DOKUMENTARNO NASLIJEĐE DOI 10.37083/bosn.2020.25.141 DOCUMENTARY HERITAGE Stručni rad BOSNIACA 2020; 25: 141-147 Professional paper UDK/UDC 027.54(497.11):[026.062:78.011.26

Mesto popularne muzike u sistemu zaštite kulturne baštine na primeru saradnje Narodne biblioteke Srbije i Zadužbine Milana Mladenovića Place of the Popular Music in the System of Cultural Heritage Protection – The Example of Cooperation between National Library of and Milan Mladenović Endowment Maša Miloradović Narodna biblioteka Srbije, Beograd, Srbija / National Library of Serbia, , Serbia [email protected]

Informacije o članku / Article Info Sažetak / Abstract

Primljen / Received 1. 9. 2020. Na primeru nedavno uspostavljene saradnje između Narodne biblioteke Srbije i Za- Prihvaćen / Accepted 30. 10. 2020. dužbine Milana Mladenovića, jugoslovenskog muzičara i pesnika poslednjih decenija Dostupan online / Available online: 15. 12. 2020. 20. veka, pokazan je model udruživanja tradicionalne baštinske ustanove i privatne institucije u oblasti zaštite kulturne baštine. Posvećena je pažnja načinima na koje se memorijalizuju i muzealizuju ličnosti i pojave iz nedavne prošlosti iz domena “popu- Ključne reči / Keywords: larne” kulture. Ukazuje se na neophodnost aktivnije uloge tradicionalnih ustanova u popularna muzika, kulturna baština, zaštita “otkrivanju” baštine, proširivanju na netradicionalne oblike stvaralaštva. nasleđa, javno-privatna saradnja, Narodna biblioteka Srbije, Zadužbina Milana Mladenovića The Example of recently established cooperation between National Library of Ser- popular music, cultural heritage, heritage bia and Endowment of Milan Mladenović (Yugoslav poet and musician from the last protection, public-private cooperation, National decades of 20th century) shows a model of joining traditional heritage institution and Library of Serbia, Milan Mladenović Endowment a private endowment in the area of cultural heritage protection. Attention is paid to the ways of memorialisation and musealisation of personalities and phenomenons of the past in the domain of “popular” culture. The more active role of traditional institutions in “discovering” heritage is needed, as well as action towards coverage of wider range of non-traditional cultural creations.

Kao jedna od centralnih baštinskih institucija u Re- As one of the central heritage institutions in the Re- publici Srbiji, Narodna biblioteka Srbije obavlja public of Serbia, the National Library of Serbia per- poslove od opšteg interesa u zaštiti stare i retke bi- forms activities of general interest in the preserva- bliotečke građe (Zakon o staroj i retkoj bibliotečkoj tion of old and rare library materials (Zakon o staroj građi 2011, čl. 5). U tom smislu bavi se, pre svega, i retkoj bibliotečkoj građi (Law on old and rare li- pronalaženjem, prikupljanjem, čuvanjem, zaštitom brary materials), § 5). For this purpose, it deals, first i korišćenjem građe, ali i pružanjem stručne pomo- of all, with finding, collecting, holding, preserving ći sopstvenicima stare i retke bibliotečke građe. Na and using materials, but also with providing profes- osnovu ugovora sa pojedincima i institucijama Na- sional assistance to owners of old and rare library rodna biblioteka Srbije ostvaruje saradnju na polju materials. Based on agreements with individuals zaštite pokretnih kulturnih dobara – bilo da sa svo- and institutions, the National Library of Serbia co- jim stručnjacima deluje na polju fizičke zaštite kroz operates in the field of preservation of movable cul- proces restauracije i konzervacije, da se angažuje tural property – whether it works with its experts in u projektima digitalizacije određenih korpusa građe the field of physical preservation through the pro- ili na druge načine. cess of restoration and conservation, to engage in Razgranata delatnost Narodne biblioteke Srbije u projects of digitization of certain corpus of materi- oblasti zaštite kulturne baštine proširena je u junu als, or in other ways. 2019. godine potpisivanjem Ugovora o saradnji Na- The branched activity of the National Library of rodne biblioteke Srbije i Zadužbine Milana Mlade- Serbia in the field of cultural heritage preserva- novića. “U znak poštovanja i sećanja na istaknutog tion was expanded in June 2019 with the signing jugoslovenskog muzičara, Zadužbina je Narodnoj of the Agreement on Cooperation between the Na- biblioteci Srbije poverila na staranje vrednu građu tional Library of Serbia and the Milan Mladenović koju čine lični predmeti i dokumenti, knjige, ruko- Endowment. “As a sign of respect and memory of

