2will internet based and finally In or festivals EXIT. twoSerbias: representing these and Guča rock and p Turbofolk stretchingrealm,cultural especiallywhere tothe music, folk theSerbian the more important ones coope closer cooperation or withthe EUvs.Russia, thediscussionsconcerning stronger tieswith political debates offought: European thenoughties were vs.holding integration ontoKosovo, sy Yet even these though types are ideal overtlyand would biased nopolitician seen inthe exclusivelywith the first negativeterms one. connected reader byvisions now,boththese mpathis der t ration with the International Tribunalration Criminal for withthe toname theformer Yugoslavia, contributed tothe colouringcontributed Guča innationalterms. of s to answer why particula this to answer o exem

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show the wide acceptance of the concept ofTwo acceptance the Serbiasconcept wide oftheshow

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CEU eTD Collection is happening. place where thena everydayIethnicity, will it showhowwill and par towhichextent asvisitors well as organis thendealThe3 will chapter final t part with of one hand, whilebecoming and more nation traditional changed marketing andtime chapter wit deals nationalism and,toacertain extent, strongest,also thatperiod Guča in thatthefestival in was with it became associated 1990s, since historicalthe early overviewfrom 1960s to questions ofethnicity,to questions and Using authenticitymusic. thetheoretical of framework significantly more strongly , which , ,

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CEU eTD Collection goes sayingwithout ot that c discourse. Asfortop the and a top groups: in manifold ways aother isnot fixed identities, It awell is used bottom part logic of Music World factorscolouring inthe crucially national most Guča festival, onthe theories economic ofthe discursive thecluster construction subsumes nation. The literature onadditional of second down perspective inthe secondof provided literature thethesis, thatis, chapter onthe structured into According to Theoretical framework and methodology Chapter 1 ommunity can get invoked. While Iommunityget can invoked. While discursive focus construction will on in I.

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CEU eTD Collection 6 5 reception a on of discourse such etWodak al., construction national of divergentnotions identityI have, inSerbia. Moreover, questions are similar 19 in order toanalys range(such political speeches, ofsourcesas groups as focus an themedia well as identity’ detailal. their by in widely‘Theof etnationalcitedconstruction Wodak Ruth discursive book The nati musical programme other thee hand,role play ain cananalys be processes.nation can the Choosing The remaining byand three categories Fox Miller discussed apply ofwill competi tothe construction intheeverydaydiscursive processes involved (re thesis. Talking ‘performing ‘consuming and Many thenation’ thenation’. ofthe four ways distinct analys in whichtheconstructed nation is onan basis, bothtop everyday In‘Everyday nationhood’

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CEU eTD Collection 9 19 Borba, Plato, 8 7 ismore Simić and electronic music such festivalcorresponding as and music Gučafor theExit folk manifestations, style thatt rock. popand She shows nationalis discourse on provided by Marina Simić Another important touching article upon behind its appl thoughtsČolović’s andillustration backgroundI tothe asandiscourses inquestion, al will mythological atthat time contexts this 1980s and early at whathecalls the 1990s, pointing trend ‘Folklo of Ratnika which marks two thediscursive into beginning ofthedistinction creation so of the significance collectionČolović’s of essays scholarly are Serbia relevant works to from As for thespecific discou

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Evropu.” Two Serbias Two Serbias 92).

concernedwith the musicitselfand related than questioning phenomena, rather

- Ivan Čolović and Mimica Aljoša, Aljoša, Mimica and Čolović Ivan called Second Serbia called national colouring.

. This article overlaps for a good. Thisarticleparta with overlaps for

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into the national discourses present in Serbia inthelate discourses thenational Serbia into presentin in order to he discoursemusic butalso reaches downnotonly to

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CEU eTD Collection 10 These be will inthe introducedfollowing section. the Guča keep alsoimportant to is non it other, festival, by Guča specifically,tookonanational festival conceptions provided colouring, following the First, Second or T construction, namely the analys nation and national Building oftheoretical framework onthis construction literature onthediscursive of the source active inthese discussio that haveSerbian around been intellectual in circles overviewgivenarticl intheir (modern refers to some Serbia’s mainandthepast a newspapers radio over station Serbia) articleIvana by TamaraandIn ‘ Petrović Spasić. A final th contribution to of the discourse soaccurately described inher paper. how and suchfestival whyas public space theGučagetsframed terms as innational aresult

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Comaroff and Comaroff, Comaroff, and Comaroff II.

Festivals, different fieldsdifferent

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CEU eTD Collection 13 12 further seems draw thefestival’s to appearance from reputation, providing however and without turningpro theevent from a the history arguesfestival, ofthe thatin where applies he t Waldemar Kuligowski ‘ in especially at of the time its folkloris However, marketingthe only isnot at logic dynamic work The inGuča. process contributed theend that in the Guča an festival specifically authenticity, Music search this World for logic behind the authenticitythis oraI observation, lackargue this perceived from ofit.Starting is will it that preservation of ‘authenticSerbian’ regional) cultureand (or muchinternaldiscourse refer dynamicexoticness. This isdefinitely onthe isput Much inGuča asemphasis visible well. the authenticity of relevant onthe market,every similarly toethno of Musicproposition World sotosay, music’

Kuligowski, “Nacionalizam Običnih Ljudi: Ljudi: Običnih “Nacionalizam Kuligowski, Music.” World of Discourse “The Frith, . explanations for this. forexplanations this. 12 ation as described byIvan d Čolović

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CEU eTD Collection Etnografskog Instituta SANU Instituta Etnografskog 17 16 15 2009). LIT, Berlin, Münster: Ritual 14 dominance ofthismusical style intoday’s Serbi trumpet inSerbia music as such,providing some for important input explaining the In dippingwithout thequestion. fullyanother article into EXIT similarly toMarina discussed paper Simić’s end does to give the reasons importance the for festival Serbian of for national inthe which feeling, she Gligorijević connections between nati Lastly generally, ofdiscourses ethno allfollowthelogic thosethree Serbia), and theoriental of the discourse of Marković’s critically an a alsoidentifiedby that Serbian(which onewas Kuligowski), question. Aleksandra Marković A research simila very

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15 argument is that it islargely thatit is argument co T are

elaborates o wo Serbias rković, “‘Guča i “‘Guča rković, - Krstanović, “Politika Trubaštva “Politika Krstanović,

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22 (2006): 169 22 (2006): one withhowsupporters onal fe . The described Serbianconcurs as discourse by Marković wit n the links betweenn thelinks commercialis s Guča’: Ideological Transformations of a Music Festival,” in in Festival,” Music a of Transformations Ideological s Guča’:

, 14 eling, commercialis

identifies several distinct discoursesdistinct identifies presentatthefestival: several

- perception of tho perception of – 87.

Fol ngruent withthe ngruent

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ation. One ation. of the Second Serbia

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Lukić ation and authenticity whiletrying

ion to nationalion to feeling,again notion particularly -

and World Music marketing.and World portrays , non - Krstanović alsoKrstanović discusses s created the within - newly

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(Vienna, Zurich, Zurich, (Vienna, composed Feste, Feiern, Feiern, Feste, irst

) folk h that More

CEU eTD Collection P 18 alternat analytical value constantly when overused. For analytical ‘identity’, for tools theterm since Identity’RogersBrubaker’s ‘Beyond One ofthe most everydayethnicity. level. The relevant literature inthis perceptionfestival and oftheconse visitors in Guča,can we no top battle overand modern nation. theFollowing analysis of Serbian this notion the state ofthe organis circumstancesa aswell necessary as onauthenticity focus outo itself tobe nationally coloured by participantsofthediscourseHistorical described before. (especially folklorisation) Taking marketing Music, onWorld perspectives these logic and historical circumstances the festival occur. and music could tothat music, inaddition of thereforea provideva scene.be seen Thisaccount inthe can light ress, 2004).

