The Body of the Female Folk Singer: Constructions of National Identities

CEU eTD Collection The body of the Female Folk Singer: Constructions of National Identities in Serbia after inSerbia Identities ofNational Singer:Constructions bodyFolk The Female ofthe “In partial “In partial fulfillment of the requirements for the degree of Masters ofArts/Sciences” degree ofMasters forthe requirements ofthe fulfillment Central European University, Budapest European Central Thesis Supervisor:prof.Jasmina Lukic Thesis Second Reader: prof. Anna Loutfi prof.Anna Reader: Second Gender Studies MA StudiesMA Gender Budapest, Hungary Budapest, Dimitrijevic Olga Dimitrijevic 2000 2008 I

CEU eTD Collection ideology. I of limits audience the examine to female continue their with singers the of relationship the through Finally, one. gay the and national the identities; paradoxal of seemingly two of role construction in body the singer’s female explore I identities, these of complexity the demonstrate To era. Milosevic’s Slobodan of end official and 2000 year reference historical a as taking Serbia in identities how and nationalism, Serbian and is singer folk female a of body The present. at society Serbian of transformation economic and cultural social, of processes with interacts and to reacts which space social oriented market called popularly I thesis In this Abstract Estrada’ s main representative. I use this body to explore how relationship between between relationship how explore to body this use I representative. main s analyze position of female body in the space of Serbian musical show business, show musical of Serbian space the in body of female position analyze srd.Estrada. e see I Estrada Estrada Estrada sacmlxpeoeo;aa phenomenon; complex a as ’s possible subversiveness for dominant patriarchal dominant for subversiveness possible ’s nae n cntuto f vros national various of construction in engages II culturally specific, culturally Estrada

CEU eTD Collection References sourcesPrimary Conclusion Audience and –Folk Singers Female Another’ To One Woman Chapter 4:’As Audience and Body Gay Singer’s 3.2Female Identity ofNational Homogenizer as Body Singer’s 3.1Female of Chapter 3:Paradox aCyborg Body Singer’s As Chapter 2:Female Around Chapter 1:Debates Introduction Table ofContents ...... Estrada Estrada ......

...... III ...... 52 50 48 38 31 28 28 19 5 1 CEU eTD Collection CEU eTD Collection Gordy, Eric D.: D.: Eric Gordy, http://www.komunikacija.org.rs/komunikacija/casopisi/sociologija/XLIII_3/d01/html_gb 1 Dragicevic-Sesic) Milena Gordy, Eric Kronja, Ivana Papic, (Zarana country the in climate of building in participated ultranationalist maintaining media, and promoting in part important in an was and regime, Milosevic’s dominance massive its with music, neofolk the with is, that politics, with relation that claim and scholars intellectuals strong Serbian Many time. the at propagated ideology nationalist in entered and media, Serbian in dominant absolutely became it when regime, Milosevic’s of times the in nineties, the in significance (NCFM)... music folk composed newly turbo-folk, pop-folk, various for all-encompassing as use I that term the is Neofolk genre. Estrada transition. as named commonly transformations and political of social process the entered officially Serbia and overthrown was Milosevic Slobodan after 2000, year the after occurred that society Serbian in changes the read can one singer female the of body via that claim will I performance. its by public Serbian to out sends and produces body that messages which analyze will I time same the At explore. to intend I assumptions ideological whole for metonymy as functions body female The all around circulate that in discourses present implicitly is it since analysis, my of center the as singer female the of body called musical popularly show-business mainstream Serbian of example the on nationalism and culture popular between relationship complex explore and show to want I era. Milosevic’s in Slobodan of and end engages official 2000 year singer reference folk historical a female as the taking Serbia of in identities body various the of construction how explore to intend I thesis my In Introduction Papic, Zarana: “Europe after 1989: The Ethnic Wars, Fascizisation of Civil Society and Body Politics in Serbia”, in Politics Body and Society Civil of Fascizisation Wars, Ethnic The 1989: after “Europe Zarana: Papic, is popular term for show business in Serbia, which is dominated by neofolk musical neofolk by dominated is which Serbia, in business show for term popular is The Culture of Power in Serbia in Power of Culture The Estrada Estrada, , University Park, Pa.: Pennsylvania State University Press, c1999 ; c1999 Press, University State Pennsylvania Pa.: Park, University , in Serbia, but still has been rarely directly addressed. directly rarely been has still but Serbia, in using the body of female folk singers. I take the take I singers. folk female of body the using 1 Estrada , and to it are ascribed many ascribed are it to and , Estrada , accessed: 13.5.2009 ; 13.5.2009 accessed: , Estrada and is wider its gained ’s subgenres: ’s