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pisi, plakati, fotografije, audio i video materijali i the prominent Yugoslav musician, the Endowment druge vrste građe iz zaostavštine umetnika. Ugovor entrusted the National Library of Serbia with valu- su potpisali upravnik Narodne biblioteke Srbije, able material consisting of personal items and doc- Laslo Blašković, i upraviteljka Zadužbine Milana uments, books, manuscripts, posters, photographs, Mladenovića, Aleksandra Ćebić.” (Narodna biblio- audio and video materials and other types of ma- teka Srbije 2019b). terial from the artist's legacy. The agreement was Ovim činom uobičajene prakse pravnog regulisanja signed by the Director of the National Library of saradnje napravljen je iskorak tradicionalne institu- Serbia, Laslo Blašković, and the Directress of the cije zaštite, kakva je Narodna biblioteka Srbije, pre- Milan Mladenović Endowment, Aleksandra Ćebić.” ma bavljenju stvaralaštvom koje se još uvek ne po- (Narodna biblioteka Srbije 2019b). drazumeva za kulturnu baštinu. To je tek prvi korak With this act of the usual practice of legal regulation ulaska tzv. “popularne kulture” u ustanove zaštite.1 of cooperation, a step forward was made by the tra- Za određeni proizvod ili delo “popularne kulture” ditional institution of preservation, such is the Na- postoje vrlo velike razlike i potrebno je opisati, raz- tional Library of Serbia, towards dealing with crea- vrstati, oceniti i doneti vrednosni sud za njih isto tivity that is still not considered as cultural heritage. kao i za bilo koje delo tzv. “visoke” kulture. This is only the first step in entering the so-called 1 Milan Mladenović, pesnik i muzičar, dobro je po- “Popular culture” in preservation institutions. There znat generacijama koje su stasavale od početka are very big differences in a certain product or work osamdesetih godina prošlog veka u Jugoslaviji. Ro- of “popular culture”, and it is necessary to describe, đen u Zagrebu, prve akorde na gitari je naučio i prve classify, evaluate and make a value judgment just stihove napisao u Sarajevu, a kao stvaralac stasao je like for any work of the so-called “high” culture. i afirmisao se u Beogradu, u vreme kada je muzička Milan Mladenović, a poet and musician, is well scena bila vrlo živa. Sastav sa kojim je počeo da known to generations that have matured in Yugosla- nastupa bio je “Limunovo drvo”, u muzičkom svetu via since the early 1980s. Born in , he learned postao je poznat sa najinventivnijom grupom novog the first chords on the guitar, and wrote the first vers- talasa “Šarlo akrobata”, a vrhunac stvaralačke sna- es in Sarajevo, and as a creator he grew up and estab- ge i popularnost stekao je kao vođa sastava “Ka- lished himself in Belgrade, at a time when the music tarina Druga”, tj. kasnije “Ekaterina Velika”. Pisao scene was very lively. The band which he started per- je muziku za pozorište, a ostvario se i u nekoliko forming with was “Limunovo drvo” (Lemon tree), igranih filmova. Ostao je upamćen i po izrazitom in the music world he became known with the most antiratnom angažmanu na početku jugoslovenskih inventive group of the new wave “Šarlo akrobata” ratova, sve do prerane smrti 1994. godine. (Charlot the Acrobat), and gained the peak of crea- U tom smislu, stvaralaštvo Milana Mladenovića tive power and popularity as the leader of the band imaće važnu ulogu u razumevanju i tumačenju ju- “Katarina Druga” (Catherine II), i.e. later “Ekate- goslovenske kulturne scene s kraja 20. veka – nje- rina Velika” (Catherine the Great). He wrote music gova poezija i muzika nisu ostale samo u sećanju for the theatre, and accomplished himself in several jedne generacije, već su ušle u javni diskurs. Stiho- feature films too. He was also remembered for his vi pesme “Zemlja” čiji su autori Milan Mladeno- strong anti-war