DOCSLIB.ORG

Entire Yugoslavia, One Courtyard.” Political Mythology, Brotherhood and Unity and the “Non-National” Yugoslavness at the Sarajevo School of Rock

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Entire Yugoslavia, One Courtyard.” Political Mythology, Brotherhood and Unity and the “Non-National” Yugoslavness at the Sarajevo School of Rock "All Yugoslavia Is Dancing Rock and Roll" Yugoslavness and the Sense of Community in the 1980s Yu-Rock Jovanovic, Zlatko Publication date: 2014 Document version Early version, also known as pre-print Citation for published version (APA): Jovanovic, Z. (2014). "All Yugoslavia Is Dancing Rock and Roll": Yugoslavness and the Sense of Community in the 1980s Yu-Rock. Det Humanistiske Fakultet, Københavns Universitet. Download date: 30. sep.. 2021 FACULTY OF HUMANITIE S UNIVERSITY OF COPENH AGEN PhD thesis Zlatko Jovanovic “ All Yugoslavia Is Dancing Rock and Roll” Yugoslavness and the Sense of Community in the 1980s Yu-Rock Academic advisor: Mogens Pelt Submitted: 25/11/13 INTRODUCTION ................................................................................................................. 4 Relevant Literature and the Thesis’ Contribution to the Field .................................................................................... 6 Theoretical and methodological considerations ........................................................................................................... 12 Sources ............................................................................................................................................................................. 19 The content and the methodology of presentation ....................................................................................................... 22 YUGOSLAVS, YUGOSLAVISM AND THE NOTION OF YUGOSLAV-NESS .................. 28 Who Were the Yugoslavs? “The Seventh Nation and the Seventh Republic” .......................................................... 29 Yugoslav Idea from Illyrian Movement to “New Yugoslavism” ................................................................................ 37 Jugoslovenstvo as Yugoslavism and as Yugoslavness .................................................................................................. 43 “THE HAPPY CHILD.” GEOPOLITICS, SOCIALIST SELF-REPRESENTATION AND YUGOSLAVNESS IN ZAGREB NEW WAVE AND POST-NEW WAVE SCENE ............. 54 “The Best Punk East of England” ................................................................................................................................. 56 “And Still, We Would Like To Be the Centre of the Universe” .................................................................................. 64 “Let the Tunes Go for the Nations in Love” ................................................................................................................. 76 Conclusion ....................................................................................................................................................................... 82 “THIS IS A COUNTRY FOR ALL OF OUR PEOPLE.” YUGOSLAVNESS AND “ANATIONALITY” OF THE BELGRADE NEW WAVE SCENE ....................................... 84 “Belgrade in Zagreb” and “Zagreb in Belgrade” ........................................................................................................ 86 “Do You Believe Me, or You Think for Yourself?” ..................................................................................................... 99 Conclusion ..................................................................................................................................................................... 110 “I LISTEN TO PLAVI ORKESTAR – I AM NOT A NATIONALIST.” ANTI-NATIONALISM AND YUGOSLAVNESS IN THE 1980S LJUBLJANA YOUTH CULTURE .................... 112 “Ohm Ljubljana, You Are Yugoslavia” ..................................................................................................................... 114 “The Little Man Wants to Cross the Line” ................................................................................................................ 128 Conclusion ..................................................................................................................................................................... 138 “ENTIRE YUGOSLAVIA, ONE COURTYARD.” POLITICAL MYTHOLOGY, BROTHERHOOD AND UNITY AND THE “NON-NATIONAL” YUGOSLAVNESS AT THE SARAJEVO SCHOOL OF ROCK ................................................................................... 140 “Das ist Walter” ............................................................................................................................................................ 142 2 “From the Vardar to Triglav, All around My Buddies” ........................................................................................... 157 Conclusion ..................................................................................................................................................................... 168 CONCLUSION ................................................................................................................. 169 SUMMARY ...................................................................................................................... 176 RESUME ......................................................................................................................... 177 BIBLIOGRAPHY ............................................................................................................. 178 Periodicals ..................................................................................................................................................................... 