CEU eTD Collection Maljkovic, Dusan: Turbo emancipacija!, emancipacija!, Turbo Dusan: Maljkovic, 3 http://www.komunikacija.org.rs/komunikacija/casopisi/sociologija/XLIII_3/d01/html_gb 2 1994 Sad, Novi Karlovci, Dragićević Ivana: Kronja, that claim and in-between, myself situate I will text. on the primarily focused was and context, that neglected of context onpolitical mainly focused scholars part ofthe around circulate that debates these to drawn be can remark important One interaction. ofthat manifestations transparent most the of one is singer folk female the of body The gendered. strongly is which interplay the business; show and politics ideology, dominant of interplay complex the in part its takes it in since period, later that explore critically to important is Hence significance. or nationalism, that mean not did changes these But business. show the of space the was so and well, as transformed has nationalism Serbian changes, political that changes the to 5 after paid occurred be also should attention the but regime, Milosevic’s Slobodan of role the and nineties the on focused mainly are debates these Again, role and even avant-garde emancipatory neofolk music to ascribe these scholars having as world; the with singers Serbia connecting in and female moral patriarchal of the subversion in part significant read who Maljkovic, Dusan and Dimitrijevic Branislav emotions” pro-Fascist re-affirm and inflame to also but clientele, the relax and emotions tavern arouse to objective the have only not did [who] (…) (singers), queens’ ‘turbo-folk so-called of [is series whole accessibility, a sexual by supported] its over joy and submission permanent out acting body plump a on body Female Papic, Zarana: “Europe after 1989: The Ethnic Wars, Fascizisation of Civil Society and Body Politics in Serbia”, in Politics Body and Society Civil of Fascizisation Wars, Ethnic The 1989: after “Europe Zarana: Papic, Dimitrijevic, Branislav: “Global Turbo Folk Turbo “Global Branislav: Dimitrijevic, - Šešić Smrtonosni , Milena: Milena: , th Estrada Estrada of October 2000, when the regime in Serbia has been changed. With the With changed. been has Serbia in regime the when 2000, October of Neofolk kultura Neofolk sjaj s hgl ope hnmnn n ht toe raig o not do readings those that and phenomenon, complex highly is is seen as the tool of the regime, “‘Happy’ Serbian Woman's Body’, Woman's Serbian “‘Happy’ regime, the of tool the as seen is : : masovna http://blog.b92.net/text/1914/Turbo%20emancipacija

, publika i njene zvezdenjene i publika , psihologija ”, ”, 2 http://www.ex-yupress.com/nin/nin139.html But there is the other group of scholars, for example for scholars, of group other the is there But

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turbo , Izdavačka knjižara Zorana Stojanovića Sremski Stojanovića Zorana knjižara Izdavačka , - folka Estrada , Tehnokratia, Beograd 2001 ; 2001 Beograd Tehnokratia, , , the other groupcompletely , the other Estrada , accessed: 13.5.2009. accessed: , Estrada , accessed: 2.4.2009 ; 2.4.2009 accessed: , Estrada !,accessed: 2.4.2009. !,accessed: really lost their lost really 3 in the time of time the in . Estrada : while one while :