engagement at the beginning of the vić i Margita Stefanović – “Ovo je zemlja za nas”, Yugoslav wars, until his untimely death in 1994. postali su referentni – naslov jedne emisije Radio In that sense, Milan Mladenović's work will play Televizije Beograd glasi – “Mesto za nas”, a prati je an important role in understanding and interpret- i muzička tema ove kompozicije. U svakodnevnoj ing the Yugoslav cultural scene from the end of the javnoj komunikaciji i obraćanju prepoznaje se upo- 20th century – his poetry and music have not only treba upravo ovih stihova. Pesma “Šarla akrobate” remained in the memory of one generation, but have “Mali čovek želi preko crte”, kao slika osamdese- entered into public discourse. Verses of the song tih godina u Jugoslaviji, oživljena je u novom vre- “Zemlja” (Earth) whose authors are Milan Mlade- menu i prostoru kroz muzičko-scenski performans nović and Margita Stefanović – “Ovo je zemlja za pozorišne trupe “Montažstroj” iz Zagreba, izveden nas” (This is the country for us), became a reference

1 Termin “popularna kultura” ovde je upotrebljen sasvim uslovno, bez 1 The term “popular culture” is used here quite conditionally, without svih pozitivnih ili negativnih socio-kulturnih konotacija, već kao all the positive or negative socio-cultural connotations, but as a de- oznaka kulturnog sadržaja kao oličenja jednog vremena i određene signation of cultural content as the embodiment of a one period and generacije, koji još uvek nije dobio mesto u institucijama kulture. O a certain generation, which has not yet gained a place in cultural tome: Frit 2012, 362. institutions. About: Frit 2012, 362.

142 Miloradović premijerno 2014. godine, a koji problematizuje nor- – the title of one show of Radio Televizija Beograd me i “crte društvenih zadatosti”. Ne treba posebno (Radio Television Belgrade) reads – “Mesto za nas” spominjati ni ponovljena muzička izdanja, štampa- (A place for us), and is accompanied by the musical nje zbirki pesama, biografija, brojne dokumentarne theme of this composition. In everyday public com- filmove i emisije posvećene Milanu Mladenoviću i munication and addressing, the use of these verses is grupama u kojima je stvarao, kao ni brojne muzičke recognized. The song of “Šarlo akrobata” (Charlot sastave koji se bave koncertnim i klupskim izvođe- the Acrobat) “Mali čovek želi preko crte” (The little njem ove muzike. man wants across the line), as a picture of the 1980s Ime Milana Mladenovića upisano je u sećanje na taj in Yugoslavia, was revived in a new time and space način što ga je ponelo nekoliko ulica u više gradova. through the musical-scenic performance of the the- Tako u Beogradu postoje Plato Milana Mladenovi- atre troupe “Montažstroj” from Zagreb, premiered ća, Ulica Milana Mladenovića u naselju Zemun-po- in 2014, which problematizes norms and “features lje, u Zagrebu i Podgorici, Prolaz Milana Mladeno- of social tasks”. Not to mention repeated music re- vića u Novom Sadu. U mnogim gradovima bivše leases, printing collections of songs, biographies, Jugoslavije sećanje na popularne muzičare formali- numerous documentaries and shows dedicated to zovano je odlukama o dodeli naziva ulica po pojedi- Milan Mladenović and the groups in which he creat- nim ličnostima. U Beogradu su to Čavketov pasaž,2 ed, as well as numerous musical ensembles engaged Plato Neše Radulovića,3 u Novom Sadu – pasaž koji in concert and club performances of this music. spaja ulice Poštansku i Jevrejsku nazvan je Prola- The name of Milan Mladenović is inscribed in the zom Pekinške patke, u novosadskom Limanskom memory in the manner that it was taken by several parku jedan plato nosi ime Mitra Subotića Sube.4 streets in several cities. Thus, in Belgrade there is U Puli odnedavno postoje Poljana Serđa Blažića Plato Milana Mladenovića (Plateau of Milan Mlad- Đosera5 i Stube Branka Črnca Tuste.6 Ova vrsta enović), Ulica Milana Mladenovića (Street of Milan memorijalizacije relativno brzo se sprovodi, jer je Mladenović) in community Zemun-polje, in Zagreb lokalnog karaktera. Ipak, ostaje dilema da li dava- and Podgorica, Prolaz Milana Mladenovića (Passage nje naziva ulicama u zabačenim delovima grada na of Milan Mladenović) in Novi