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Authenticity in Electronic Dance Music in Serbia at the Turn of the Centuries

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Authenticity in Electronic Dance Music in Serbia at the Turn of the Centuries The Other by Itself: Authenticity in electronic dance music in Serbia at the turn of the centuries Inaugural dissertation submitted to attain the academic degree of Dr phil., to Department 07 – History and Cultural Studies at Johannes Gutenberg University Mainz Irina Maksimović Belgrade Mainz 2016 Supervisor: Co-supervisor: Date of oral examination: May 10th 2017 Abstract Electronic dance music (shortly EDM) in Serbia was an authentic phenomenon of popular culture whose development went hand in hand with a socio-political situation in the country during the 1990s. After the disintegration of Yugoslavia in 1991 to the moment of the official end of communism in 2000, Serbia was experiencing turbulent situations. On one hand, it was one of the most difficult periods in contemporary history of the country. On the other – it was one of the most original. In that period, EDM officially made its entrance upon the stage of popular culture and began shaping the new scene. My explanation sheds light on the fact that a specific space and a particular time allow the authenticity of transposing a certain phenomenon from one context to another. Transposition of worldwide EDM culture in local environment in Serbia resulted in scene development during the 1990s, interesting DJ tracks and live performances. The other authenticity is the concept that led me to research. This concept is mostly inspired by the book “Death of the Image” by philosopher Milorad Belančić, who says that the image today is moved to the level of new screen and digital spaces. The other authenticity offers another interpretation of a work, or an event, while the criterion by which certain phenomena, based on pre-existing material can be noted is to be different, to stand out by their specificity in a new context. The phenomenon/work/event should be evaluated from the perspective of time when is performed, appeared or presented. To prove my thesis I created an argument through four steps. Firstly, I presented main characteristics of the genre and its contextual development from 1991 to 2000. Secondly, EDM was not only considered as a musical phenomenon, but also as a performance. Starting from the architectonics of music flow, I examined the appearance of the tracks in other forms that are also important for the analysis of EDM such as music video and live performance. Each of them focuses on one phenomenon which determines EDM as specific genre: sample, remix and (two metaphors) musical spaces/spatiality in music. Thirdly, EDM parties were considered as multivalent forms in which music is the most important, albeit not the only element. By analysing three select recordings of live parties as performances I found out three aspects that were (re)shaping through them: ritualised performance, re-enactment, and aspect of space. Finally, re-reading analysed examples using the lens of the other authenticity, I found several ways of expressing the other authenticity, e.g. presence of the past and relation to it, symbolic communication with the pre-existing material, the key sound image/the key moment of the performance, etc. Using interdisciplinary approach and developing system of analysis I made a link between ethnomusicology – studies of popular music – performance studies. The model of concentric circles (music–DJ–performers on stage–VJ–audience– space–space-time context), illuminates levels of performance in EDM (with the centre in the same point: in music). The model opens a new perspective for thinking about music- performance not in the relations which are divided as a music and performance, but as a new platform. In that light, EDM becomes transitional phenomenon of popular culture which stresses the importance of understanding the uniqueness between sound/music and performance/theatre. Contents Preliminaries…………………………………………………………………………………………i List of Figures………………………………………………………………………………………………………………………….….....v List of CD examples…………………………………………………………………………………………………………………......vii What Is This All About?………………………………………………………………………..1 Chapter 1 | EDM in Serbia: history, influences and development………….9 1.1.1| The ambience and atmosphere of the socio-political situation in Serbia after the fall of Yugoslavia…………………………………………………………………………………………………………...10 1.1.2| Prologue. The staging of politics………………………………………………………………………………………..11 1.1.3 | Act I. The twilight of Communism. Darkness began to fall…………………………………………………15 1.1.4 | Act II. Sounds of Resistance. “Come on, let’s go, charge! All together!”…………………………….26 1.1.5 | Act III. Climate change. “He’s finished!”