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Markovic, Tanja and Vujanovic, Ana: “ Ana: Vujanovic, and Tanja Markovic, Dragićević Estrada is always the performance of certain identities; in my study I will explore some of some explore will I study my in identities; certain of performance the always is that claim will I process. transitional the to relates Estrada - Šešić handles challenging combination of problematic political heritage and actual and heritage political problematic of combination challenging handles , Milena: Milena: , functions, and claim that p that claim and functions, Neofolk kultura Neofolk Mutations of Global Paradigms in Contemporary South-Eastern Europe: South-Eastern Contemporary in Paradigms Global of Mutations , publika i njene zvezdenjene i publika , erformance of the female singer on the stage of stage the on singer female the of erformance Estrada 3 today, to analyze its complexity and see and complexity its analyze to today, , Izdavačka knjižara Zorana Stojanovića Zorana knjižara Izdavačka , Estrada 5 the body of the female folk singer, folk female the of body the ; and further, between civic and civic between further, and ; Female body turns out to be the be to out turns body Female cannot be seen as monolithic, as seen be cannot Therefore it is important to important is it Therefore

‘wide masses of masses ‘wide 4 , , and how and

CEU eTD Collection Feminist Feminist Theory 8 of Reinvention Women: Nature Cyborgs Simians,The and 7 Politics 6 audience. female class working with communication and class and gender of intersection on focus strictly will I chapter fourth the In Serbian society. show to order in (3.2)), nationalism Serbian of failure a of reminder a as body and (3.1) nation the of axis an as (body body singer’s female of readings paradoxical apparently two give will I produces. on body singer’s female that identities on strictly focuses therefore chapter Third can nationalism. with regards Serbian role subversive in perform a body same this how and appropriation, ironic and camp for suitable as body singer’s female sees community gay urban how explore will I where 3.2, chapter the in analysis my drag of politics Butler’s cyborg a of concept Haraway’s Donna deploy will I chapter, second the in on, Further the as serves body female that 3.1. the chapter identity, in ofnational homogenizer example, for Kronja Ivana and Papic Zarana by works nationalism. of pillar the be to out turn Peterson Spike V. to according which those exactly gender, of understandings heterosexist and heteronormative to correspond that femininities of types those only allows on body female of construction the interpret will I Thus, space. public in the its meanings out whichwrites something on body

Haraway,Donna: "A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century," in Twentieth Century," the Late and in Technology,Socialist-Feminism Manifesto: Science, "A Cyborg Haraway,Donna:

Peterson,V. Spike: “Sexing Political Identities: Nationalism as Heterosexism,” Heterosexism,” as Nationalism Identities: Political “Sexing Spike: Peterson,V. Butler, Judith: “Imitation and Gender Insubordination” Gender and “Imitation Judith: Butler, 1(1), June 1999: 34-65. 1999: June 1(1), Estrada , New York and London: Routledge, 1997, pp – 1997,London: York 300315 Routledge, and , New Estrada as the body on which cultural assumptions are not just written but also as also but written just not are assumptions cultural which on body the as ’s complexity, and further, complexity of national identities in today’s in identities national of complexity further, and complexity, ’s 8 to analyse the female singer’s body. This part will be followed by followed be will part This body. singer’s female the analyse to 6 That analysis will be the basis for my claim, which will follow will which claim, my for basis the be will analysis That (New York; Routledge, 1991), pp.149-181.1991), Routledge, (New York;

in Linda Nicholson (ed.) (ed.) Nicholson Linda in 4 Estrada The Second Wave Reader. A Reader in Reader A Reader. Wave Second The International Feminist Journal of Journal Feminist International emphasizing that that emphasizing Estrada Estrada Estrada 7 and