178 Statistics ......................................................................................................................................................................... 178 Books and Research articles ........................................................................................................................................ 179 Films ............................................................................................................................................................................... 193 Discography ................................................................................................................................................................... 194 Internet sources ............................................................................................................................................................. 196 3 Introduction “Igra rokenrol cela Jugoslavija, sve se oko tebe ispravlja i savija” (“All Yugoslavia is dancing rock and roll, everything around you is straightening and bending”)1 The point of the departure for this study is Eric Hobsbawm’s dictum that nationhood and nationalism, although constructed from above, cannot be understood unless also analysed from below – i.e. “in terms of the assumptions, hopes, needs, longings and interests of ordinary people, which are not necessarily national and still less nationalist.”2 Drawing on this dictum, the present thesis examines the sense of community in Yugoslav society through the analysis of Yugoslav rock music culture. My focus is on the Yugoslav-ness of this culture – a culture commonly referred to as Yu-Rock or Yugo-rock – in the specific socio-politico-economic situation of 1980s Yugoslavia. My argument is that the Yugoslavness of Yu-Rock was inextricably connected to a larger, over-arching, web of knowledge and ideas to which it related, most importantly those concerning different conceptions of Yugoslavism as an “imagined community.” The point here is that the sense of Yugoslavness should not be reduced to any particular form of Yugoslavism, because Yugoslavism meant different things for different people. Thus, the concept of “Yugoslavness” that I operate with in the thesis is influenced by the work of anthropologist Stef Jansen, who argues that Yugoslavness was not always openly “Yugoslavist,” but rather more about open interethnic boundaries and thereby most often assuming a pronouncedly tolerant, antinationalist and cosmopolitan character.3 In this regard, I want to underline that the existing research on rock music in the former Yugoslav lands has recognised the antinationalist character of Yu-Rock and has stressed its role as 1 Elektični orgazam, ”Igra rokenrol cela Jugoslavija” Letim, sanjam, dišem (Belgrade: PGP RTB, 1988). This is a direct translation from Serbo-Croatian, which corresponds to the English phrase “twist and turn.” 2 Eric J. Hobsbawm, Nations and Nationalism since 1780 (Cambridge: Cambridge University Press, 1990), p. 10. 3 Stef Jansen, “Cosmopolitan openings and closures in the post-Yugoslav antinationalism” in Cosmopolitanism in Practice, eds by Magdalena Nowicka, Maria Rovisco (Farnham, England / Burlington, VT : Ashgate Pub, 2009), p. 80. 4 an alternative to nationalism of the 1980s. Nevertheless, the existing research has dealt with the issues concerning Yugoslavness of the 1980s Yu-Rock only in passing, either peripherally or from the perspective of the dissolution of the common Yu-Rock scene in the 1990s. Thus, very few of the central questions concerning its agency, origin and causality in the 1980s have been asked. This study is an inquiry into this issue – the issue concerning questions of agency, origin and causality of Yugoslavness in 1980s Yu-Rock. This is not an easy task. Yugoslav history is a complicated subject – not least because, as Metthew McCullock puts it, Yugoslav identity is contradictory, located at the crossroads of “nowhere” and “everywhere.”4 This means that locating Yugoslavness can easily ends up by being arbitrary, defined either too rigidly or too loosely that
Load more

Recommended publications
  • History and Development of the Communication Regulatory
    HISTORY AND DEVELOPMENT OF THE COMMUNICATION REGULATORY AGENCY IN BOSNIA AND HERZEGOVINA 1998 – 2005 A thesis presented to the faculty of the College of Communication of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Adin Sadic March 2006 2 This thesis entitled HISTORY AND DEVELOPMENT OF THE COMMUNICATION REGULATORY AGENCY IN BOSNIA AND HERZEGOVINA 1998 – 2005 by ADIN SADIC has been approved for the School of Telecommunications and the College of Communication by __________________________________________ Gregory Newton Associate Professor of Telecommunications __________________________________________ Gregory Shepherd Interim Dean, College of Communication 3 SADIC, ADIN. M.A. March 2006. Communication Studies History and Development of the Communication Regulatory Agency in Bosnia and Herzegovina 1998 – 2005 (247 pp.) Director of Thesis: Gregory Newton During the war against Bosnia and Herzegovina (B&H) over 250,000 people were killed, and countless others were injured and lost loved ones. Almost half of the B&H population was forced from their homes. The ethnic map of the country was changed drastically and overall damage was estimated at US $100 billion. Experts agree that misuse of the media was largely responsible for the events that triggered the war and kept it going despite all attempts at peace. This study examines and follows the efforts of the international community to regulate the broadcast media environment in postwar B&H. One of the greatest challenges for the international community in B&H was the elimination of hate language in the media. There was constant resistance from the local ethnocentric political parties in the establishment of the independent media regulatory body and implementation of new standards.