Rogers Brubaker and Frederick Cooper, “Beyond ‘identity,’” in in ‘identity,’” “Beyond Cooper, Frederick and Brubaker Rogers III. - down discursive processes and other dynamics underlyingdown discursiveand and other processes music thefestival dynamics trumpet

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(Harvard University University (Harvard clearly tity and e the ation of

CEU eTD Collection 20 19 be holidays widened national from toother ev seemingly However, becomesandtherefore is thenorm often hidden Billig’s Nationalism’ In part of group. this festival hasameans perception ofit be is different to what Serbianwho and of groupThe differena meaning of is the group, thatoutsiders not seen asmore one groupbutas homogeneous different very twoor of onesby the members research since performed just or as dynamic and process dependent Insteadgroupsgivenas world, aproposestotreat thesocial ofseeing Brubaker unitin them he gives to the ta In‘Ethnicitygroups’ without rethinking of Bru howtheythemselves nationalidentity, andconnect with this othersthey For if do. keep inmind,

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T wo often toas collectively refer ‘the Serbs’.

also nationalism’s hidden, everyday nature.

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(Harvard Univer (Harvard Billig’s particularly thereby made thereby

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CEU eTD Collection 23 22 21 idea ofmaterialis materialis such special isin it circumstances thatare that‘solidarities otherwi insight the importa into He nationness has been largely Michael Skey’s‘Carnival One accountsgiven by visitors. nati that music festiv His things that symbol i national identity activities, while ismundanely shaped ineveryday Building byBillig, proposed ontheideas Edensor Tim therefore and otherbecan and experiencedvisitors dynamics, ofas a‘reminder nationhood’ by its light on

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festival andthe music

the s ever stable and uncontested.s ever and stable paper paper reinforce – Life Everyday Popular Culture and Identity, National ation of theevent through does public discourse necessarily not ed and [is that‘evidence

147. can in Western democratic countries comes tothein Westernfore democraticcomes countries and question, als

that such special moments like carnivals,that such momentsgive like special festivalsgreat andholidays can

worth mentioning, play a inidentity such role sportsandfilms.play as formation, rituals,celebrations, and the notion thatsymbolsand thenotion areuncontested never inthefact isalso reflected left by untouched ed solidaritiesandcommunity the play evidence definitelya for role inGuča

feelings belonging. ofnational

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E.g.. E.g.. Benedict Anderson, David Harnish, “New Lines, Shifting Identities: Interpreting Change at the Lingsar Festival in Lombok, Lombok, in Festival Lingsar the at Change Interpreting Identities: Shifting Lines, “New David Harnish, through a shared set ation, however, isthatdiscursive notonly actionand may create reinforce Fox and Miller and Fox , that is, media, thatis, The Discursive Construction of National Identity National of Construction DiscursiveThe a specific never uncontested.Atnever and alltimes diverging inallplaces, exist there interpretations Ethnomusicology taken up by other scholars upby other taken

, 26 Symbolic Construction of Community of Construction Symbolic

in whichhe lays the i out - national belongingnational because both means differing onthe level notions of of Idriss, “Everyday Nationhood”; Nationhood”; “Everyday Idriss, Imagined Communities Imagined

discourse

49 (2005): 19. 49 (2005): of media channel

as ani

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23 ;

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CEU eTD Collection 29 forward intheir were collection well publication,especiallyAs thein this scholars Ivan involved and Čolović Mimica Aljoša, were oppositi Second Serbiapublication ofby the discussedafter a were oftexts was collection widely the intellectualregime. tothe Milošević opposition Theand of first theterm notion a time Yugoslav times hasAs it repeatedly mentionedby been now,t of a emergence The is sharedpart by a of significant thepopulation. a well developed system ofmeaning the dif one thereforecould aswell just talkabout the concepts ‘Two of‘Two or Hungaries,Croatias’ but alsomore developedand lesswar cases Extreme undisputed. wo whereother mind national countries identity of notions comingto and belonging arefrom far democracy, agood veryexampleofsuch does constitute a course case, thereare of many toSerbia. limited While Serbia, due toits that thedivergent interpretationofagroup country nationphenomenon asa a and is not cancharged be withdifferent meanings actors. bydifferent forgoodmakes sopopular, aalso as it isa part what it simplifyingconcept Throughout i this,

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. 29

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irst Serbiarural as while nationalistic, andoverallSerbia backward, theSecond isopen Marko Živković, “Stories Serbs Tell Themselves: Discourses on Identity and Destiny in Serbia since Mid the Serbia in Destiny and Identity on Discourses Themselves: Tell Serbs Živković,“Stories Marko Lukić by: As introduced - Krstanović, “Politika Trubaštva Trubaštva “Politika Krstanović, Proble ed asmuch tojust totheregime’spolicies ed by a abouted comeback thatwereand bythe ofoldSerbian stories myths nation toa

histori remarkably se actors applied idealsseapplied originality actors ofnativeness,as andderived ruralness, from ms of Post ms of

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an totalis answertothis

- Communism vague notions with theFirstandSec with vague notions Bordell Der Krieger Bordell e ofa reception Second of thenotion Serbia

44, no. 4 (1997): 22 4 (1997): no. 44, -

Folklor Folklor The two versions ofSerbia polar are opposites, The therefore two versions

From thevery start,From he entity” Serbian 30

. u and

Prostoru Nacionalne Moći,” 204. Moći,” Nacionalne Prostoru ation of certain characteristics tothewhole nation,

were by spread notonly ation’ 26 Ottoman suppression, Ottoman

– 29. 31 and after the decline of communism in communism after theand declineof

in public life.in public ofthis The result . . 32 T the

he late 1980s The Second Serbia seconnected scholars ond Ser really by and other politicians bia. They the described World War I, War World nationalist nationalist

means to be to Serbian.means , thatthemovement and earlyand 1990swere

the term’s meaningthe

moveme intellectuals

some World War War World well trend nt - - o the -

CEU eTD Collection 34 33 backmanages a well through historyand that toshow exists there of historicallyframed and expectations prejudices by commentators politicians and United States from through scholars, anda Europe the lens elaborate backgroundbreaking tothe book TheBalkanism’s term theory andunderstandingofcoursegoes fundamental Orientalism betweenopposition ‘ The maincharacteristic ofBalkanism Balkanism and Orientalism regional Balkanism. variation op understanding oftheconstruction discursive ofand severalgrasping for Serbiashowthe doing necessary however,itis this, tointroduce finalthe concept, one crucialfor the remainder The exa can takedifferent many forms then evenof a way,a third ‘Third ledtotheidea Serbia’, Internationalrapprochement withthe or Tribunal cooperation Criminal lines ofaSerbia Kosovo First (in like questions andSecond 2000. Theperception widely shared after thatpolitics regime, exhaustive evolved it intoan

Edward W. Said, Said, W. Edward Pe position betweenposition trović and Spasić, “Varijante “Varijante Spasić, trović and ct thisdiscourse natureTh even onTwo of or d

how the East (in his work thehis meaning Eastfirsthow (in andforemost East)viewed is theMiddle of thi Orientalism

s chapter,I toanalys when turn those supporting them those either of Europe’ andEurope’ ‘

(New York: Vintage, 1979). York: Vintage, (New Treće Srbije’,” 24. Treće Srbije’,”

. 33

of the same of name the

The The set of conceptions after theMiloše end of as atheoretical tool Balkan’ metaphors foras

. 34 ingBeforeand newspapersmedia. internet by Said Edward

came intoexistence: Orientalism orits In ree be developed will further Serbias in Milošević’s fall ‘Orientalism’ which which is theemphasis ’s

independence, EU is ‘the - also defined ofideas set about

in the 1970s in the , Said follows West’ andWest’ indeed not a fixed notion and notion not afixed most most on an absolute prominently followed the vić’s rule in ‘the , inwhichhe

this lens this East’. East’. )