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CEU eTD Collection c1999, p. 2 p. c1999, 0 1 9 unavailable” rule its to alternatives making “by itself establish to succeeded regime The regime. Milosevic’s of building in participated music neofolk of dominance massive this that claims Gordy Eric media. most Serbian the dominate to which started turbo-folk, among was prominent subgenres, various its with neofolk uprising, Milosevic’s With Estrada music production. mainstream belongsto andthe who media, printed Estrada And videos. music and magazines sites, web internet radio, television, through established is space. media and public diverse and vivid very one brings altogether and affairs domestic meets business show which in space the mud; of full assumptions: and associations many term The melodies. orientalfolk Balkan and rhythms, with various and dance techno onsimple based music, electronic commercial of mix hybrid a as defined be can today Neofolk turbo-folk. of name the under nineties, the in media Serbian in dominant absolutely became and (NCFM)), music folk composed ‘newly was then genre the for used term usual (the eighties the during folk” “new a into music.” institutionalized was song folk arranged of model neotraditional “the when sixties, early the in started it genre musical a As elements. musical folk on based genres musical various for term all-encompassing an is Neofolk production. neofolk mainstream Estrada Estrada 1. Debates around Rasmussen, Ljerka V.: “Newly composed folk music of Yugoslavia”, New York: Routledge, 2002, p 3 p 2002, Routledge, York: New Yugoslavia”, of music folk composed “Newly V.: Ljerka Rasmussen, Gordy, Eric D.: “The Culture of Power in Serbia”, University Park, Pa.: Pennsylvania State University Press, University State Pennsylvania Pa.: Park, University Serbia”, in Power of Culture “The D.: Eric Gordy, 9 is the popular term for musical show business in Serbia, and it refers strictly to strictly refers it and Serbia, in business show musical for term popular the is had, without a doubt, a significant role in the construction of Serbian nationalism. Serbian of construction the in role significant a doubt, a without had, and electronic in present constantly singer, folk female a is representative main ’s Neofolk is seen as commercialization of folk music, it reached high popularity high reached it music, folk of commercialization as seen is Neofolk Estrada itself signifies much more than the simple showbiz. The term provokes term The showbiz. simple the than more much signifies itself Estrada is at the same time dazzling and dirty, shiny and shiny dirty, and dazzling time same the at is 5 Estrada doesn’t exist outside of media; it media; of outside exist doesn’t 10 , and one and ,

CEU eTD Collection 13 5.4.2009 accessed: http://www.stfx.ca/pinstitutes/cpcs/perspectives/vol2no1_files/Mutations.pdf, problematics“, culture pop and mass of field the mapin intellectual Serbian the of case The 12 1 1 position: the emancipatory-enlightening Vujanovic summarize Markovic and insight. a critical models two and give present these Iwill following paragraphs around discussions the positions in academic main two identified Markovic and Tanja Vujanovic Ana Estrada made certainly it around controversies the and all with together masculinities society, Serbian normative in femininities constructing in role its particularly and identities, national of influence overall The context. political and social wider the from isolated and separate entity an as seen be Estrada love” about speak songs my of all about, talking are you what know don’t ‘I said: once who Arkan, criminal war notorious the of wife Raznatovic, Ceca of example (the politics the from itself distance to tried always Although time. the at situation socio-political with contrast in stood clearly life of joy or love about speaking lyrics and music high-energy Cheery, consequences. without regime Milosevic’s the during when nineties, the in afterwards, and era socialist the during both such as functioned Although alternative. musical the was these of Ibid. “ Ana: Vujanovic, and Tanja Markovic,