Sad. In many cities of dobar način ispunjava funkciju memorijalizacije. U the former Yugoslavia, the memory of popular mu- Sarajevu je imenovanje ulice po čuvenom pevaču i sicians has been formalized by decisions on naming članu grupe “Indeksi” Davorinu Popoviću, u jednoj streets after certain personalities. In Belgrade they od centra grada udaljenoj i skrajnutoj ulici, izazva- are Čavketov pasaž2 (Čavke's passage), Plato Neše lo, prema pisanju štampe, dosta negativnih reakcija Radulovića3 (Plateau of Nešo Radulović) in Novi građana, a najpre same njegove porodice. Štampa Sad – a passage connecting the streets Poštanska beleži i neuspeli pokušaj davanja imena novosad- ulica i Jevrejska ulica was named Prolaz Pekinške skoj ulici po Džonu Lenonu (Vrzić 2002). Kritičke patke (Passage of Peking Duck), in Limanski park stavove o ovom pitanju imaju i pojedini antropo- in Novi Sad, a plateau has the name Mitar Subotić lozi. Baveći se pojmom arhitekstura, kojim ozna- Suba.4 In Pula recently exist Poljana Serđo Blažić čavaju ukupnost urbane arhitekture i teksta koji je Đoser5 (Plain of Sergio Blažić Đoser) and Stube označava, smatraju da su “nazivi gradskih ulica – Branka Črnca Tuste6 (Stairs of Branko Črnac Tusta). specifičan tekst nacionalne naracije, mjesta gdje se This type of memorialization is carried out relatively strukture vladajuće ideologije susreću s praksom quickly, because it is of a local character. However, svakodnevnoga života” (Rihtman Auguštin 2000, the dilemma remains whether naming streets in re- 51); “simbolični iskaz ideološko-političkoga pro- mote parts of the city fulfills the function of memo- grama; svaka promjena u njemu uvijek je borba za rialization in a good way. In Sarajevo, the naming of istiskivanje jednoga a nametanje drugoga sjećanja, the street after the famous singer and member of the

2 Goran Čavajda Čavke (1962–1997), bubnjar i član beogradske grupe 2 Goran Čavajda Čavke (1962–1997), drummer and member of the “Električni orgazam” Belgrade band “Električni orgazam” (Electric Orgasm) 3 Nenad Radulović (1959–1990), muzičar, pesnik i vođa beogradske 3 Nenad Radulović (1959–1990), musician, poet and leader of the grupe “Poslednja igra leptira” Belgrade band “Poslednja igra leptira” (Last Dance of a Butterfly) 4 Mitar Subotić Suba (1961–1999), pseudonim Rex Ilusivii, muzičar, 4 Mitar Subotić Suba (1961–1999), pseudonym Rex Ilusivii, musi- kompozitor i producent iz Novog Sada cian, composer and producer from Novi Sad 5 Sergio Blažić (1951–1987), muzičar i pevač pulske grupe “Atomsko 5 Sergio Blažić (1951–1987), musician and singer of the Pula band sklonište” “Atomsko sklonište” (Atomic Shelter) 6 Branko Črnac Tusta (1955–2012), vođa pulske pank-grupe “KUD 6 Branko Črnac Tusta (1955–2012), leader of the Pula punk band Idijoti” “KUD Idijoti” (Cultural Artistic Society “Idiots”)

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odnosno znak da je nova vlast ovladala prostorom” group “Indeksi” (Indexi), Davorin Popović, in one (Lovrenović 2016). U tom kontekstu, nije zanemar- of the city's distant and remote street, caused, ac- ljiva ni geografska pozicija novoimenovane ulice. cording to the press, a lot of negative reactions from Pored davanja naziva ulica, postoje i sporadični pri- citizens, especially from his family. The press also meri kad je ime ličnosti iz sveta popularne kulture, notes the failed attempt to name the street in Novi pre svega muzike, dato i nekoj ustanovi – kao što u Sad after John Lennon (Vrzić 2002). Critical views Beogradu nekadašnja Ustanova kulture Palilula od- on this issue also have some anthropologists. Deal- skora nosi naziv Centar za kulturu “Vlada Divljan”.7 ing with the term of architexture, which denotes the U Kruševcu se nije odmaklo dalje od inicijative da totality of urban architecture and the text that denotes srednjoškolski internat “Pane Đukić Limar” pro- it, they consider that “the names of city streets – are meni ime u “Milan Mladenović”, u kojoj je značaj a specific text of the national narrative, places where argument trebalo da bude i činjenica da je Milanov the structures of the ruling ideology meet the prac- otac iz Kruševca (Rizinger 2020, 206). Korak dalje, tice of everyday