CEU eTD Collection 40 39 38 37 36 2005). Press, University Princeton NJ: (Princeton, Green, F. Sarah 1999); Press, University Princeton 35 ‘Balkan’, thanthemselves. neighbouringthe next tothesouthandeast always state as abitmore backward, internalis I book. describedarticle Milica Bakić inan by A particularly aspect interesting onOrientalism discussion ofthis andBalkanismhas been themselves from Ottoman Balkans the‘wild’ also throughout didnot history self” describeBalkan as the the history as Said’sOrientalism Orientalism, aphenomenon is ownright but withahistory inits similarly dating as back in far Europe Maria greatOrientalist Todorova,framework which in to depthapplies the Balkans Theseabout ideas the orient what the orient

Ibid., 8. Ibid., Todorov Maria See: Milica Bakić Milica 188. Ibid., 18. Ibid., , 38 K. E. Fleming, Fleming, K. E.

n ‘Nesting Orientalisms’, n . [emphasis added] [emphasis 36 .

ed region, ineveryBalkan inthe Balkan andhow writers countrytendtoconsider T does

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*** 42

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CEU eTD Collection Konstrukciji Etničkog Identiteta,” Identiteta,” Etničkog Konstrukciji 79 merely consider, nam While not merelytestinga questionof the to whether expands infact discourse The issue w meaning national and Music, festivals of consists ethno trend of folkloris I point, thenanalys will 1980s, the period w followed by a historical festival of overview from the itself foundationlate its in1961to what consequencesGuča be like colouringThiswill a thenational may festival have. of introduction of some and ITo answeram qualitative goinganalysis questions, these oninterviews a based topresent thesis reproduce the discursively we distinctions havecreated pa seen inthe previous colouring tospecific,graspable nailed be down evidence infactmaybe ordo visitors experienced How Can this dothey by thevisitors? express asandinterpret such this?

Just like music is both a product and a creator of culture. See: of culture. creator a and product a music both is Justlike participant - ? marketing, that

reflecting

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it globalisation andglobalisation commercialis . hen a hen 79

final final

There are three e the e naturally

process ofnationalis theoretical

conducted at the festival last yearconducted last festival at the Etnološko diverse

play athereisanother role, aspectplay more important to

- processes of nationalis processes of Antropološke Sveske Antropološke

principal interact howmusic and nationalism and on framework

colouring of the Guča festival affects its visitors of is its theGučacolouringfestival affects 44 ation started taking place. Departingfro

ways ways

ation. The create imaginable, Marija Ristivojević, “Uloga Muzike U Muzike “Uloga Ristivojević, Marija

13 (2009): 117 13 (2009):

national meaning, instead of ation active inGuča

remaining lastly . The in which this in whichthis , th

chapter will start an will with chapter – 118. e logic ofWor e logic

part of part

this

very level. basic the rt could : the general: the s of this s ofthis

chapter ld Music, ld Music,

be the m that then

CEU eTD Collection Berg Publishers, 1997), 7. 1997), Berg Publishers, 82 Ethnomusicology Co National Music and “Soccer, Popular see: identity of sense positive create a to used be can music how of example As good a 81 Cohen, Edensor, 80 certainare markedas typesnationaland ofmusic music as ‘one’s own’ signifier difference, of separating servingWhile ofgroup, asand amarker unityone commonality within All affection ( visible to them, m functions ofmusicwithidentity inconnection as describe main journal of nationality. Timothy for Rice analys instance field of ethnomusicology have of inthewithnotions past dealt increasingly have transmi The inparticular culture idea ingeneral andmusic a thatpopular couldeven signifier be Music and i servesa carrier this as of case: meaning, thefestival musiccarries national thedoes,or theact ofattending already it

Timothy Rice, “Reflections on Music and Identity in Ethnomusicology,” Ethnomusicology,” in Identity and Music on Rice,Timothy “Reflections particular In Martin Stokes and others, others, Stokes and Martin

of the these refer points to

largely thesis inthethis introduced first been chapter of Symbolic Construction of Community Construction Symbolic tter of national by feeling upon has many touched been National Identity, Popular Culture and Everyday Life Everyday Popular Cultureand Identity, National through common

and giveand usic can topre give expression dentity Billig,

11, no.(2002):11, 2 1 the Banal Nationalism Banal it

field, ‘ field,

a positive a positive

Ethnicity, Identity and Music: The Musical Const Musical The andMusic: Identity Ethnicity, This

meaning. dances, for Ethnomusicology’ process

– creati connotation. 27. ; nsciousness in Post nsciousness in this

on of through boundaries music . is oftenobservablestateswhere innewly independent example

group from anothegroupfrom - existing identities existing 81 , since theearly, since four main 1980sand isolates

) 45 , give ,

all all

- in acertain way State identityrelated ;

identity a - Socialist Bulgaria, 1994 Bulgaria, Socialist r

d by ethnomusicologists: Accordingd by one , . make collective belonging 80 , Ethnomusicology

more graspable more by scholars of identity, ofwhichscholars

Additionally, scholarsAdditionally, inthe ruction of Place of ruction claiminga certain type of official, while others are official, papers published in the published papers

in one wayin oneoranother.

music music

Donna A. Buchanan, Buchanan, A. Donna –

96,” 96,” identity and

7 (2007): 34 7 (2007): , 2nd ed. (Oxford: (Oxford: ed. 2nd , can ‘feel’ or British Journal of of Journal British also – be a be s 35;

CEU eTD Collection (New York: Palgrave Macmillan, 2011), 109. 2011), Macmillan, York: Palgrave (New 88 Geography Political Singapore,” in Parades Day National Analysisof Spectacle: An and Ritual of Production the through Identity 87 86 85 folkloris 84 89. 1991 Croatia in since Nationalism and War, Music, Popular Borderland: 83 that to them the way might it ha However, alsobeclear itmust that notnecessarily insuch do events those participating react with afeeling ofbelonging. today’sglobalis nationalism’ integrative as function, nationalholidays such knowable community” “ betweencollective and in identity participation feelings ofcollective dealt belonging. Michael Skey has Apart also from themusicitself, Festivals, public events identityand trumpet festival Gu in certain degree below, trumpetdoes music playfor national role Serbian this self neglectedand materialise solidarit

The nationalis Such a special event has also been analysed in: in: analysed been also has specialevent a Such 147. Ibid., 146. Emotion?,” Surplus of “‘Carnivals Skey, by Croatia example of the on detail great in described This been has Michael Skey, Skey, Michael

manage to ation.

ation of trumpet music itself will be music itself trumpet of ation

National Belonging and Everyday Life: The Significance of Nationhood in an Uncertain World an Uncertain in Nationhood of Significance Life:The Everyday and Belonging National . H thereby also

mobilis ed world reconnected world with

16, no. 3 (1997): 213 3 (1997): no. 16, e argues such thatin moments ofheightened awareness creates amusicalcreates boundary ies that areies that presumed” otherwise

ča devaluated . e national feelingsFox others. better Jon than 86 indeed serve as a signifier as well serve asindeed asignifier

Skeyfocusedfirst ve intended been by 88

the setting of . 83 – 39.