Sav Taj Folk Taj Sav focuses on the problem of identification and/or subjectivity through mass and pop and mass through subjectivity culture. and/or usually identification and of triviality problem their the of on focuses functions and aspects ideological on insists platform emancipatory-enlightening The audience. wide offering a to 1990s, oblivion and entertainment the cheap during ideology (state) apparatus, mainstream ideological Serbian an the was to context served Serbian which the in culture mass and pop that out points tactics and position theoretical emancipatory-enlightening of idea the brief, In a relevant topic to study. to atopic relevant Thus political. very all after is Estrada [All that Folk] TV B92, Serbia, 2004. Serbia, B92, TV Folk] that [All 13

and neofolk: emancipatory-enlightening and democratic-populist and emancipatory-enlightening neofolk: and Estrada Estrada on political situation in Serbia, its role in the construction of construction the in role its Serbia, in situation political on 11 gained the whole media space for itself, and this could not go not could this and itself, for space media whole the gained ), it turned out that that apparent antipolitical character of character antipolitical apparent that that out turned it ), Mutations of Global Paradigms in Contemporary South-Eastern Europe: South-Eastern Contemporary in Paradigms Global of Mutations Estrada 6 Estrada and female identities constructed on it cannot it on constructed identities female and functions as an open market and it has it and market open an as functions

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CEU eTD Collection Izdavačka knjižara Zorana Stojanovića Sremski Karlovci, Novi Sad, 1994, p194 - 195, my translation my 195, - p194 1994, Sad, Novi Karlovci, Sremski Stojanovića knjižaraZorana Izdavačka 18 17 1994 Sad, Novi Karlovci, Sremski Stojanovića knjižaraZorana Izdavačka 16 kitsch. bearersofnationalist main the as audience, theis neofolk that model’, cultural ‘neocomposed of members the to point actually conclusions her climate, war and nationalism of building in elites of role the mentions Dragicevic-Sesic Although the following: concludes Dragicevic-Sesic state, in situation the the political engagement with group” referential own their with identification and imitation passivity, fun, orientation, “consumer are characteristics whose and status, social better reach to aims that population the as them defining model’, cultural ‘neocomposed of members the as fans neofolk sees Dragicevic-Sesic here. from screams simply culture, popular – art high dichotomy, another and comparison, for chosen were fans literature exactly why clear not is It fans. and literature fans done with neofolk ofa results research the compares Dragicevic-Sesic which in chapter the in visible especially is which masses, suburban and masses rural towards tones depreciative escape cannot study Her demands. and habits lifestyles, simple of people the as audience neofolk marking further milieu, rural and suburban within music neofolk of study Sesic’s zvezde njene Dragicevic i publika kultura, Milena enough. urban not actually is that everything

Dragičević Ibid Dragičević , p 14, my translation my 14, p , ras ad Cota a oehn or’ ad a h ae tm frin enables ‘foreign’ time same the at and of ‘ours’ image its something defiance. destroying, in war, involvement why as clear Croatia is it and similar, Croats and values different of acceptance tolerance, and Croats knows model above on stated is mind in havingwhat And all. andthat’sthe – from army Slovenians cultural neocomposed of member average the Therefore, know to order in travelled not has It own. its for and own its of group the in done was it was, it if Even traveling. been hasn’t model. millieu neocomposed cultural Second, (…) neocomposed of members among values important least the among and elitist is model, cultural elitist of members of values of list the on second Tolerance, models. of members two these in living of standard high towards among orientation and tolerance of values the in values of lies them between difference main the that obvious orientation is it models cultural neocomposed researched to According - - Šešić, Milena Šešić, Šešić, Milena Šešić, : “ : “ : Neofolk kultura Neofolk kultura Neofolk [Neofolk Culture, Audience and Its Stars] Its and Audience Culture, [Neofolk , publika i njene zvezde [Neofolk culture, audience and its stars]”, its and audience culture, [Neofolk zvezde njene i publika , stars]”, its and audience culture, [Neofolk zvezde njene i publika , 18 8 17 . Writing further about their about further Writing . 16 maps the audience the maps the other. the Neofolk