…………………………………………………………………………….37 1.2.1 | Setting the base for EDM development in Serbia………………………………………………………………41 1.2.2 | Re-thinking the Yugoslav New Wave…………………………………………………………………………………44 1.2.3 | Popular music promotion in Yugoslav media spaces………………………………………………………….48 1.3.1 | This is a tale of two cities………………………………………………………………………………………………….50 1.3.2 | Belgrade. A spread of energy: the Temple of EDM, clubs and alternative spaces……………….51 1.3.3 | Belgrade. DJ associations and performances…………………………………………………………………….56 1.3.4 | Belgrade. Technokratia and media spaces…………………………………………………………………………59 1.3.5 | Belgrade. Other media spaces…………………………………………………………………………………………..63 1.3.6 | Novi Sad. Clubs. EDM promotion. Media spaces. DJ store…………………………………………………67 1.3.7 | Excursus Niš. Clubs and DJs……………………………………………………………………………………………….69 i Conclusion……………………………………………………………………………………………………………………………………72 Chapter 2 | Sampling, remixing, musical spaces and spatiality in EDM.................................................................................................74 2.1.1 | Laki je malo nervozan as a paradigm for sampling: the view from an ethnomusicological perspective…………………………………………………………………………………………………………………………………..77 2.1.2 | Sampling and the questions of methodology…………………………………………………………………….82 2.1.3 | Samples sources: Maratonci trče počasni krug and Radovan Treći…………………………………….84 2.1.4 | Perform domestic: analysis of the music form…………………………………………………………………..87 2.1.5 | Perform domestic: sampling through audio-visual lenses………………………………………………….92 2.1.6 | Perform domestic: creating a new dramaturgy……………………………………………………………….101 2.2.1 | Performing sounds of the Past: Peggy Lee’s song Why Don’t You Do Right? as an inspiration for remixing………………………………………………………………………………………………………………………………..106 2.2.2 | Different but recognisable: a determination of a remix…………………………………………………..107 2.2.3 | Gramophonedzie’s interpretation of the song as a paradigm for remixing………………………111 2.2.4 | See the song: remix in the music video……………………………………………………………………………115 2.2.5 | Feel the rhythm: a remix at a live performance……………………………………………………………….118 2.3.1 | Folkstep: the experience of musical space in EDM….……………………………………………………….123 2.3.2 | Folkstep: the architectonics of musical space………………………………………………………………….127 2.3.3 | Sound images as tools for an analysis of spatiality in EDM……......…...……………………………..136 2.3.4 | Imagining spatiality: the Goddess can be recognised by her steps………………………………….138 Conclusion………………………………………………………………………………………………………………………………….145 ii Chapter 3 | Live EDM performances through the lenses of ritual, re-enactment and multidirectional memory……………………………………..147 3.1.1 | EDM against dictatorship: Techno Therapy 1994 as a ritualised performance…………………149 3.1.2 | One glimpse of Victor Turner’s concept of social drama and Richard Schechner’s concept of a ritualised performance…………………………………………………………………………………………………………….150 3.1.3 | Techno Therapy 1994: structure of the performance…..………………………………………………….154 3.1.3.1 | The organisation of space and scenography objects…..………………………………………………..155 3.1.3.2 | Groups of performers, costumes and the meaning of colours………………………………………160 3.1.4 | Techno Therapy 1994: the performative process…………………………………………………………….163 3.1.5 | Techno Therapy 1994: experience of the performance and the liberation of bodies……….168 3.2.1 | Techno Therapy 2012: 20 years of Noise Destruction………………………………………………………172 3.2.2 | Re-enactment, or “performing the past in the present once more.”………………………………..174 3.2.3.1 | A repetition with a difference: space, performers, audience..………………………………………178 3.2.3.2 | Differences: Techno Therapy 2012 vs. Techno Therapy 1994………………………………………..181 3.2.4.1 | Re-enacting Techno Therapy: performing a synopsis, acting roles………………………………..185 3.2.4.2 | Techno Therapy 2012: “unfreezing” the act from the past and playing a ritual…………….192 3.2.5 | Techno Therapy 2012 as a trans-genre superstructure……………………………………………………194 3.3.1 | Back to the roots: Back to the People……………………………………………………………………………..199 3.3.2 | Michael Rothberg’s multidirectional memory as a significant concept for understanding the Festival……………………………………………………………………………………………………………………………………….201 3.3.3 | Uncovering the hidden: the Tašmajdan caves as Belgrade’s mystery……………………………….204 3.3.4.1 | Re-organising the space of the caves and creating the atmosphere……………………………..209 3.3.4.2 | The flyer as a reflection of the time when the Festival took place………………………………..217 3.3.5 | The significance of the Festival and multidirectional memory links…………………………………222 Conclusion………………………………………………………………………………………………………………………………….225 iii Chapter 4 | Toward the other authenticity ……………………………………...227 4.1 | Transformation: from the aura within an artwork toward the aura as an event…………………228 4.2 | Authenticity at the meta-level: determination of the other authenticity..……………....…………234 4.3 | Re-reading the analysed examples using the lens of the other authenticity……………………….238
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