    [Show full text]
  • Diplomsko Delo
    UNIVERZA V LJUBLJANI FILOZOFSKA FAKULTETA ODDELEK ZA ETNOLOGIJO IN KULTURNO ANTROPOLOGIJO ODDELEK ZA ZGODOVINO DIPLOMSKO DELO LJUBLJANA, 2015 PATRICIJA JEREB UNIVERZA V LJUBLJANI FILOZOFSKA FAKULTETA ODDELEK ZA ETNOLOGIJO IN KULTURNO ANTROPOLOGIJO ODDELEK ZA ZGODOVINO PATRICIJA JEREB Ne računajte na nas! Razpad Jugoslavije in vpliv rock 'n' rolla v protivojnih akcijah v Srbiji v devetdesetih letih prejšnjega stoletja Diplomsko delo Študijski program: Etnologija in kulturna antropologija Zgodovina Mentorja: red. prof. dr. Rajko Muršič red. prof. dr. Božo Repe Ljubljana, 2015 Zahvala Iskreno se zahvaljujem mentorjema prof. dr. Rajku Muršiču in prof. dr. Božu Repetu za vse strokovne nasvete in vsestransko pomoč pri izdelavi diplomskega dela ter vsem svojim sogovornikom, saj brez njih moje diplomsko delo ne bi bilo mogoče. Zahvaljujem se staršem in prijateljem za vso podporo in spodbudne besede v času študija. Izvleček Ne računajte na nas! Razpad Jugoslavije in vpliv rock 'n' rolla v protivojnih akcijah v Srbiji v devetdesetih letih prejšnjega stoletja Diplomsko delo obravnava tematiko razpada Jugoslavije in vpliv rocka v protivojnih akcijah v Srbiji. Vojne na območju nekdanje Jugoslavije so v srbski družbi pustile neizbrisen pečat. Vojna kultura ni vplivala samo na razmah kriminala temveč je močno zaznamovala tudi glasbeno sceno. Protivojne akcije so bile relativno pogoste; vojni situaciji so se upirale različne organizacije, ki so z akcijami opozarjale na nesmiselnost vojne in njene posledice. Prav tako so protivojno držo izražali posamezni rock glasbeniki, ki so izvedli nekaj uspešnih projektov. Najodmevnejši projekt je skupina Rimtutituki, ki je v februarju 1992 posnela pacifistično pesem Slušaj 'vamo (Poslušaj) z eksplicitnim sporočilom. Rock ni preprečil tragičnega konca SFRJ, to niti ni bil namen, brez dvoma pa izpeljani glasbeni projekti predstavljajo velik uspeh in iskro upanja vsem narodom nekdanje skupne države.