As IAs am going to

their imagined community,their canimagined which provide them Lily Kong and Brenda Yeoh, “The Construction of National National of Yeoh, Construction “The Brenda and Kong Lily

further discussed later in this chap this in later discussed further and foremost oneventsand thataremeant have foremost to an

46 . – a festival 84 festivities

its

moments that hecalls ‘ecstatic moments

Music may therefore

organis 85 show inthe section onfolkloris

and “give evidencethea nation is that

or public event extensively withthe connections

and argues thatthey may

as creator of national feeling.as national creator of ersare and there Catherine Baker, Baker, Catherine

(Farnham, Surrey: Ashgate, 2010), 55 Ashgate, 2010), Surrey: (Farnham, - understanding andunderstanding toa gives in the case in the ofthe can , people can, people in ter, when dealing with with when dealing ter, Sounds of the the of Sounds

reproduce n very telling aturally

ation events

–

CEU eTD Collection 93 2 92 91 Place,” of Sense a Performing 90 Studies Racial 89 religiously motivated, scholars function of a traditional ritual, pilgrimage precisely, While a ormore pilgrimage. isofcourse Finally, toattenda mereattend festival over it and the oraga decision over Guča as a form of pilgrimage ritual, which thereby angives it integra this described Victor important by themost scholar Turner,inthe1960s, onrituals, [canpassion [...] Durkheim inthe early 20 as a aformritual, where sense‘ of of Onemeaning ofthese to meansthan is wilfulconstruction. ways through other (at least officially)serve not to While at least onecase study probably most oneleast this case) in by gen sportsin extension Hungarians and Romanian example when –

Emile Durkheim, Emile Durkheim, See: Australia. northern in music festival of a Belonging,” Collective of the Production and Sports, Holidays, Nation: the “Consuming Fox, Jon E. Victor Turner, Turner, Victor Ehrenreich, Barbara 3.

term

Guča is,differently from wi

th 29, no. 2 (2006): 219. 2 (2006): no. 29,

The Ritual Process: Structure and Anti and Structure Process: Ritual The

the temporal ofsocial elimination differences theparticipants ofa between be put into be putinto comparing The Elementary Forms of Religious Life Religious of Forms Elementary The ] cement] social bonds” Dancing in the Streets: A History of Collective Joy History Collective of A Streets: the in Dancing

. 89 . 90

Festival

Popular Music Popular

eral)mobilis isamuch stronger this national holidays and football competitions and competitions thereactionfootball ofnational holidaysand

s to them in Cluj s tothemin century

more e

any integrative function, have the sort of s , being culture popular sense, can part inthe of broadest . 91 long

collectiveeffervescence ffectiveas category, has Durkheim’s central argument was 19, no. 1 (2000): 51 1 (2000): no. 19, l and . Michelle Duffy, “Lines of Drift: Festival Participation and and FestivalParticipation Drift: of “Lines Duffy, Michelle 92

pointed ou pointed

A very concept similar is festivities , Romania

unifying function - 47 Structu

(New York: Free press, 1915). press, Free York: (New t re

analysedFox by Skey or , where it that

– (Ithaca: Cornell University Press, 1966). Press, University Cornell (Ithaca: 64.

ing force holidays thanpublic

the motivations forthe motivations individual can nonethele

(New York: M (New York: ’ was already analysalready’ was . in the past 93 beco

also me s tha etropolitan Books, 2006), Books, etropolitan ss take onnationalist ss take

that of‘ that clear that football(orclear also beenalso shownin

in can takein onthe t “ritually induced , notintended view who defined communitas’ ed by Emile

Ethnic and Ethnic festivals

(at (at

CEU eTD Collection 98 Colloquium Celtic 97 Australia,” in Nationalism 96 95 3. 2000), Press, Illinois of University Chicago: 94 nationally integrating (besidesa function reflectingsense i ofnationness) rituals and national meaning, isclear it the questionwhether that ornot serves Guča a Taking connectionsconsiderations onthe these possible music, festivals, together between “[Guča] isthefeast flocking tothe ofpilgrims sanctuary tradition” ofnational has been heavily meani withnational loaded understanding, attheof and time pilgrimages the 20 ‘unpacked’ Australians infact is inAustralia created (through recentlyWard analys significance AustralianGalipoli for national of which identity, Mark McKenna Thereareexamples ofnational hand.One somepilgrimages at classic breaking themdown that pilgrimages f aritual (as studies therefore participants acannot in pilgrimage be

Mark McKenna and Stuart Ward, “‘It Was Really Moving, Mate’: The Gallipoli Pilgrimage and Sentimental Sentimental and Pilgrimage Gallipoli TheMate’: Moving, Really Was “‘It Ward, Stuart and McKenna Mark 4 Ibid., J.Sallnow, Michael and Eade John Novica Zatežić and Velimir Ilić, “Pucaj Trubo,” Trubo,” “Pucaj Ilić, Velimir and Zatežić Novica See: th

centuryIreland, traditionally Catholicism national where crucial self plays role a in John Shovlin, “Pilgrimage and the Construction of Irish National Identi National Irish of Construction the and “Pilgrimage Shovlin, John

in this field in this – 5. , amongst many other, amongstthings, many deliberately

in Galipoli byin Galipoli travellers Australian , no. 11 (1991). no. , also .

95 ed. In article,ed. for argue their thatthemeaning they ofGalipoli taken up taken Australian Historical Studies Historical Australian

started toquestion

orm) can just asorm) canjust well reinforceboundaries existing

before Contesting the Sacred: The Anthropology of Pilgrimage of Anthropology The Sacred: the Contesting ng , as o .

97 regarded also serve a nationalalso apurpose. serve Moreover,

Even inthe caseGuča, of the Večernje Novosti Večernje ne of the festival’s ofthe organis ne

Turner’s

48 38, no. 129 (2007):146. no. 38, .

96 as uniform

enhanced Another such 19 case wouldbe national original , December 8, 2007, 16. 2007, 8, December , any longer educ Anglo idea of idea ation and storytelling),tobe ty,” -

Irish becameconflict communitas Proceedings of the Harvard Harvard the of Proceedings ers once claimed that . 94 allegorya of case

Pilgrimagescan s of greats

here

(Urbana and and (Urbana . 98

und St subsequent instead of is the

, claiming th

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CEU eTD Collection 103 1983). 102 101 100 Muziku I ScenskeUmetnosti Za Srpske Matice Zbornik 99 the brink ofextinction Serbia torevive musical this form, which organis The trumpet festivalmoreeven Guča isnaturally in recent an country. national liberationOttoman Empire fromfirst andwa the the as Therefore described‘Invented clearly can as be Tradition’ it an sense inthe Hobsbawmian afterI World War and from also the cities and towns Serbian prince dominant where the like clarinet instruments originally orchestras string classical andwere other Balkan being quintessentiallySerbian, brassWhile and music especially thetrumpetnat as a and music the brass Serbian especiallygiven by theaccountsfestival’s thevisitors. importance. bekeptwhen Thisshould mind thischapter in reading theremainderand of

Dimitrije Golemović, “Mesto i “Mesto Golemović, Dimitrije

Krsto Milanović and Dragan Babić, Babić, Dragan and Krsto Milanović Ranger, O. Terence and Hobsbawm Eric 104. U Evropu,” Simić, “EXIT 140 Tourism,” and Festivals Music Gligorijević,“World the first ofpopularis attempts

ed in 1961 by a grouped of a in1961by region. 19 Before the

. 99

The first court brass recorded was of in1831atthe orchestraformed the only

Obrenović, and it took until wellObrenović, into and tookuntil it the 20

subsequently at that time

Ulog th

to century, was music area brass rare oftoday’s Serbia, inthe a Limenih Dugovačkih Orkestara u Orkestara Dugovačkih Limenih a this Srpska Truba Srpska ing this musical genreing musical this

individuals the villages . 103

festival musical genre The Invention of Tradition of Invention The had its firsthigh its had

As a location

was, as a result ofthea was, Secondalready War, as World at

(Belgrade: Narodno delo, 2003), 135 2003), delo, Narodno (Belgrade:

from the Dragačevoregion south in .