CEU eTD Collection 20 5.4.2009 accessed: http://www.stfx.ca/pinstitutes/cpcs/perspectives/vol2no1_files/Mutations.pdf, problematics“, culture pop and mass of field the mapin intellectual Serbian the of case The 19 the that out turns it backward; as marked and dismissed time same the at act that by is culture popular Milosevic, supporting was production culture popular whole the that claimed is If it importance. its further has culture of popular demonization also this but money), state’s culture’ ‘high (since problematic with produced series TV highly subversive some and time, the at held also been have manifestations be to appear just not does reductionism This ‘folk’ of genre the under nineties the in production music mainstream complete the putting called usually case this in neofolk, series TV documentary as The ‘turbofolk’. somehow seen is Serbia in nineties the during produced culture popular whole the that also is consequences the of one But features. their of space the on promoted and constituted is identity national certain one only that assuming of complexity, view homogenizing This matter. still consequences its decision, ideological an as theorists of position emancipatory-enlightening the accept we if even But further conclude: position, enlightning emancipatory- on commenting Vujanovic, and Markovic written. were they when moment historical a in grounded strongly are scholars, and theorists enlightening of analysis these All “ Ana: Vujanovic, and Tanja Markovic, Sav Taj Folk Taj Sav hsn t eue te tertcl cmlxt f ter aaye, txs ad public and Serbia of context complex texts very the in politically act analyses, to order in generations their previous of complexity of theory social critical of platforms explicit more theoretical the used also have They exposures. the seem reduce to culture chosen popular and have theoreticians of numbers Certain decisions. political mass as all of first considered be about theses should they that plead explained I sense, theoretical contemporary the in naïve just or moralistic the of some Although in the 1990s. This context needed not be left as ambiguous and uncertain but to be to but uncertain and ambiguous anydoubt. without asterrifying treated as left be not needed context This 1990s. the in [All that Folk] TV B92 Serbia, 2004. Serbia, B92 TV Folk] that [All Estrada , and that all the representations of women on on women of representations the all that and , Estrada n t oiat mscl gne oe b emancipatory- by done genre, musical dominant its and Mutations of Global Paradigms in Contemporary South-Eastern Europe: South-Eastern Contemporary in Paradigms Global of Mutations Sav taj folk taj Sav 19

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CEU eTD Collection 2 2 120 p. 1999, 21 claims: Dimitrijevic Branislav as Or, nationalism. Serbian of arousal for guilt main of bearers not are people’ of masses ‘wide that out point to writings their in trying are They racism. cultural of opponents and Markovic by identified as their accuse corpus democratic-populist from theorists is, The populist. – democratic Vujanovic, culture neofolk on writing theorists of bloc Second folk singers. female be to out turned Serbia civic of enemy main the female: as ‘other’ its coded Serbia, mass of culture. high masculine to opposed as space feminine, as coded is culture the that claim Huyssen’s Andreas accept we if especially gender, of field the in reflections its had “them” and “us” on division That importance. new the gains here culture popular – art high Dychotomy position. this haunting mysogyny notice to not hard is it themselves, for position culture high claiming are they where situation the in masculinity, of image strong fostered bands male mostly the that and gendered, highly in was scene Yugoslavia rock the that mind in have we If elite. civic the followed simply musicians r’n’r supporters.” political their of culture the with war of architects associating vulgarity, neofolk to opposition culture high a with roll and rock of rebelliousness political Belgrade antiwar culture, urban their of in defense their “Both and beginning. engagement very the from neofolk dismissed strongly position. culture high the itself for took culture popular of forms ‘urban’ the the with But engaged supporter. were who Milosevic’s opposition as marked was culture popular whole the not course, Of for intelligentsia civic and politics. from Milosevic’s distancing forces opposition of tool the was culture popular of othering Gordy, Eric D.: “The Culture of Power in Serbia”, University Park, Pa.: Pennsylvania State University Press, University State Pennsylvania Pa.: Park, University Serbia”, in Power of Culture “The D.: Eric Gordy, Huyssen, Andreas: “Mass Culture as Woman” in Woman” as Culture “Mass Andreas: Huyssen, Eric Eric i a h siain f Srin Bugose ta ruh on brought that Bourgeoisie Serbian of aspirations the was “it Gordy describes how Belgrade’s rock and roll musicians ( musicians roll and rock Belgrade’s how describes Gordy Modernism’s Other. Other. Modernism’s 10 Indiana University Press, 1986, pp 44-62 pp 1986, Press, University Indiana rokeri 21 The attitude of Belgrade’s of attitude The 22 obnd te (innate?) the combined It turns out that the civic the that out turns It rokeri)