    [Show full text]
  • Forced Labour in Serbia Producers, Consumers and Consequences of Forced Labour 1941 - 1944
    Forced Labour in Serbia Producers, Consumers and Consequences of Forced Labour 1941 - 1944 edited by: Sanela Schmid Milovan Pisarri Tomislav Dulić Zoran Janjetović Milan Koljanin Milovan Pisarri Thomas Porena Sabine Rutar Sanela Schmid 1 Project partners: Project supported by: Forced Labour in Serbia 2 Producers, Consumers and Consequences . of Forced Labour 1941 - 1944 This collection of scientific papers on forced labour during the Second World War is part of a wider research within the project "Producers, Consumers and Consequences of Forced Labour - Serbia 1941-1944", which was implemented by the Center for Holocaust Research and Education from Belgrade in partnership with Humboldt University, Berlin and supported by the Foundation "Remembrance, Responsibility and Future" in Germany. ("Stiftung Erinnerung, Verantwortung und Zukunft" - EVZ). 3 Impressum Forced Labour in Serbia Producers, Consumers and Consequences of Forced Labour 1941-1944 Published by: Center for Holocaust Research and Education Publisher: Nikola Radić Editors: Sanela Schmid and Milovan Pisarri Authors: Tomislav Dulić Zoran Janjetović Milan Koljanin Milovan Pisarri Thomas Porena Sabine Rutar Sanela Schmid Proofreading: Marija Šapić, Marc Brogan English translation: Irena Žnidaršić-Trbojević German translation: Jovana Ivanović Graphic design: Nikola Radić Belgrade, 2018. Project partners: Center for Holocaust Research and Education Humboldt University Berlin Project is supported by: „Remembrance, Responsibility And Future“ Foundation „Stiftung Erinnerung, Verantwortung und Zukunft“ - EVZ Forced Labour in Serbia 4 Producers, Consumers and Consequences . of Forced Labour 1941 - 1944 Contents 6 Introduction - Sanela Schmid and Milovan Pisarri 12 Milovan Pisarri “I Saw Jews Carrying Dead Bodies On Stretchers”: Forced Labour and The Holocaust in Occupied Serbia 30 Zoran Janjetović Forced Labour in Banat Under Occupation 1941 - 1944 44 Milan Koljanin Camps as a Source of Forced Labour in Serbia 1941 - 1944 54 Photographs 1 62 Sabine Rutar Physical Labour and Survival.
    [Show full text]
  • Muzicki Program
    MUZIČKI PROGRAM 2018 MAIN STAGE SUBOTA .. NEDELJA .. ČETVRTAK .. PETAK .. SREDA .. O RAINMAKER LOLE & RADI : - : : - : BLUES BAND THE FILTERS : - : HURLEUR IRON MAIDEN TRIBUTE : - : AERODROM : - : : - : FRAJLE : - : VIVA VOPS : - : ĐORĐE DAVID : - : RIBLJA ČORBA : - : BAND X : - : NEVERNE BEBE : - : YU GRUPA : - : E-PLAY : - : PARTIBREJKERS : - : DR NELE KARAJLIĆ : - : KIKI I PILOTI : - : DEJAN PETROVIĆ : - : ORTHODOX CELTS : - : LOLLOBRIGIDA : - : SIX PACK INSPEKTOR BLAŽA : - : : - : GOBLINI : - : LET I KLJUNOVI : - : ISKAZ INNOVATION STAGE NEDELJA .. PETAK .. SUBOTA .. SREDA .. ČETVRTAK .. BEND IZNENAĐENJA : - : SUNSHINE : - : THE STRANGLERS : - : VAN GOGH : - : RÓISÍN MURPHY : - : : - : BAD COPY ALTERNATIVE STAGE by NEDELJA .. PETAK .. SUBOTA .. SREDA .. ČETVRTAK .. BUNT : BUNT : BUNT : : - : : - : ALEJA VELIKANA MESIS : - : SERGIO LOUNGER BUNT : SITZPINKER : - : BUNT : NE SANJA TIŠMA I MASA : - : ARCTICK MONKEYS : - : VIS LIMUNADA : - : TRIBUTE OLA ČUTURILO : - : VATRA : - : FRAMEWORK : - : NIK : - : GILE & MAGIC BUSH STRAY DOGG : - : ZONA B STRAIGHT MICKEY : - : RIMLJANI ITE DOMA : - : : - : & THE BOYZ VELIKI PREZIR : - : NEŽNI DALIBOR : - : PEČITELJI : - : EX REVOLVERI : - : METALLICA TRIBUTE : - : PO PERO DEFFORMERO : - : ŠANK : - : ZOSTER : - : OBOJENI PROGRAM : - : M.O.R.T. : - : : - : KKN : - : BOLESNA ŠTENAD : - : ĐORĐE MILJENOVIĆ : - : LETU ŠTUKE DEPECHE TRIBUTE BAND : - : NBG : - : * ORGANIZATOR ZADRŽAVA PRAVO IZMENE PROGRAMA MUZIČKI PROGRAM 2018 INNOVATION ALTERNATIVE MAIN STAGE BY STAGE STAGE : - : BUNT : SITZPINKER :
