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“World Music”: Formiranje Transžanrovskog Kanona

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“World Music”: Formiranje Transžanrovskog Kanona TAJNI MUZEJ Ne tako davno jedan Amerikanac u{ao je u Jugoslovenski konzu- lat u Ženevi i posle neobičnog uvoda (“Da li vam ovo zvuči po- znato?”) počeo da zvižduće izbor srpskih narodnih pesama. Po- {to se oporavio od iznena|enja, konzul je upitao za razloge ove muzi~ke demonstracije, na {ta je Amerikanac odgovorio da je to bio njegov na~in da zatra`i vizu za put u Beograd, gde je namera- vao da snimi zvu~ni film o ciganskoj peva~ici Sofki. Ako se pitate za{to su Amerikanci mislili da bi vredelo snimiti film o Sofki, na- bavite HMV AM1073 i poslušajte njeno izvođenje “Ali Pašine pesme”, pesme o Albancu koji je nekada vladao Epirom i Make- donijom. Sofka je veli~anstvena. U vreme kada sam boravio u Beogradu, od 1924. do 1926, jo{ nije bila poznata, ali ja je za- mi{ljam kao gracioznu figuru Kaje, peva~ice zbog koje su u moje vreme svi dolazili u kafanu. Njen glas ima istu dubinu i divlji “WORLD MUSIC”: o~aj, koji slikovito izra`ava potisnuta ose}anja Srba kroz pet ve- FORMIRANJE kova strane dominacije. Kao {to je jedan moj prijatelj primetio: TRANS@ANROVSKOG “Zvuči kao da će da se ubije!” Sve ploče koje su ovde predstavlje- ne apsolutno su autenti~ne, kako u sadr`aju tako i u formi. KANONA Rodney Gallop (Gramophone, 1931) \OR\E TOMI] “Tajni muzej čovečanstva”, pohranjen u jednoj poro- di~noj ku}i na Long Ajlendu u Njujorku, ~ini arhiva od preko 50.000 plo~a na 78 i 80 obrtaja, objavljenih pr- vih decenija dvadesetog veka, u pionirsko doba gramo- fonske industrije.1 Muzej je proizvod kolekcionarske op- sesije Pata Contea, vlasnika i glavnog kustosa ove nepo- novljive fonoteke, po{tanskog slu`benika koji je vreme i novac ulo`io u potragu za ranim snimcima ne~ega {to bi se danas nazvalo etni~kom muzikom. Rembetika, fado, tango, calypso, lokalne muzike Severne Indije i Kariba, Dalekog i Bliskog Istoka, Turske, Balkana, ne{to kasnije 1 Radio-emisije posve}ene kolekciji arhivirane su na adresi <www.secretmuseum.net> u RA formatu. Od polovine devedesetih Conte je uredio i nekoliko nastavaka serije CD kompilacija pod naslovom The Secret Museum of Mankind koju izdaje Yazoo/Shanachie. Afrike i brojnih zabiti, ovde hiberniraju oti- Gotovi snimci {alju se u centralu, gde se snute u oblicima u kojima ih je zatekla prva au- umno`avaju, pakuju i zajedno sa gramofonima dio revolucija, kao spomenik entuzijazmu lo- vra}aju tamo odakle su do{li. Deo ove produk- vaca na egzoti~ne zvuke iz vremena kada je mu- cije dospeo je u Sjedinjene Dr`ave, zahvaljuju- zi~ka industrija jo{ napipavala put u mraku i }i useljenicima s po~etka veka,2 ~iji naslednici katalozima reflektovala neiskvaren ukus svoje po~inju da izbacuju egzoti~ne roditeljske ko- nove publike. lekcije sa tavana otprilike u vreme kada je Pat Muziku sa druge strane ovih dvo- Conte po~eo da ih skuplja u nikada odr`ani minutnih i trominutnih zapisa te{ko je zami- “world expo” snimljenog zvuka. sliti kao ne{to komercijalno upotrebljivo, ~ak i Za razliku od sa~uvanih etnomu- u