CEU eTD Collection %20emancipacija!/ 26 25 serbia.com/teorija/2003/03-02-14-kako-upokojiti-tv-manijaka/index.jsp 24 Potential]” Radical Its and Turbo-Folk Art!”: Contemporary 23 the precisely have] might [they thereby and women, young of independence economic and emotional possible about society, patriarchal the by imposed Branislav limits the to “resistance express: them nationalism. of some Serbian since lyrics, neofolk of certain in potential pillar subversive a identifies the Dimitrijevic as appears society patriarchal positions both for and context, local the in folk turbo of importance the to refer constantly do, position enlightening emancipatory- the of representatives the as just Maljkovic, and Dimitrijevic Both states: article, Maljkovic In another for through, coded further is rural. ofurban / dychotomy example, which type”, inferior and superior on people of selection racist implicates and (...) consequences and implications rasist has „inevitably Maljkovic to according which, culture of concept elitist for plead and dychotomy, culture popular / high values’ all of ’decay reads first at position, ’right’ or ’left’ assumably of criticism prevalent the how Dragana” or Ceca not and 1987, in power to ascend Milosevic’s Maljkovic, Dusan: “Turbo emancipacija! [Turbo emancipation!]”, emancipation!]”, [Turbo emancipacija! “Turbo Dusan: Maljkovic, [ performans radikalni kao folk turbo umetnost»: savremena je «Ovo Branislav Dimitrijević, Ibid. to kill [How manijaka “Kako upokojiti TV Dusan: Maljkovic, f cus, ter eult. I ubfl a oxs t lre hmsxas and on West. the dominates nor one worse the that betterthan neither popular culture, homosexuals as contents large erotic at a openly coexist world”, can “ordinary of projection a just is folk turbo context, that In codes. moral “Ortodox” the as present the turbofolk and In transvestites equality. heterosexuals, their course, of does, it as just strategies, alternative sexual and gender genres, and codes cultural of sexual plurality incredible an and reveals turbo-scene the women on view superficial is a of field Just that remarkable. in folk emancipation turbo of contribution of the that believe question I And Serbia. in the minorities especially politics, local of questions culture, but the of global Serbian reach thenot isin interested Iam But what liberal political concept – concept political liberal , last accessed on 1.5.2009, my translation my 1.5.2009, on accessed last , 24 . Maljkovic points out that both these discourses actually operate with operate actually discourses these both that out points Maljkovic . Estrada with all the virtues and the faults – on the sphere of sphere the on – faults the and virtues the all with 25

in Serbian public discourse, whether it comes from comes it whether discourse, public Serbian in 11 , in Prelom, 2-3., CSUb, Beograd, 2002, p. 100 p. 2002, Beograd, CSUb, 2-3., Prelom, in , TV TV Maniac Estrada , accessed: 2.6.2009.,accessed: http://blog.b92.net/text/1914/Turbo ]”, ]”, as social decadence and marker of marker and decadence social as http://www.gay- 23 . Dusan Maljkovic notices Maljkovic Dusan “ This is This 26