    [Show full text]
  • Isidora Bjelica BE­O­G UR­B APO­STO­LI a RA­ N O­ DA G
    Isidora Bjelica APO­STO­LI UR­BANO­G BE­O­GRA­DA APO­STO­LI Copyright © 00 by Isidora Bjelica Copyright © 007 ovog izdanja LAGUNA UR­BANO­G BE­O­GRA­DA SADR­ŽAJ U PO­TRAZI ZA IZGUBLJE­NIM VRE­ME­NO­M SRPSKA DE­CA E­NDIJA VOR­HO­LA ili UME­STO­ UVO­DA 9 O­LIVE­R MANDIĆ ili KRALJ BE­O­GRADA NO­ĆU . O­LIVE­R MANDIĆ ili KRALJ BE­O­GRADA NO­ĆU PRVI PUT PO­SLE­ 1 GO­DINA . .8 VLADIMIR JO­VANO­VIĆ – SRPSKI VOR­HO­L ili PRE­DLO­G ZA ULTIMATIVNI INTE­RNE­T FAJL . .9 SRĐAN PE­TRO­VIĆ AZV NI SRLE­ PANKE­R ili NAJLE­PŠI BE­O­GRAĐANIN PRE­D VUKO­VARO­M . SRBA TRAVANO­V ili BE­O­GRADSKI PRO­MO­TE­R DOL­ČE­ VITA FILO­SO­FIJE­ . .71 LJUBO­MIR IŠ MUNIĆ ili BE­O­GRADSKI ZLATNI VO­AJE­R NA PUTU ZA HO­LIVUD . .80 SRĐAN ŠAPE­R O­D BE­O­GRADSKO­G DAVITE­LJA I IDO­LA DO­ GAZDA SRKIJA . .87 JO­CA JO­VANO­VIĆ ili MLAD I ZDRAV KAO­ RUŽA . .98 7 8 Isi­do­ra Bje­li­ca NE­BOJ­ŠA PAJKIĆ NAJVE­ĆI BE­O­GRADSKI DRKADŽIJA ili JE­DINI FILMO­SLO­V KO­GA SMO­ IKAD IMALI . .10 SLO­BA KO­NJO­VIĆ . .110 MOM­ČILO­ RAJIN ili BE­O­GRADSKI GE­NIJE­ IZ SE­NKE­ 117 U PO­TRA­ZI ZA IZGUBLJE­NIM VR­E­ME­NO­M MARINA ABRAMO­VIĆ i NE­ŠAA P RIPO­VIĆ BE­O­GRADSKI KON­CE­PTUALNI PAR .
    [Show full text]
  • 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.
    [Show full text]
  • Media Integrity Matters
    a lbania M edia integrity Matters reClaiMing publiC serviCe values in Media and journalisM This book is an Media attempt to address obstacles to a democratic development of media systems in the countries of South East Europe by mapping patterns of corrupt relations and prac­ bosnia and Herzegovina tices in media policy development, media ownership and financing, public service broadcasting, and journalism as a profession. It introduces the concept of media in­ tegrity to denote public service values in media and journalism. Five countries were integrity covered by the research presented in this book: Albania, Bosnia and Herzegovina, Croatia / MaCedonia / serbia Croatia, Macedonia and Serbia. The research – conducted between July 2013 and February 2014 – was part of the regional project South East European Media Obser­ vatory – Building Capacities and Coalitions for Monitoring Media Integrity and Ad­ vancing Media Reforms, coordinated by the Peace Institute in Ljubljana. Matters reClaiMing publiC serviCe values in Media and journalisM Media integrity M a tters ISBN 978-961-6455-70-0 9 7 8 9 6 1 6 4 5 5 7 0 0 ovitek.indd 1 3.6.2014 8:50:48 ALBANIA MEDIA INTEGRITY MATTERS RECLAIMING PUBLIC SERVICE VALUES IN MEDIA AND JOURNALISM Th is book is an attempt to address obstacles to a democratic development of media systems in the MEDIA countries of South East Europe by mapping patterns of corrupt relations and prac- BOSNIA AND HERZEGOVINA tices in media policy development, media ownership and fi nancing, public service broadcasting, and journalism as a profession. It introduces the concept of media in- tegrity to denote public service values in media and journalism.