life” (Rihtman Auguštin 2000, 51); sa heritološkog stanovišta, otišle su gradske vlasti u “a symbolic statement of the ideological-political Rijeci, kada su pre nekoliko godina proglasile grafit program; every change in it is always a struggle to prve riječke, a i jedne od prvih jugoslovenskih pank push out one memory and to impose another memo- grupa “Paraf”, za kulturno dobro od lokalnog zna- ry, that is, a sign that the new government has taken čaja, jer “svjedoči o počecima i razvoju riječkog, over the space.” (Lovrenović 2016). In that context, jugoslavenskog i istočnoevropskog panka, te slovi the geographical position of the newly named street kao važan spomenik popularne kulture” (Grad Ri- is not negligible either. jeka 2018). In addition to naming the streets, there are sporad- Više je primera ideja koje su ostale neostvarene ili ic examples when the name of a person from the kratkog trajanja, kao što je bilo otvaranje Audio-vi- world of popular culture, primarily music, is giv- zuelnog muzeja Laboratorije zvuka na Petrovara- en to an institution – such as the former Ustano- dinskoj tvrđavi, u toku trajanja Egzit festivala 2013. va kulture Palilula (Palilula Cultural Institution) in godine. Povremeno se organizuju izložbe, koncerti Belgrade was recently named as Centar za kulturu i multimedijalni događaji, osmišljeni u svrhu (pod) “Vlada Divljan” (the Cultural Center Vlada Divl- 7 sećanja na pojedinačne autore ili sastave, a u virtu- jan). In Kruševac, they did not move beyond the elnom svetu postoji Rok muzej (2015). Muzej dže- initiative to change a name of a high school board- za (Matović 2020) za sada postoji samo kao ideja. ing school “Pane Đukić Limar” to “Milan Mladeno- vić”, in which the significant argument should have Sa sigurnošću možemo reći da je stav naslednika been the fact that Milan's father was from Kruševac prema zaostavštini presudan za njenu dalju sudbinu. (Rizinger 2020, 206). From a heritological point of Autori (ali i njihovi naslednici) koji se bave određe- view, the city authorities in Rijeka made a step fur- nom performativnom vrstom stvaralaštva nisu uvek ther, when a few years ago they declared the graffiti svesni potrebe čuvanja svoga stvaralaštva. “Osim of the first Rijeka’s, and one of the first Yugoslav retkih primera, ljudi vezani za pank nisu ostavili ar- punk groups “Paraf” for a cultural property of local hivske zbirke koje sadrže tradicionalnu građu, kao significance, because “it testifies to the beginnings što su prepiska ili dnevnici”.8 and development of Rijeka, Yugoslav and Eastern Ideja o osnivanju Zadužbine Milana Mladenovića European punk, and is known as an important mon- potekla je od Milanove majke Danice, kao njego- ument of popular culture.” (Grad Rijeka 2018). vog zakonskog naslednika, što je formulisano u nje- There are several examples of ideas that have re- nom testamentu (Zadužbina Milana Mladenovića. mained unfulfilled or short-lived, such as the open- “O zadužbini”). To je bio presudan korak u inte- ing Audio-vizuelni muzej Laboratorije zvuka (Au- gralnom očuvanju zaostavštine njenog sina. Podsta- dio-visual museum of the Sound Laboratory) at knuti testamentarnom željom Danice Mladenović, Petrovaradinska tvrđava (Petrovaradin Fortress), Milanovi prijatelji i kolege osnovali su Zadužbinu during the Exit festival in 2013. Occasionally, exhi- u skladu sa rečima Milanovog kolege i prijatelja, a bitions, concerts and multimedia events are organ- 7 Vlada Divljan (1958–2015), rok-muzičar i kompozitor, najpoznatiji ized, designed to remind / remember individual au- kaočlan beogradske muzičke grupe “VIS Idoli” 8 Redak primer tradicionalne arhivske zbirke koja se tiče panka je 7 Vlada Divljan (1958–2015), rock musician and composer, best Zbirka Ričarda Hela u jednoj od biblioteka Njujorškog univerziteta. known as a member of the Belgrade music band “VIS Idoli” (The Videti: Turrini 2013. Idols)