100 in Guča 18, no.19 (1996). 18, 49

– The music infactThe only really became popular

141.

is in factis in for theirfor festival -

ional instrument have time between the two World betweentime thetwo

also

(Cambridge: Cambridge University Press, Press, University Cambridge (Cambridge:

th of coincide with the Serbiancoincide of wars withthe

Praksi Srbije,” Muzičkoj Narodnoj ves of nationinthe building ves of century tospread music for this

phenomenon. It phenomenon. first was rather recent originrather recent in they chose theythe tiny – 139. the

reputation of - western

Wars the . 101 ,

102

CEU eTD Collection 107 106 251. (2014): 105 62 (2012): Festival,” Trumpet Dragačevo the at Orchestras of Brass 104 the event ofone representation asa byreacted distrust tothis adopting apro distinct partisans,communist which furthercomplicated situation the movement, aparamilitarygroup (S loyaltheYugoslav to II War World Dragačevo regionalso theconnected strongly Chetnik with wastheSerbian strong onmodernisation, industrialisation emphasis and urbanis representedit andrural religiousnot well accepted values thatwere b prevailing cultural norms. organise yearsThe first of thefestivalwerecharacterised as by political commodification, of the now week attractingof the biggesttheworld, and in visitors 2,000bands around over the 800,000 course the genre sixteen years,to grow secondfollowing bands its to six in edition quickly inthe increasing the centres before brass thewar of music four active theregion in come play, bands actually and to Dragačevo used tobeone while of officially calle villageGuča of the inthe verycentreregion. first of The

Marković, “‘Guča Is Guča Is “‘Guča Marković, 252. Ibid., Fest Serbian a in History of Ethnicization and “Nationalism Waldemar Kuligowski, Lajić Danka and Zakić Mirjana

already The in the third. organiserstherefore rs .

105

had to adapt to the political situation in thepolitical situation Yugoslaviaadapt communist tothehad to adjust and to

and t d even for today,d lasted - oday long event long

the ’: Ideological Transformations of a Music Festival,” 80. Music Festival,” a of Transformations Ideological ’: From sabor - . Mihajlović, “(Re)creating the (folk Music) Tradition: The National Competition Competition The National Tradition: (folkMusic) the “(Re)creating Mihajlović, 106

the beginning, the statethe beginning, authoritiestrustthe event, didnot the as

in Guča brass isthebiggest

facet of Yugoslav identity, within the context of facet identity, ofYugoslav thecontext within just just . 104 one

Notwithstanding these 50

day and the organisandday the New Sound: International Magazine for Music Magazine International Sound: New -

Yugo

actually succeeded slav and even Titoist stance,and Titoist even slav erbian) fightingagainst king, the sabor . music festival Europe in and one 107

(assembly),as theevent is ation. Furthermore, during

The festival ers managed tofindonlyers issues

yregime, the which ival,” ival,”

in , the event, the their Anthropos ’s

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put

CEU eTD Collection 108 and ofthese various combinations twoand mainly T symbols. more common itemsT are vendors, sellingall sortsofsouvenirs with As mentioned, thenationalist appearance the comes event from for of street part themost the past decades and to festival, theprocesses toanalyse setout of nationalis these questions,t slogans,why nationalist should songs and besopresent onthe streets? festival befilled withT streetvendorsflags, selling question could this simplyWhile beas viewed theaccuracy evidence the of these descriptions, of manycharacteristics id seems it most mind like of thenegative inconnection mentioned withGu points display onthe street symbols ofnationalist One ofthe first Nationalis Yugoslaviacommunist theoutbreak and civil war inthe of 1990s. official U ‘Brotherhoodand

Ibid.

- why The photoin shirts with different versions of the Serbian two ofthe withdifferentshirts Serbian versions ation of the festival of the ation

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figure figure 1 entified discuss - shirts andshirts flags nity’ ideology

with belowof standonthestreets showsaGuča, typical selling the dynamics these developments. behind visitor fter givingfter the generalan into insight appearance of

the First Serbia

of the Guča festival rightafter . , 108

s ofthe town.Having theanalys varying

trumpet bearing the Serbian coloursbearing theSerbian

This was tochangeafter of collapse the 51

nationalistic connotations. Amongstnationalistic connotations. the - -

related symbols. shirts and shirts withnationalist other souvenirs are indeed ation thathaveactive inGuča been over - headed eagle, the Serbianheaded eagle, tricolours the seemingly brass music banal very very

present at the festival.present

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s the

CEU eTD Collection current ‘heroes’ national the counterfeit ofDraža the Mihailović, the Chetnikmovement, leaderand also more of 2 figures However, therevendorsare selling as radical items well. other more nationalist The in photos Figure

and Figure

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CEU eTD Collection (Kosovo theheart Serbia). is becan seen of such One scene inthe photoin popularsongs) themost among chants, nationalistic thembeing ‘ statue of manychants streets. on town’s the (or heard Especially mainsquare,around onthe on) ofSerbiancometotheforeAnother instancenationalism when festival notions at arethe the a

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3 : Upper: right –

a a T - shirt of Ratko MladićRatko shirt of 53

Kosovo je srce Srbije Kosovo je ng (amongst other figure figure 4

below. ”

CEU eTD Collection especially thewars on and statements official inCroatia Bosnia public life from theea ‘ is thealre One Serbian important dynamicsocietywhole as in a Folkloris recent The answersfestival general? in tothese festival’snationalistic, appearance howdidthis develop so easyin the framework targetofaccusation the As a theGuča result ofthisopenpresentationoffered ofnational festival symbols, itself Bordel Ratnika’

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questions questions ation, as described by Ivan describedInation, as Čolović. by book his 54 singing

Two Serbias lie in

and atGuča in the festival

the dynamicsguiding thefestivalin

and what does it sayit and does what abou discourse. But whyBut discourse. isthe

and Herzegovina

in particular

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CEU eTD Collection 114 113 157 2 (2003): 112 111 110 109 processethnicis of played a role in itself a is loaded with If themusicat played Guča describesresult ofthis the brassIn insuch canways. music framed revealing be a Lukić article,Miroslava been taken upby others After already NCFM Čolović named unity inunstable times autonomous processthis offolkloris composed folkmusic’ (NCFM) traces downtoculture, politics trend especially this from thevery so popular creatwere to framed contexts, inmythological

E.g: E.g: Lukić Hudson Robert 78:73. Ibid., 78:21. Ibid., Čolović, Krstić, “All Roads Lead to Guča.” to Lead Roads Krstić,“All nd it has often been notedalsothat thenational hasacademiand it oftenin been - the consumers. meta of doings and role bureaucratic national between positions, social and dominant achieved construction thanks playing, media Trumpet paradigm, power. to game: opposition power certain national a of space self the domination, order, homogeneous, in requirements the all fulfilled p Trumpet Krstanović, Bordell d Bordell – 76. , original,and rooted,means andas unspoiled aofcreating therefore could serve

such national also that significance,must this isclear it

, “Songs of Seduction: Popular Music and Serbian Nationalism,” Nationalism,” Serbian Music and Popular Seduction: of “Songs , the

er Krieger “Politika Trubaštva Trubaštva “Politika laying is like a protected sign and stamped symbol that has has that symbol stamped and sign protected a like is laying ation in great detail, and positions it in the ation in ingreat it detail, and positions ethnicis

113 . 111 ation, accordingisthatfolklore wasation, as seen toČolović, authentic, , 112

, 78:9. ,

process

it is it ation is in

, which later was to develop was, which later into to only logical

such a prominent position within Serbian within popularposition such a prominent cu of

- :

Folklor u Folklor

the festival

as one target ofthisfolkloris as one target

Prostoru Nacionalne Moći,” 205. Moći,” Nacionalne Prostoru

that also non that - 55 e some sort ofanciente some legitimis identification and at the same time, time, same the at and identification . 114