    [Show full text]
  • 1 En Petkovic
    Scientific paper Creation and Analysis of the Yugoslav Rock Song Lyrics Corpus from 1967 to 20031 UDC 811.163.41’322 DOI 10.18485/infotheca.2019.19.1.1 Ljudmila Petkovi´c ABSTRACT: The paper analyses the pro- [email protected] cess of creation and processing of the Yu- University of Belgrade goslav rock song lyrics corpus from 1967 to Belgrade, Serbia 2003, from the theoretical and practical per- spective. The data have been obtained and XML-annotated using the Python program- ming language and the libraries lyricsmas- ter/yattag. The corpus has been preprocessed and basic statistical data have been gener- ated by the XSL transformation. The diacritic restoration has been carried out in the Slovo Majstor and LeXimir tools (the latter appli- cation has also been used for generating the frequency analysis). The extraction of socio- cultural topics has been performed using the Unitex software, whereas the prevailing top- ics have been visualised with the TreeCloud software. KEYWORDS: corpus linguistics, Yugoslav rock and roll, web scraping, natural language processing, text mining. PAPER SUBMITTED: 15 April 2019 PAPER ACCEPTED: 19 June 2019 1 This paper originates from the author’s Master’s thesis “Creation and Analysis of the Yugoslav Rock Song Lyrics Corpus from 1945 to 2003”, which was defended at the University of Belgrade on March 18, 2019. The thesis was conducted under the supervision of the Prof. Dr Ranka Stankovi´c,who contributed to the topic’s formulation, with the remark that the year of 1945 was replaced by the year of 1967 in this paper.
    [Show full text]
  • 2009 08 12 AKTO 4 Catalog
    279487115 АКТО_4 FESTIVAL FOR CONTEMPORARY ARTS TOPIC_GENERATIONS AKTO_4 Festival for Contemporary arts will be held from 12.08 - 16.08.09 in Bitola, Republic of Macedonia. Akto is a regional festival for contemporary art which includes visual arts, performing arts, music and theory of culture. The main objective of Akto Festival is to open the cultural frameworks of a modern society through “recomposing” and redifning them in a new context. The programme of the festival is based on two concepts. The frst concept is space/location_ Locations have been transformed in terms of their previous meanings. The basic idea of the festival is art pieces to come out of the standard location (galleries, museums, theatres) used for presenting art, and their setting up in new location. Re-moving of the pieces into new location transforms the piece itself (according to the parameter space). The second concept is the topic of the festival_ The topic of Akto_4 festival is Generations. The artistic pieces (according to the parameter Generations) are going to be presented in two categories: artistic pieces that have generations as a basic starting point and pieces that are transformation of an already fnished artistic forms (also according to the parameter Generations). The “new” piece is transformed from its basic form. It has new statics and dynamics. The topic Generations deals with the issue of generations and initiates several questions: Are the ties between today’s young generations with the generation of their parents broken? Are today’s young generations
    [Show full text]
  • Marija R Eap 7 1 2012
    ORIGINALNI NAU 5NI RAD UDK 78.011.26(497.11) "1980/1990" 316.723(497.11) "1980/1990" Marija Ristivojevi 4 Institut za etnologiju i antropologiju Filozofski fakultet, Univerzitet u Beogradu [email protected] ∗ Rokenrol kao lokalni muzi 6ki fenomen Apstrakt: U radu se razmatra proces lokalizacije pop kulturnog i muzi 6kog feno- mena - rokenrola. Teza od koje polazim jeste da se i rokenrol, kao prevashodno glo- balni muzi 6ki žanr, može percipirati kao lokalni, te u tom smislu predstavljati prepo- znatljiv identifikacijski element lokalnog stanovništva. Rokenrol oznaka se u ovom slu 6aju odnosi na fenomen beogradskog "novog talasa" u muzici, aktuelnog osamde- setih godina proteklog veka. Na osnovu analize narativa dobijenih pra 4enjem rele- vantnih dokumentarnih filmova, namera mi je da ispitam najpre da li je "novi talas" percipiran kao lokalni fenomen, na koji na 6in se odvija konstruisanje te predstave, a zatim i šta je to što ovom fenomenu pruža lokalni legitimitet. Klju 6ne re 6i: muzika, lokalni identitet, rokenrol, "novi talas", Beograd Uvod Neretko se može 6uti konstatacija kako je odre 7ena muzika "obeležila ne- ko vreme i mesto". 5esto nije neophodno biti naro 6iti muzi 6ki poznavalac da bi, na primer, sama pomisao na Liverpul generisala asocijaciju na Bitlse (za nekoga je to pre fudbal), iako je grupa odavno prestala da postoji i prerasla lo- kalni liverpulski okvir, te postala globalni muzi 6ki (i kulturni) fenomen. Upra- vo takvo olako baratanje asocijacijama govori u prilog shvatanju da je muzika važan 6inilac u konstruisanju predstava o odre 7enom mestu, bilo da je re 6 o delu tog mesta (veza izme 7u ulice Kings roud u Londonu i pank pokreta), 6i- tavom mestu (Sijetl i grandž muzika) ili pak, regionu (Andaluzija i flamenko).