144 Miloradović sad jednog od članova UO Zadužbine, Zorana Ko- thors or ensembles, and in the virtual world there is stića Caneta: “Važna je jedna stvar – mi polako od- a Museum of Rock (Rok muzej 2015). Jazz muse- lazimo, a mi smo jedna epoha” (Rigonat 2004, 156). um (Matović 2020) for now exists only as an idea. Zadužbina je osnovana “na neodređeno vreme, sa We can say with certainty that the attitude of the ciljem da se umetnička, autorska i lična zaostavšti- successors towards the legacy is crucial for its fur- na Milana Mladenovića sačuva kao celina i da se, ther destiny. Authors (but also their successors), kao zadužbina, nameni za kulturne i humanitarne who deal with a certain performative type of crea- potrebe” (Zadužbina Milana Mladenovića 2018). tivity, are not always aware of the need to preserve Osnovnu imovinu Zadužbine čine Mladenovićevi their creativity. “Apart from rare examples, people lični predmeti, rukopisi, prepiska, knjige, notni za- related to punk have not left archival collections pisi, audio i video-snimci i fotografije. Narodna bi- containing traditional material, such as correspond- blioteka Srbije, kao državna institucija, obezbeđuje ence or diaries.”8 stručno bavljenje ovom celinom (kataloška obrada, The idea of founding the Milan Mladenović Endow- konzervacija), a garantuje i trajnost njene zaštite, za ment came from Milan's mother Danica, as of his razliku od ustanova privatnog karaktera, sa ograni- legal successor, which was formulated in her will čenim trajanjem ili izvorima finansiranja. (Zadužbina Milana Mladenovića. “O zadužbini”). Prvi kontakt sa Narodnom bibliotekom Srbije i It was a crucial step in the integral preservation of njenim Odeljenjem za konzervaciju Zadužbina je her son's legacy. Encouraged by Danica Mladeno- učinila tražeći mogućnosti da se zaštiti građa na vić's testamentary wish, Milan's friends and col- papiru (rukopisi i fotografije). U susretu Zadužbi- leagues founded the Endowment in accordance with ne i Narodne biblioteke Srbije rodila se ideja da the words of Milan's colleague and friend and now se sama građa trajno smesti u Biblioteku. Ovakav one of the members of the Board of the Endowment, sticaj okolnosti potvrđuje mišljenje da ustanove Zoran Kostić Cane: “One thing is important – we zaštite treba da imaju aktivniju ulogu u otkrivanju are slowly leaving, and we are one epoch” (Rigonat baštine (Britta et all. 2013). Narodnoj biblioteci Sr- 2004, 156). The Endowment was established “indef- bije su predati rukopisi, dokumenti, knjige, audio initely, with the aim of preserving the artistic, au- i video-snimci, fotografije, plakati, lični predmeti, thorial and personal legacy of Milan Mladenović as pisaći sto i razna sitna štampana građa. Prema prak- a whole and, as an endowment is intended for cul- si Narodne biblioteke Srbije, celina je dobila svoju tural and humanitarian needs.” (Zadužbina Milana signaturu po inicijalima autora i započeta je stručna Mladenovića 2018). The basic property of the En- obrada. Knjige, audio i video-snimci, fotografije, dowment consists of Mladenović's personal items, plakati i sitna građa kataloški su obrađeni u CO- manuscripts, correspondence, books, music sheets, MARC formatu u Kooperativnom bibliografskom audio and video recordings and photographs. The sistemu COBISS.SR. Rukopisna građa se obrađuje National Library of Serbia, as a state institution, prema arhivističkim standardima u okviru Elek- provides professional handling with this unity (cat- tronskog kataloga rukopisa i arhivalija AtoM NBS aloguing, conservation), and guarantees the perma- 9 (EKRAAN). Rukopisi su razvrstani na uobičajene nence of its preservation, unlike private institutions, celine – rukopise, prepisku, lična dokumenta i ra- with limited duration or sources of funding. zno. Na ovaj način sistematizovana i stručno obra- The first contact with the National Library of Serbia đena građa biće dostupna kroz pomenute kataloge i and its Department for Conservation was made by the to predstavlja osnovu za dalje proučavanje i tuma- Endowment, looking for opportunities to protect the čenje Milanovog dela i vremena. Planira se digitali- material on paper (manuscripts and photographs). In zacija kolekcije, čija će dostupnost na taj način biti the meeting between the Endowment and the Nation- proširena i u virtuelni svet. Formiranjem spomen- al Library of Serbia, the idea was born to permanent- kutka posvećenog Milanu, gde će biti izložen izbor ly place the material in the Library. This combination