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Uloga Popularne Muzike U Konstruisanju Rodnih Identiteta U Postsocijalističkoj Srbiji

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Uloga Popularne Muzike U Konstruisanju Rodnih Identiteta U Postsocijalističkoj Srbiji UNIVERZITET U BEOGRADU FILOZOFSKI FAKULTET Marijana M. Mitrović ULOGA POPULARNE MUZIKE U KONSTRUISANJU RODNIH IDENTITETA U POSTSOCIJALISTIČKOJ SRBIJI doktorska disertacija Beograd, 2017. UNIVERSITY OF BELGRADE FACULTY OF PHILOSOPHY Marijana M. Mitrović THE ROLE OF POPULAR MUSIC IN THE CONSTRUCTION OF GENDER IDENTITIES IN POSTSOCIALIST SERBIA Doctoral Dissertation Belgrade, 2017 Mentor: dr Bojan Žikić, redovni profesor, Univerzitet u Beogradu, Filozofski fakultet Članovi komisije: dr Marina Simić, vanredni profesor, Univerzitet u Beogradu, Fakultet političkih nauka dr Gordana Gorunović, vanredni profesor, Univerzitet u Beogradu, Filozofski fakultet dr Marija Ajduk, docent, Univerzitet u Beogradu, Filozofski fakultet Datum odbrane: Izjave zahvalnosti Ova disertacija je nastajala u dugom i napornom periodu. Posebnu zahvalnost dugujem mom mentoru prof. dr Bojanu Žikiću na strpljivosti, podršci, pomoći, razumevanju i pažnji sa kojom je čitao njene verzije. Takođe veliko hvala mojim roditeljima i sestri na ljubavi i podršci. Njihovim tj. našim psima i mačkama isto. Hvala drugarima koji su bili uz mene kroz sve faze moje promenljive sreće, u raznim zemljama u kojima sam živela, i pružali podršku u svim vidovima. Dakle: Sonji, Peri, Voši, Jasmini, Olgi, Ivanu Iliću, Ivanu Velisavljeviću, Mariji, Deki, Marini, Petrući, Miši, Roriju, Kristi, Titi, Peđi, Marku, Franči, Kjari, Lini, Džes, Kloi, Adamu, Geritu, Mileni, Neveni, Andrei, Jeleni Mirčić, Jeleni Protić, Stefanu, Časlavu, Lidiji, Ivani Stanković, Ivani Lilik, Iliji, Vesni, Maši, ekipi iz kancelarije u Gracu – Ani Ljubojević, Medi, Lori i Gruji, kao i berlinskom klanu – Jule, Kat, Šenolu, Zulfuu, Guraju, Leu, Zorki, Ani Krstić i Zorani. Ovom prilikom se zahvaljujem i Evropskoj komisiji bez koje ne bih mogla da otplatim školarinu. Posebnu zahvalnost dugujem mojim sagovornicama i sagovornicima u istraživanju. Mnogo sam naučila od vas. Uloga popularne muzike u konstruisanju rodnih identiteta u postsocijalističkoj Srbiji Apstrakt Predmet ove disertacije je uloga popularne muzike u konstruisanju rodnih identiteta u postsocijalističkoj Srbiji. Fokus je na savremenim oblicima folk muzike. Polazim od teze da je scena ove muzike pokazatelj promena u društvu, pa tako i transformacije rodnih identiteta. Analiziram procese konstrukcije rodnih identiteta na estradi, odnosno među afirmisanim izvođačima i izvođačicama, ali i u uslužnim delatnostima gde rade neafirmisani. Cilj je da se mapiraju promene ne samo u odnosu na socijalistički period, nego i između različitih faza postsocijalističke transformacije. U tu svrhu koristim analizu tekstova pesama, video spotova i scenskih identiteta, kao i etnografiju odnosno posmatranje, neformalne razgovore i intervjue sa izvođačima i gostima u mestima gde se ova muzika svira i pušta. Nakon rekapitulacije najvažnijih procesa u socijalizmu, analiziram promene kroz različite faze postsocijalističke transformacije, pokazujući kako se menjala veza sa nacionalizmom i kako ovaj segment popularne kulture sve vreme prati, pa čak i anticipira uvođenje tržišnih odnosa. Analiziram njegov odnos sa najvažnijim narativima društva u transformaciji – nacijom i evropskim integracijama, ali i sa do sad zanemarenim pitanjima kao što su rad u ovoj vrsti muzike i klasno raslojavanje na sceni. Pokazujem kako on nudi mnogo više modela od paradigme koja mu se obično pripisuje – nacionalističke, heteronormativne i patrijarhalne, ali i kako ostaje čvrsto užljebljen u kapitalističke procese i odnose. Ključne reči: rodni identiteti, savremena folk muzika, Srbija, postsocijalistička transformacija Šira naučna oblast: etnologija i antropologija Uža naučna oblast: etnologija i antropologija The role of popular music in the construction of gender identities in postsocialist Serbia Abstract The topic of this dissertation is the role of popular music in the construction of gender identities in post-socialist Serbia. Its focus is on contemporary forms of folk music. My starting point is the claim that this music scene indicates changes in the society, as well as the transformation of gender identities. I will analyze the construction processes of gender identities in the show business, i.e. among the affirmed performers, as well as in the service sector where the non-affirmed work. The goal is to map the changes not only regarding the socialist period, but also between different phases of the post-socialist transformation. For that purpose I will use the analysis of song lyrics, videos and scene identities, as well as the ethnography, i.e. observation, informal conversations and interviewing the performers and the guests at the places where this kind of music is