Waldemar Kuligowskianalysed this - newly early - Turbofolk composed folk music like music folk composed

ati is - 1990s, when thefestival1990s, o h folklore the to agae has language, ation of trumpet music on, a thathas notion also Patterns of Prejudice Patterns

apply to the festival . 110 - called ‘N

ation The reas - Krstanović . 109 lture and lture

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CEU eTD Collection 118 117 116 http://www.anthroserbia.org/Content/PDF/Articles/a11b8432d9cf46f4a49da53a0b363d Magazine Anthropology 115 dynamics in items are omnipresent still attheevent subsequently yearAfter the festival 2000, thetrumpet Commercialis ethno processes, for continued have re a must different appearance described and inthe photos therefore, observations inthese whilerooted halted aftertheand endwars thefall of the ofMilošević is As identitya political that was circumstances consequence ofthe as changing therefo population, drawingespecially nationalistically minded people totheevent appreciation for thewas fromthe festival alsometwithgrowing thesidein official interest invested more funds was nationalist alsosupportedauthorities ofSerbia by the rump (or that thepre Yugoslavia started being toturnawayafrom pro

al Ibid., 82. Ibid., Ideolo Guča’: Is “‘Guča Marković, 253. Serbian Festival,” a in History of Ethnicization and “Nationalism Kuligowski, Wald Marković, so -

marketing come emar Kuligowski, “Nacionalizam o “Nacionalizam emar Kuligowski, clearlyto the broader connectedparadigm,folkloristic place 1990s took inthe re, toquote Aleksandrare, Marković,

and inCroat theongoing wars existing focus ontradition focus existing these recent years. recentthese These

grew to the immense size it istoday. it grewimmense size tothe Kuligowski andothers haverightly Kuligowski ati on and logicthe of World Music

11, no. 1 (2011): 74, no.1 (2011): 11, into the festivalever been than hadinto thecase.

into thepicture.into

gical Transformations of a Music Festival,” 81. Music Festival,” a of Transformations gical bičnih Ljudi: Ljudi: bičnih -

Yugoslav event Yugoslav

dynamic

started to

must must in Guča “ ia and Bosniaia and and Herzegovina provided a space for conceptualizing Serbian aconceptualizing provided space for therefore also 56 Etnicizacija Muzičke Tradicije na Primeru Sabora u Sabora Primeru na Tradicije Muzičke Etnicizacija s

can be broadly can subsumed under where Thisis ason. commercialis get started toopen started

noted, this processnoted, this ofethnicis T

he symbols answertowhy nationalist and reinterpreted ethnicity towards ,

as ofthe aresult breakup of . 118 be connected to its guiding its connected to be

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CEU eTD Collection 122 121 120 119 countries intheregion again the and copies stereotypes many of by describedof scholars The term iswidely from ‘Balkan’ connection folkmusic Serbia used with and in other inevitable order tohighlight on ‘different’In music, and other of producers from theworld parts tocomplywiththis. have this genre Music World resulting Scholars have resulted ina adapt paradigm as this to inmany and other unique selling proposition plays amore Music ma Serbia are According toJelena The effectscommercialis of aremarket, points these twoselling difference which, a commercialis

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is a British inventionfrom still is athemain 1980s,the is West market for and

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(mostly

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CEU eTD Collection no. 24 (2004): 60 24 (2004): no. 123 hardlyInI section, this surprising. interviewees considering diverge significantly, which their different very b theroughWhile outline followed interview given similarpathsall cases, theanswers in by the connected tothe As describedfirst interview my chapterofpeople thisthesis, inthesample of consists the participants of Perceptions their the perceptions oftheinorder visitors, festival’s tosee nationa howthis prominent onnational public discussions in identity. turn let usnow Havingt inmind, this event,onto this markingnotonlyit as andas nationalistic making ethnic,but thefestivalthis wastone, butit the the nationalistically andvisitors supportfrom such parties minded together and with politicians, at1990s lie the heart o nationalist appearance of the stylisation of ethnicity, The other professionals These derivingabout are ideasthe Balkans inthe West additional notions Balkanism.Instead ofbeinggeog solely a

Ivan M. Čolović, “Balkan “Balkan Čolović, M. Ivan commercially necessitated heavy experiences

emphasis on – 62.

. festiv

of Two Ser Two in the region

authenticity, ethnicity and originality, of butalsoaprimitivism. sense al in differental asorganis ways: u Naraciji o World Muzici u Muzici World Naraciji o u combined with the foundations laid by withthe foundations combined paradigm folklore the the in authenticity and bias

emphasis on ethnicity giveemphasis onethnicity . discourse of thatfinally visions applied broader 123 am goingam to

tradition out ofmarketing out tradition logic raphic 58

Srbiji,” Srbiji,”

isolate theimportant recurring most themes al or musicologicalal

f the GučafestivalIts today. Novi Zvuk: Internacionalni Časopis Za Muziku Časopis Za Internacionalni Zvuk: Novi ers, musicians, local orvisitors. residents strongly the festivalastrongly ethnicis

mirrored bymusicians and

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CEU eTD Collection 127 126 125 124 of different they stakeholders, arerelated ethnicity also sometimes oftradition, toquestions theseWhile c who only economicinterest see andnoother values” quality fallen ofthisfestival ofnewa has sharply,government, result people as intheregional commercial any like theworld” entertainment, festival other in Similarly: usedtobethis different,e.g.: generalthis out ofselling notion acommercial“[Guča] isjust spec largely lines followvery similar another, topic. guided my questions themtothis while noneinitial of because and theresulting discrepancyIt between authenticity and is profit. The notable by most recurringallis interviews the theme far inquestionof ofthenotions T coming upinthe interviewees’accounts, clusterscontras and definethematic 2014 August 7th Belgrade, 1, Interviewee Interviewee 5, Guča, 9th August 2014 August 9th Guča, 5, Interviewee 2014 August 9th Guča, 5, Interviewee 2014 August 7th Sad, Novi 2, Interviewee sell tons of meat and hectolitres of beer, the local government gets gets government local the tourists toattract of brand beer, of hectolitres state and the from subventions meat of tons sell to want owners restaurant the musicians, the of interest the in is audience broad A commercial. all is this Nowadays else. nothing was There quality. B

every single interviewee men efore the 90s this was a real festival, where orchestras could orchestras where festival, real a was this 90s the efore

“Serbian istoday culture a part small very of festival. this remained What ismainly omments targeted are at the mainly wo S erbias

and

nationalisation , criticising thefestival’ssell

is also combined with some sortwith some ofnostalgiaforis alsocombinedwhen times tacle. The most important thing sell” Theisto tacle. important most .

and the state has an interest to build some so some build to interest an has state the and 125

tioned the issue o tioned theissue

discuss

perceived sell perceived . 127 ed far. this f commercialis

- out 126 - out of the festival or out ofthe festival . One interviewee that states

and “in re particularly noteworthy Yet, t ation inoneway or show their their show he comments . commercialis 124 cent years, cent the t them with the t them with

In some rt rt failures

cases, ation

CEU eTD Collection 130 129 128 nostalgia plays instance: “T already a direction, inthis hints Serbian such brass music Guča. aspresent in music the comment concerning The above Ceca Theis alsooften issue ofauthenticityrelated to Se organis music. They,from the beginningtradition alive.” tothe end, the keep generations, national keep tradition aliveintheirplaces still the organis Another ‘expression intervieweethis of what situated we are’ nostalgia intrinsically andwhen nationhood, namely considerations shift

Interviewee 1, Belgrade, 7th August 2014 August 7th Belgrade, 1, Interviewee 2014 August 9th Guča, 5, Interviewee 2014 August 7th Sad, Novi 2, Interviewee rbian traditions,whileothers, ation that destroys whatationfor thatdestroys Guča stands ation, stating“others,who have thatlikethecaterersbusinesses runfor their music was on a high level. There weren’t this many oriental elements in in elements oriental many this weren’t Ex There level. know? high a you on was times, music golden the time, good a [referring to in up grown have I people amillion havehalf t real a was It culture. ar Serbian we what of of expression expression an really was it else. then anything Back or festival] the of edition year’s last at played who singer turb Serbian famous [a Ceca of nor meat, grilled of cabbage, stuffed of or beer, of festival a not was It trumpet. the of festival a be to used This at the times before at before the times hese Turbofolkists have Turbofolkists nothinghese Serbian todowith folkmusic” connected a role in this discussion as discussion in: a role inthis 70s and 80s 70s and80s

issue of issue this this

nd this issue isrepeatedly issue nd this taken For upbyinterviewees. my authenticity such as e! Today it is only commercialis only is it Today e! commercialis ex

o - Yugoslav rock music]. And back then also folk folk Andbackthenalso music]. rock Yugoslav attend

for instance for . . The citedin back interviewee looking above, 128

ation ation turbofolk (in order tosell)(in

from commercialisation added the caterers,

as :

the in ’ environment, food,drinkenvironment, and ’

antithesis to ‘authentic’antithesis to other other

and does not value real and does still still ed; an event that event an ed; 129 do. elements