obrađene građe, Narodna biblioteka Srbije proširiće of circumstances confirms the opinion that preser- svoj krug korisnika. vation institutions should play a more active role in U okviru saradnje Zadužbine Milana Mladenovića i heritage discovery (Britta et all. 2013). Manuscripts, Narodne biblioteke Srbije održana je manifestacija documents, books, audio and video recordings, pho- dodele prve Nagrade “Milan Mladenović”, na dan 8 A rare example of a traditional archival collection concerning punk 9 O ovom programu za obradu rukopisa i njegovom razvoju više u: is the Collection of Richard Hell in one of the libraries of New York Obradović 2018. University. See: Turrini 2013.

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Milanovog rođendana 21. 9. 2019. godine (Narod- tographs, posters, personal items, writing desk and na biblioteka Srbije 2019b). Krajem avgusta 2020. various small printed materials were handed over godine održana je onlajn tribina “Poštenije nisam to the National Library of Serbia. According to the mogao da potrošim godine” o značaju rukopisne za- practice of the National Library of Serbia, unit has ostavštine Milana Mladenovića. received its call number based on the initials of the Pre nešto više od petnaest godina Narodna biblio- author and the professional processing began. Books, teka Srbije dobila je na čuvanje legat majstora fo- audio and video recordings, photographs, posters and tografije i profesora Fakulteta dramskih umetnosti small materials are cataloged in COMARC format u Beogradu Branibora Debeljkovića (1916–2003). in Co-operative Online Bibliographic System CO- Glavni deo legata čini zbirka njegovih fotografija, BISS.SR. Manuscripts are processed according to tako da je to prvi legat u Narodnoj biblioteci Sr- archival standards within the Electronic Catalogue bije čiji sadržaj nisu knjige. Ta činjenica je bila of manuscripts and archival records AtoM NBS podsticajna za naslednike fotografa Ive Eterovića (EKRAAN).9 The manuscripts are arranged in the (1935–2001) da njegovu zaostavštinu povere Na- usual units – manuscripts, correspondence, personal rodnoj biblioteci Srbije. Slično je i sa kolekcijama documents and miscellaneous. In this way, system- ilustracija. Nadamo se da će na isti način saradnja atized and professionally processed material will be sa Zadužbinom Milana Mladenovića i činjenica da available through the mentioned catalogues and this je njegova zaostavština smeštena u Narodnu biblio- is the basis for further study and interpretation of Mi- teku Srbije biti podsticajna za imaoce ili naslednike lan's work and time. The digitalization of the collec- kolekcija slične provenijencije. tion is planned, whose availability in this way will be extended to the virtual world. The National Library of Serbia will expand its circle of users by forming a memorial corner dedicated to Milan, where a selec- tion of processed materials will be exhibited. As part of the cooperation between the Milan Mlad- enović Endowment and the National Library of Serbia, a manifestation was held to award the first “Milan Mladenović” Award, on the day of Milan's birthday, September 21, 2019 (Narodna biblioteka Srbije 2019a). At the end of August 2020, an online public lecture was held “Poštenije nisam mogao da potrošim godine” (I couldn't spend all those years more honestly) on the significance of the -manu script legacy of Milan Mladenović. A little more than fifteen years ago, the National Library of Serbia received the legacy of the mas- ter of photography and professor of the Faculty of Dramatic Arts in Belgrade, Branibor Debeljković (1916–2003). The main part of the legacy is a col- lection of his photographs, so it is the first legacy in the National Library of Serbia, which content are not books. That fact was an incentive for the succes- sors of photographer Ivo Eterović (1935–2001) to entrust his legacy to the National Library of Serbia. It is similar with the collections of illustrations. We hope that in the same way, the cooperation with the Milan Mladenović Endowment and the fact that his legacy is placed in the National Library of Serbia will be an incentive for the owners or successors of collections of similar provenance.