played and listened to. After recapitulation of the most important processes in the socialism, I will analyze the changes through various phases of post-socialist transformation and show how the connection with nationalism has been changing and how this segment of the popular culture is constantly following, even anticipating, the introduction of the market relations. I will describe its relation with the most important narratives of the society in the transformation – the nation and the European integrations, but also with the hitherto neglected questions such as working in this type of music and class division in the show business. I will likewise show that it offers many more models than it is usually attributed to – nationalist, heteronormative and patriarchal, as well as the way in which it remains firmly integrated into capitalistic processes and relations. Key words: gender identities, contemporary folk music, Serbia, postsocialist transformation Scientific field: ethnology and anthropology Scientific subfield: ethnology and anthropology SADRŽAJ 1. UVOD............................................................................................................................1 2. TEORIJSKO – METODOLOŠKI OKVIR................................................................... 6 3. KONTROVERZE POP-FOLKA.................................................................................21 3.1. Određenje i terminološki problemi................................................................. 21 3.2. Pristupi savremenim folk formama.................................................................29 4. ROD I POPULARNA MUZIKA U SFRJ: NOVOKOMPONOVANA NARODNA MUZIKA KAO PRETEČA TURBOFOLKA................................................................. 40 4.1. Estradizacija – kontrola i respektabilnost.......................................................42 4.2. Scenski identiteti estradnih zvezda u NKNM................................................. 45 4.3. Cenzura, kič i šund, patriotizam i narodnjaci..................................................55 4.4. Rod na socijalističkoj estradi – pozna faza..................................................... 61 5. POP-FOLK MUZIKA, RODNI I NACIONALNI IDENTITETI 1991-2000.............69 5.1. Rodne uloge u muzici s ratnom tematikom.....................................................72 5.2. Pop-folk muzika i rodni identiteti na estradi 1991-95....................................85 5.2.1.Strategije konstrukcije rodnih identiteta muških izvođača.......................85 5.2.2.Strategije konstrukcije rodnih identiteta pevačica....................................91 5.3. Posleratna pop-folk muzika i rod (1995 – 2000)..........................................104 6. POP-FOLK MUZIKA, ROD, NACIJA I TRŽIŠTE NAKON 2000.........................123 6.1. Promena sistema stvaranja zvezda od 2000. do danas..................................125 6.1.1.Postajanje zvezdom: takmičarski programi za otkrivanje talenata.........127 6.1.2.„Autentičnost“ kao strategija konstrukcije scenskog identiteta.............132 6.2. Procesi konstrukcije scenskih identiteta pevača i pevačica od 2000. do danas ..............................................................................................................................135 6.2.1.„Slobodna ću biti ponovo“: feminizam pop-folka?................................153 6.3. Folk muzika i LGBTQI publika....................................................................158 6.3.1.Folk i LGBTQI – geneza afilijacije, ikoničnost, ambivalencija.............162 6.3.2.Telesne prakse: izlasci u mesta sa folk muzikom...................................167 7. RODNI IDENTITETI U KAFANI: IZVOĐAČI I PUBLIKA..................................173 7.1. „Ako hoćeš da pevaš narodnu muziku, to znači da moraš da ideš od stola do stola!“: somatski i rodni aspekti rada u kafani..................................................... 176 7.2. „Ako si muzičar, to znači da sam sebi uplaćuješ doprinose“: fleksibilni rad 181 7.3. „Đavolu bi dušu dao za merak“: ekonomija emocija i afektivni rad............191 7.4. „Šta će žena sama u kafani“: interakcija izvođača i gostiju..........................195 7.4.1.Dar zvuka i pogleda: afektivna razmena sa publikom............................199 7.5...„Šta će ti pevačica, pitam te pred ljudima“: privatni život kafanskih muzičara ..............................................................................................................................206 8. BALKAN, EVROPSKE INTEGRACIJE I RODNI IDENTITETI U POP-FOLK MUZICI......................................................................................................................... 213 8.1. Popularnost pop-folk muzike u postjugoslovenskom i balkanskom kulturnom prostoru................................................................................................................ 214 8.2. „Lepota
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