It thereforethe is

towards the 130 ofolk , -

and also but the Yu Yu

CEU eTD Collection 135 134 133 132 131 something strange, exotic.” something sense like popularis so amongst “Igo isattractivecountry, thatit foreigners: think toawild to inthe intervieweeframed inaveryI this when why interesting him festival asked this way thinks he Serbian one brass hand, onthe music, But discourse toadichotomy referencesare totheorientalist notlimited ‘authentic’ between Serbian culture, songs partly from their elsewhere” or They [...] common withus. play playing “theycompletelyhave atareThey that a stating Guča, different nothing nation. in betweendistinction hisregion, bands, Serbian bands especiallyfrom Roma theand West, Guča] is musician inmyyou humoursaying the“[what samplesaw topic withabitof that here see in Eastern onthe and other Western hand styles instance interviewees burdenednegatively theheavily meaning is ofthe adjective ‘oriental’. For touches onanotherdiscussed before: topic ‘orientalis This

Interviewee 1, Belgrade, 7th August 2014 August 7th Belgrade, 1, Interviewee 2014 August 9th Guča, 4, Interviewee 2014 August 9th Guča, 4, Interviewee 2014 August 7th Sad, Novi 2, Interviewee 2014 August 7th Sad, Novi 2, Interviewee repeatedly Serbian style, still held on to this. This This held this. is Serbian style,onto still Trump turbofolk. no was there and music our : “T a

or alsoed’ southern Turbofolk, ‘come on, let’s goItgoing‘come toSerbiasomething’. India, on,let’s tosee abitlike is to see part of Serbi he southern school [of Serbian brass music] Serbianmusic] [of brass school he southern

mentioned

an culture.an Abital

dichotomy theo Serbian between on ‘authentic’ music

whatever they want, partlywhatever they songs are want, Serbian of that part

135 and brass Roma and music

so Turkish (laughs)so Turkish brassSerbian and music Orientalism – 61

they play authentic Serbian music” authenticthey Serbian play

truly

et music, especially its west its especially music, et our sound! . Anotionwidely shared by my has many elements. oriental The . 134 ” . 133

131

turbofolk He a also strong made Gypsy music Gypsy

, ontheother. One,

on theother - ne hand and . 132

The ,

CEU eTD Collection 138 137 136 even andpolitics, theoriginalidea used by oftheoften is festival s its betweendistinction nationalis did see thechanges inthe1990sas a Serbianthe wishpreserve folkculture and to nationalspirit tradition”. this However, with he asked abouthim it One ofthe festival of founders the was no givearebut still thea festivalnationalist today touch quite marginal heavenlybulwark of Serbs, Kosovo,etc. Christianity Guča some and “fools whobelieve thatthere inth exist derivefrom that time still way”.in this He furthermore fightingKosov for Guča was inthe“It earlyclose 90s: those those people toMilošević, savages whohad been festival. One complained interviewee about hownationalistically minded agents changed connection commercialis with its Another veryfrequent theme isthe festival’s

Interview 2014 August 8th Guča, 3, Interviewee 2014 August 7th Belgrade, 1, Interviewee t. Alocal resident cannot generalis indi by Guča, in nationalism of examples some be course national a has also this course Of tradition. folk something and culture national from preserve past, the from to created was It tradition. and arts culture, values, T he festival only wanted to preserve national identity, space, customs, customs, space, identity, national preserve to wanted only festival he ee 5, Guča, 9th August 2014 August 9th Guča, 5, ee . He methat told “from thebeginning o under the Theyo under slogan‘Serbs Kosovo’. for started

told me: told e ieso, ainl nt ainlsi! hr mgt of might There nationalistic! not national, dimension, this to the whole manifestation tothewhole this stated ation inthe 1990s,whichas isoften forced described from

ation as a main point ofcriticismpoint ation by as critical a main those ofthe

that theT form

t very upset about ethni this upset t very

of eth - appropriation from the political side 62 shirts and items available other nationalistic in shirts nicis

’ ation ” , while he also adds that these”also people ,whilehe adds , .

138 the festival was a renaissancethe festivalwas a of , which isoften named in

upporters tolegitimiseupporters viduals, but you you but viduals, . 136 cis rebranding

ation though . is story, ‘we

137 the festivalthe

Thi when Iwhen

the s

CEU eTD Collection 142 141 140 139 interviewee aski was direct,andwithout me more even at the ex EXITresulted needed else”,which something in Serbia”as “the aresult andsecond that does not enjoy of thepopulation part the music played years,Serbia” afterthe Milošević “somethingtoimprove tocreate urban theappearance of commented of onthe EXIT foundation as inthe it earlya 2000s, describing and thedichotomy the between anddirect previous final chapters.contains of cluster mention The the This far we connecting manydifferentin seen have clusters intothediscussions ways nation entered thetrumpet” more national culture a and became dominant form” againit damnwar themusic the1990s:“This changed to even Also another discus tookupthis interviewee trumpet in Guča connecting andonthefestival’sperception, their influence tothe ethnic it MyBelgrade interviewee presence in reflectedonthis ofnationalistically

Interviewee 1, Belgrade, 7th August 2014 August 7th Belgrade, 1, Interviewee 2014 August 8th Guča, 3, Interviewee 2014 August 7th Sad, Novi 2, Interviewee 2014 August 7th Belgrade, 1, Interviewee drastically eb wud’ sy ntig eaie bu Gč bcue t s thei is it because Guča about own negative anything say wouldn’t Serbs many why is that and own their with deal to like People OK. not already is that it, towards critical are and music this don’tlikeyou If tradition. our tradi our is which music, this against are you If otherwise. believes that group a in different be to hard very is It

music as such: . 139

, saying “the ofthe trumpetspirit , sayingnation enteredlike thespiritof the

. 141

Guča andEXIT

sion of trumpet music’s ethnicis 63 tion, you are automatically against against automatically are you tion, .

140 festivals. festivals.

The festival’s co ng for the discourse took it up: up: took it ng the discourse for tremeGuča growth of My

interviewee

itself - ! Brass music movedinto ! Brass founder framedfounder even this Two SerbiasTwo minded individuals minded individuals in Belgradein

“revenge of ation, connecting ”. r 142 is

discourse ation of

Another

this this

CEU eTD Collection 143 Also the definitionof theEXIT festivala Serbia revenge meani as(clearly of exotic andits largely this wildappeal, overlapswit interviewee Only in directlyechoed by my interviewees. Serbia and Guča the following donotpoint thesis, theories manyinthis ata ofthe introduced reflection of before many under collected points the ofthe recent notrelate of does directlynotion twoor development, more toany Serbias. Similarly, commerciali Serbias However, also itis the previousthesis are partsalso indeedfor ofimportant this thefestival’s ethnicis analy When summary Chapter

Interviewee 2, Novi Sad, 7th August 2014 August 7th Sad, Novi 2, Interviewee Two Serbias Serbias! Yugoslav Now too. EXIT culture to that go of wouldn’t part and are you mean doesn’t this Guča, to go you If music! trumpet adore I but today that play still I and Roll n Rock with up grew I EXIT? People veryfor similar! are they say I But or Guča for you are discussion, this always is there Serbia In

ation and theEXIT discourse. Most notably,discourse. thefestival’sparticipan Most some s s s

ing these broad c broad these ing explained the attractiveness of the festival to people theattractivenessexplained to from Western ofthefestival with Europe ation, which whilealready asation, which one ofthe between dynamics described Guča’s areas, 143

discourse inthe visitor’saccounts. discourse observed inthe literature, isthereforeobserved newspapers forum and posts some not new

apparent that those accounts the largelynotfollow lines ofthe do notions ofthe discourse doreflectnotions

wave band band wave - Guča dichotomy lusters of themes

from

cluster of while beingcluster Orientalism, interesting in

the ,

- between EKV [Ek EKV between

64 it shows thatmany the shows topics it of claim 19 -

commercialis 80s] and Ceca, that are two two are that Ceca, and 80s] h theOrientalist a of vision F The strong connectionbetweenFirst the

there are two Serbias, but no. Serbias,but theretwo are

directly ts do carets dothe issue of a about lot ation, authenticity, Ori . Forexample, when one . atarina Velika atarina

participants. ng of thepart the discussed in – irst Serbia.