vreme kada su snimci nastajali. Ipak, za nji- zikolo{kih snimaka iz istog vremena, koji su hove autore (kojih je ukupno bilo manje od pravljeni iz akademskih razloga (da stru~njaci- 75) sastavljanje popisa planetarne muzi~ke po- ma olak{aju transkripciju neke primitivne ili nude bilo je u svoje vreme primarno komerci- tradicionalne muzike, kako bi potom bili de- jalno preduze}e. Prve velike gramofonske ponovani u nacionalne biblioteke i institute), kompanije rano su otkrile da osvajanje tr`i{ta ovo su publikovani snimci, pravljeni da `ive na za novu vrstu proizvoda, prvu ku}nu medijsku gramofonima i donesu profit, orijentisani na ma{inu, zahteva izvesno prilago|avanje i loka- muziku koja }e biti popularna. Zadatak prvih lizaciju; da prodaja gramofona ({to je bio nji- agenata gramofonskih kompanija bilo je efika- 314 hov osnovni proizvod) zavisi od ponude odgo- sno otkrivanje i istra`ivanje potencijalnih tr`i- varaju}eg softvera u obliku lokalno popularne {ta, {to za rezultat ima neobi~no {iroke i razno- muzike otisnute na diskovima od {elaka. Victor vrsne kataloge koji inicijalno pokrivaju gotovo i Gramophone Company, vode}a ameri~ka i sve {to je bilo deo ponude, od epskih i gradskih britanska kompanija, usaglasile su se oko po- pesama do gamelana i kineske opere. Iz demo- dele planete na interesne sfere i ustanovile kratske perspektive rane gramofonske indu- pododeljke “native music”. Da bi na još neo- strije svaka muzika je jednako vredna, kao svojena tr`i{ta stigli pre konkurencije, organi- proizvod o kom kona~ni sud daju kupci gramo- zovali su mre`u agenata, obi~no lokalnih trgo- fona. Obilaze}i planetu preduzetnici su posta- vaca u gradskim centrima, koji operi{u kao vili temelje lokalnih muzi~kih industrija koje A&R personal, i putuju}ih in`enjera-tehni~a- potom kre}u sopstvenim putem i inauguri{u ra koji obilaze svet vuku}i sa sobom tone opre- sistem popularne muzike kao svetski proces, me, snimaju}i izbor iz uro|eni~ke ponude. koji u svojim lokalnim varijantama jo{ dugo 2 Od dvadesetih godina Victor i Columbia ra~unaju na tr`i{te imigranata kojima nude izbor iz svojih kataloga dopunjenih snimcima nastalim u novoj zemlji, pa distributerima etni~- ke muzike redovno dostavljaju demografske podateke o brojnosti va`nijih etni~kih zajedni- ca u ~etrdesetak najve}ih ameri~kih gradova. Re~ no. 65/11, mart 2002. ne}e biti internacionalno vidljiv, ali nije ni{ta Danas, kada su od neposrednih manje efikasan u na~inu na koji vremenom me- u~esnika i njihovih razloga ostala samo groblja nja ono {to muzi~ari rade i ono {to publika o~e- mrtvih medija, rani snimci iz Conteove kolek- kuje. Univerzalni industrijski standard doneo cije i etnomuzikolo{kih arhiva omogu}uju nam je brzinu i mobilnost koji }e omogu}iti razme- pristup zapanjuju}e {irokom izboru dokume- nu kriti~nih razmera i zbrisati sa lica zemlje ve- natovanih muzika u izvo|enjima zamalo stari- lik deo onoga {to je nekada ~inilo planetarnu jim od Edisona i Berlinera i zorno ilustruju ponudu. proces kojim gramofon, ukidanjem distance, Etnomuzikolozi su, s druge stra- filtera prostora i vremena, deteritorijalizuje ne, projekat popisivanja i opisivanja malih