    [Show full text]
  • Contemporary Nostalgia
    Contemporary Nostalgia Edited by Niklas Salmose Printed Edition of the Special Issue Published in Humanities www.mdpi.com/journal/humanities Contemporary Nostalgia Contemporary Nostalgia Special Issue Editor Niklas Salmose MDPI • Basel • Beijing • Wuhan • Barcelona • Belgrade Special Issue Editor Niklas Salmose Linnaeus University Sweden Editorial Office MDPI St. Alban-Anlage 66 4052 Basel, Switzerland This is a reprint of articles from the Special Issue published online in the open access journal Humanities (ISSN 2076-0787) from 2018 to 2019 (available at: https://www.mdpi.com/journal/ humanities/special issues/Contemporary Nostalgia). For citation purposes, cite each article independently as indicated on the article page online and as indicated below: LastName, A.A.; LastName, B.B.; LastName, C.C. Article Title. Journal Name Year, Article Number, Page Range. ISBN 978-3-03921-556-0 (Pbk) ISBN 978-3-03921-557-7 (PDF) Cover image courtesy of Wikimedia user jarekt. Retrieved from https://commons.wikimedia.org/ wiki/File:Cass Scenic Railroad State Park - Shay 11 - 05.jpg. c 2019 by the authors. Articles in this book are Open Access and distributed under the Creative Commons Attribution (CC BY) license, which allows users to download, copy and build upon published articles, as long as the author and publisher are properly credited, which ensures maximum dissemination and a wider impact of our publications. The book as a whole is distributed by MDPI under the terms and conditions of the Creative Commons license CC BY-NC-ND. Contents About the Special Issue Editor ...................................... vii Niklas Salmose Nostalgia Makes Us All Tick: A Special Issue on Contemporary Nostalgia Reprinted from: Humanities 2019, 8, 144, doi:10.3390/h8030144 ...................
    [Show full text]
  • Evolution of the Media Market and Its Legal Framework in Bosnia and Herzegovina Since the Independence: Special Focus on Defamation
    Evolution of the media market and its legal framework in Bosnia and Herzegovina since the independence: special focus on defamation Kristina Cendic http://hdl.handle.net/10803/397684 ADVERTIMENT . L'accés als continguts d'aquesta tesi doctoral i la seva utilització ha de respectar els drets de la persona autora. Pot ser utilitzada per a consulta o estudi personal, així com en activitats o materials d'investigació i docència en els termes establerts a l'art. 32 del Text Refós de la Llei de Propietat Intel·lectual (RDL 1/1996). Per altres utilitzacions es requereix l'autorització prèvia i expressa de la persona autora. En qualsevol cas, en la utilització dels seus continguts caldrà indicar de forma clara el nom i cognoms de la persona autora i el títol de la tesi doctoral. No s'autoritza la seva reproducció o altres formes d'explotació efectuades amb finalitats de lucre ni la seva comunicació pública des d'un lloc aliè al servei TDX. Tampoc s'autoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant als continguts de la tesi com als seus resums i índexs. ADVERTENCIA. El acceso a los contenidos de esta tesis doctoral y su utilización debe respetar los derechos de la persona autora. Puede ser utilizada para consulta o estudio personal, así como en actividades o materiales de investigación y docencia en los términos establecidos en el art. 32 del Texto Refundido de la Ley de Propiedad Intelectual (RDL 1/1996). Para otros usos se requiere la autorización previa y expresa de la persona autora.
    [Show full text]