a entalism, Two

of my of

CEU eTD Collection commercialis and are festival, or at debated lines concerning hotly beitalong Orientalist the bordersto beSerbian means of it what belonginggets along lines of reinterpreted the presumedgranted. and for taken not reflectaccountsparticipantsfestival’s intheare oftherather directly though, but targetaccusations theframeworkSerbias in for Two discour ofthe commerciallyyears, emphasis recent onethnicity necessitated an in Guča became obvious As a result oft candiscourseexpected that be does the pla clear asexplanations towhyevent, the in interviewees appropriation inthe to dovia drawingline abetween clear ‘pure’ the the case nationalistic connotation asexplanation towhy festival nationalistic the is none But even thediscourse though two Serbias. Serbian populationwhowas regime mirror against seems theMilošević theidea before) to of of noteven the interviewees, t

of its critics) or to defend itscritics) orto of

take the nationalist connotationof theGuča thenationalist take granted and fori festival ation. he festival’s past ethnicis festival’s (its he

19 90s. Thus,similarly90s. tothe scholars, .

This results in does

However the festivalthe

he criticalones,could most giveanyexample or concrete not directly reflect in most ofmynot directly most in reflect interviewees’accounts, . These issues are a major concern for all. Thesearea for interviewees major issues concern them either an interviewee’s , Guča, y this. into ation the inthe 1990sespecially)and **

65 (in the case which itssupporters), they(in the tend of authenticity reinforcing andthe tradition, *

, whileall ofthem sabor

can still beseen still can where as aplace national taking these accusationstaking these

as intended inthe

opinion, should be nationalistic, it should opinion, journalists anjournalists se. These accusationsse. These do were d forum users, d forum very 19 60s and its

for grantedfor (in

aware ofits the issue of the issueof n thelack of my

CEU eTD Collection guiding marketing dyn of everyday withqualitative ethnicity,research combined thean analysisfestivals and of clear connotations. nationalistic question remained Iglancehave hold,asand to withphotos descriptions. exemplified seem However, the discoursein public bothagainst theFirst generaland particular, Serbia thefestivalin at in first After geography, mu ofnotion Two Serbias also is routinelyapplied tonon down from thepolitical level that more to the mundane and shown have manifestations, shortcomings applica inits remarkablywell As a result, construction thediscursive ofby competingis conceptionsofthe nation now Serbias, whileexact seldomdefining meaning orquestioning thethisconcept. of works and journalistic articles,auth many discussionsin inpublic taking part Serbia. inscholarly ofthose both have We that seen scholars,even has andpublic journalists thewider becomea and taken Ithe trumpet festival Guča. in shownthat have thereinterviewsbetween Two andSerbias isaconnection observation, thediscourseon and As we seen have analyses inmy forumliterature, onscholarly newspapers, based entries, Conclusion

then turning to

sic and finallysic and andspecifically festivals established, evenholding thefaceestablished, in of ontoit tothe point ofobvious why this amics. The music itself has not been The not amics. musicitselfhas aanalysis matter here, of

this should bethe should casethis

specific case study tion. Departingfromtion. realis this

InI this, toanswer order relied theoretical framework onthe orsand repeatedly routinelyof notion Tworefer tothe , we seenmany have of that 66 and whyand for vendors, with sellitems instance, the overallthe

- political issues, suchpolitical issues, as demography, also ation, Iation, followed have thediscourse

discourse is well accepted by iswell discourse the Guča trumpet festival.the Guča trumpet - for

the accusationsthe made - granted notion for

while Iwhile

CEU eTD Collection marketand many thereare for radical them, still definitely atte nationalists often All this when tospeak planning theevent, not First ofa Serbia specific logic. Second Serbia itshistory because of and overall Two Serbias which discourse, itselftoaccusations offered coming adherents from ofa Having Guča findings inmind, these appears tobe marketing. the necessitiesemphasis of ethnicis forexplanations ongoing this the national colouring of themselves againstvague these and ill givingthey referenceand exactly, meant those supporting towhat urge felt it the todefend so that those critical simply ofit thefestival’sopen display blamed of Instead,and bothsupporters opponents ofthe nation discourseparts atby ofspecific at the Twowere times, Serbias andtopoint large unable Myw interviewees, fes music played havemusic in shownthat trumpet tival - mentioned street vendors would selltheir nationalistic not mentioned street products vendors there if no was alisticthe festival, elements criticalof ofnomatter how theevent. be they might It light inthis unli is

ation in the context ofthe broa ation inthe context as awhole is not tosay,is not course, thatthereare noradical of elementsinGuča. be to found The

Guča

and the talk about the festival in particular. talkaboutand the festival the in hile mirroringand discussed thesis referring inthis the topics many to of that mark the eventthat kely thatthefestival’sorganis ing ofmodern ethnicitycontext inthe Serbia - derdynamic Serbian folkloris of defined accusations. I given defined accusations. possible also have ethnic focus resultingfrofocus ethnic is in highlynationalis

national sabor 67

first andforemost

took its nationalist reputation nationalist took its for granted,

colours event, imp most ers follow anyers follownational ideology ed, buti

but rather the the but rather

- ideology. ethno m its m its t is not not t is so much the a space the projection of nationalism without without nationalism ation inthe 1990s, ation - ortantly history its of guiding marketing

and and

nding theevent,nding as setting ofthe World Music Music World

and

CEU eTD Collection 145 144 doexperiencevisitors of a collective belonging sense national inthi certainthe First characteristicsof Serbia applied arefestival discursively tothis andits There is for being those thoseattending, larger linkedidentities. without toany of necessarilyis not orethnic national butcantake rathertheforma temporary community of also keep inmind the nation becomes“knowable community” aattending. for those words ofMichael Skey,“solidarities thatare otherwi in the first chapter thisthes of InGučacan the theoretical sense,putinto framework this be ofethnicity everyday as outlined re placeofconceptions what wheremeans it be and to Serbian whatreally culture Serbian isare result ofitshistory, marketing its dynamics discursive andnational the colo be viewedstill where as aplace belongingattending. gets national those a for reinforced As nationalis However, while my basedcannotGuča on qualitativea data thatthe conclude is festival one of them. resonateat a allwith majority festival’s certainly ofthe itis participants,while knowntomost do so people with such convictions. a sortof from1990s,when leftover was themanifestation the a attimes meeting for point -

In the sense of Emile Durkheim or Victor Turner Victor or Durkheim Emile sense the In of S of “‘Carnivals Skey, evaluated. despite therefore

t happening, as is oftendonet happening,as inthe framework Two Serbias ofthe

its nationalistic colouring nationalistic its

that whilesomeform ofidentity identity‘happen’ this atdoes festival, this indeed more than one Serbia, but there moreindeed one thanone isalsomore but Guča. Serbia, than While urplus Emotion?,” 146 Emotion?,” urplus

is andmay as aplace function indeed where, to

However,Guča ofvisitorscoming the majority are to likelyto – , notbecau 147.

se ofit se se only are materialis presumed” . Thiscolouring may not therefore 144 s setting, theevent,s setting, the

However, one However, should

145 uring, Guča isa

discourse; again use the ed and ed and

it canit

CEU eTD Collection very different toeveryone things attending music and ofSerbness, notions while strongly intertwined

*** 69

this specificthis setting , still mea , still n

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