9 More about this program of manuscript processing and its deve- lopment in: Obradović 2018.

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Izvori i literatura / Sources and literature • Britta, Rudolff et al. 2013. Understanding • Obradović, Ivan. 2018. “Razvoj elektronskog Heritage: Perspectives in Heritage Studies. De kataloga rukopisa i arhivalija AtoM NBS” Gruyter. Glasnik Narodne biblioteke Srbije 20: 91–109. • EKRAAN. Elektronski katalog rukopisa i • Rigonat, Flavio. (ur.) 2004. Dečak iz vode: arhivalija AtoM NBS. http://arhivalije.nb.rs/. monografija Milana Mladenovića. Beograd: • Frit, Sajmon. 2012. “Dobra, loša i osrednja: Lom. odbrana popularne kulture od populista” U • Rihtman, Auguštin. 2000. Dunja Ulice moga Studije kulture. Beograd: Službeni glasnik. grada. Beograd: Biblioteka XX vek. • Grad Rijeka. 2018. “Obnovljeno zaštićeno • Rizinger, Ivan. 2020. Jugosloven K. (Hronika kulturno dobro – grafit ‘Paraf punk’” Grad Rijeka, odustajanja 1990–1992). Beograd: Take it or 20. 4. 2018. https://www.rijeka.hr/obnovljeno- Leave it. zasticeno-kulturno-dobro-grafit-paraf-punk/. • Rok muzej. 2015. “Krov za davno sazidanu Datum pristupa 4. 4. 2020. kuću” 18. 10. 2015. http://www.rokmuzej.rs/ • Lovrenović, Ivan. 2016. “Ivo Žanić: arhitekstura krov-za-davno-sazidanu-kucu/. Datum pristupa ‘zapadnoga’ Mostara”, 29. 5. 2016. http:// 3. 4. 2020. ivanlovrenovic.com/clanci/varia/ivo-zanic- • Turrini, Joseph M. 2013. “‘Well I don’t care arhitekstura-zapadnoga-mostara. Datum pristupa about history’: oral history and the making of 10. 2. 2020. collective memory in ”, Notes 70 (1): • Matović, D. 2020. “Smešten u Kući legata, 59-77. www.jstor.org/stable/43672697. Datum objediniće zaostavštinu Miše Blama: Beograd pristupa 3. 4. 2020. dobija Muzej džeza?” Novosti, 4. 2. 2020. • Vrzić, Nikola. 2002. “Lenon u Novom Sadu” https://www.novosti.rs/vesti/naslovna/reportaze/ NIN, 2701 (10. 10. 2002). aktuelno.293.html:845348-Smesten-u-Kuci- • Zadužbina Milana Mladenovića. “O zadužbini”. legata-objedinice-zaostavstinu-Mise-Blama- https://www.milanmladenovic.com/o-zaduzbini/. Beograd-dobija-Muzej-dzeza. Datum pristupa 3. • Zadužbina Milana Mladenovića. 2018. “Odluka 4. 2020. o osnivanju Zadužbine Milana Mladenovića” • Narodna biblioteka Srbije. 2019a. “Dodela https://www.milanmladenovic.com/media/ nagrade “Milan Mladenović” 21. 9. 2019. https:// zaduzbina/odluka-o-osnivanju-zaduzbine- www.nb.rs/events/event.php?id=35635. Datum milana-mladenovic.pdf. Datum pristupa 5. 2. pristupa 5. 2. 2020. 2020. • Narodna biblioteka Srbije. 2019b. “Saradnja sa • Zakon o staroj i retkoj bibliotečkoj građi. 2011. Zadužbinom Milana Mladenovića” 20. 6. 2019. Službeni list Republike Srbije, Br. 52 (2011). https://www.nb.rs/events/event.php?id=35387. Datum pristupa 5. 2. 2020.

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