i muziku i ~ini je nevidljivom. Osloba|aju}i se izolovanih muzika sveta, barem inicijalno, izvo|a~a i publike zvu~ni zapis napu{ta kontekst ograni~ili upravo na one koji sebi nisu mogli i materijalizuje se kao proizvod, predmet auto- priu{titi gramofon, i prirodom svog posla kon- nomnog statusa, otisak ne~ega {to je bilo jedin- centrisali se na sam muzi~ki proces. Re~ je o stveno i jednokratno koji se sada mo`e beskraj- onome {to }e posle izvesnog broja godina biti no ponavljati, umno`avati i koristiti u situaci- definisano kao jedinstvo muzi~kog zvuka, mu- jama koje izvo|enju ne bi bile dostupne. Sve {to zi~kog pojma i muzi~kog pona{anja, kao proiz- je snimljeno nastavlja da traje i postoji istovre- vod neponovljivog konteksta koji uvek ostaje s meno. Sve {to je snimljeno mo`e se ~uti bilo 315 druge strane zvu~nika, zbog ~ega se etnomuzi- kada i bilo gde. U krajnjem ishodu, ono {to }e- kolozi u poku{aju da ga fiksiraju oslanjaju na mo nazivati muzikom sve manje je odre|eno re~i. Prebacuju}i te`i{te sa muzike kao proizvo- prostorom i vremenom, fizi~kim granicama da na kontekst koji zvu~ni zapis ne mo`e repro- okru`enja. Muzika postaje stvar li~nog izbora, dukovati, etnomuzikologija }e radikalno izme- ukusa ili opredeljenja, pitanje selekcije kojom niti na~in na koji se govori o organizaciji i do`i- na nove na~ine odre|ujemo ono {to verujemo vljaju muzike. Dok se tradicionalna muzikolo- da jesmo ili nismo. Nove tradicije, muzi~ki sa- gija bavi sintaksom i strukturom, etnomuziko- vezi i blokovi, uspostavljaju se preko horizona- logija se koncentri{e na proces. Bave}i se prak- ta koji dele razli~ita vremena, prostori, epohe, sama od kojih se mnoge samo uslovno mogu generacije, kontinente, kulture, jezike, naro- opisati kao muzi~ke (u zna~enju koje re~ ima na de, klase i rase. Zapadu), izvestan broj Evropljana i Amerika- Pristup tom virtuelnom svetu naca ste}i }e novu predstavu o granicama sop- omogu}ilo je posredovanje tehnologije i tr`i- stvene tradicije i otkriti da strane muzike mogu {ta. Komodifikacijom muzika sti~e vlasnika i biti dostupne i upotrebljive s onu stranu kate- postaje predmet trgovine, dobija ime i organi- gorija egzoti~nog i primitivnog, te da uzorci zuje se u `anr kojim industrija reguli{e proces udaljenih muzika, uprkos distanci, mogu pose- prodaje i poku{ava da ustanovi odnos izme|u dovati vrednost koja nije samo dokumentarna muzike i odre|ene vrste ukusa, odnosno publi- ili nau~na. ke, da otkrije poredak u haoti~nim de{avanjima ^asopis za knji`evnost i kulturu, i dru{tvena pitanja i prona|e na~in da se neizvesnost svede na vrste muzi~kih interesovanja i do`ivljaja, podno{ljivu meru. Kao slika muzi~ke zajedni- “world music” može biti osnovna mera i za ce, `anr svojim granicama, pravilima i kodovi- jedno i za drugo. Na na~in na koji je, ve}im ma muziku ~ini vidljivom izvan kruga nepo- delom svoje istorije, to bila i popularna muzi- srednih u~esnika, i u isto vreme, ~ine}i je pre- ka uop{te. poznatljivom, izla`e je komercijalizaciji i stabi- lizuje je, ~ime se `anr fiksira i gubi sposobnost STVARNO AUTENTI^NO da projektuje autenti~nost.
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