CEU eTD Collection http://www.stfx.ca/pinstitutes/cpcs/perspectives/vol2no1_files/Mutations.pdf, accessed: 5.4.2009 accessed: http://www.stfx.ca/pinstitutes/cpcs/perspectives/vol2no1_files/Mutations.pdf, problematics“, culture pop and mass of field the mapin intellectual Serbian the of case The 29 serbia.com/kolumna/2002/02-08-14-folk_avangarda/index.jsp garde]” avant 28 2.4.2009 27 Serbian Bollywood. to MTV from – influences and motifs musical various incorporating is music the time same the at while difference), without countries Balkan all in produced music folk turbo TV cable of example the on see can we (as least at Balkan whole the on present is it and phenomenon, Serbian only not is folk turbo But target. potential its Estrada Slavoj recalling thus us: Vujanovic gave Markovic quotation and Zizek’s pleasure, the to threat common on based identification the through icons as constructed sexual icons, gay for Serbian typical pleading becoming are singers texts folk Female and freedom. desire, female the express freely which texts patriarchal, anti- emancipatory, as texts folk turbo several analyze authors the which in 2001, in portal avant-garde text Folk Serbian i.e. of History behalf, Forgotten that on speak examples Many delight. with singers female neofolk embrace can nationalism, of ‘other’ typical minorities, oppressed the that out turns It other’. of exclusion of ideology the is that nationalism, Serbian subverts consequently rejection their and values patriarchal the to confrontation – folk turbo of potential subversive greatest role.“ emancipating Markovic, Tanja and Vujanovic, Ana: “ Ana: Vujanovic, and Tanja Markovic, Folk Turbo “Global Branislav: Dimitrijevic, Viva la Diva and Vlada T “Zaboravljena istorija srpske folk-avangarde [The Forgotten Forgotten [The folk-avangarde srpske istorija “Zaboravljena T Vlada and Diva la Viva formula of the modern racism we are witnessing today: the hatred for the for hatred the today: witnessing are pleasure finds . person another way specific we racism modern the of generalized formula most the be would That alwaysOther. The of pleasure Other the for hatred The the does is “…Why It existence? sole his for hatred our adds: of cause the is What Other? The who remain Miller, Alain Jacques quotes Žižek pleasure”, / enjoyment own ones towards of hatred the root therefore is, The racism sanctioned? radically so it is Why pleasure? by bothered is Who opens new markets, as the true capitalist monster which every group of people sees as sees groupofpeople monster whichevery capitalist true markets, the new as opens Estrada Gay Serbia Gay communicates with the world, or, as Rastko Mocnik says: says: Mocnik the Rastko or,as world, with communicates 27 (Belgrade, n.d) Available online at: at: online Available n.d) (Belgrade, For the democratic populist theorists, there exactly lies the point of the of point the lies exactly there theorists, populist democratic the For Mutations of Global Paradigms in Contemporary South-Eastern Europe: South-Eastern Contemporary in Paradigms Global of Mutations ”, ”, http://www.ex-yupress.com/nin/nin139.html 12 28 , published on the biggest Serbian gay web gay Serbian biggest the on published , 29 http://www.gay- Balkanika , last accessed on accessed last , history of Serbian folk- Serbian of history

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CEU eTD Collection %20emancipacija!/ 31 %20emancipacija!/ 30 circumstances. contemporary and heritage political problematic Serbian of a two, those between somewhere position my take will I the opposite. speak still, on so and refugees crimes, war of issues unsolved the circumstances, political and social wider while market, music wider a creating of purpose the for done is it Yugoslavia, Serbian and Yugoslavia while former in reconciliation world. the with communication to contributors important were common their is theorists ofdemocratic-populist incontext analysis political of reduction for example prominent more Even events. political from distance the at herself keeping was Dragana crime, organized and regime the with involved was Ceca while – story different a tell biographies whose Dragana, and Ceca singers together puts he which in sentence Dimitrijevic’s quoted above the is examples the of One analysis. their from out left been has politics daily the that bloc democratic-populist the to object can we aspect, the word) of sense narrow the (in political its on phenomenon complex whole the reduced have they that theorists emancipatory-enlightening the to object can we as Just disappeared. also fall, Milosevic’s with that believe to ridiculous is it But Maljkovic, Dusan: “Turbo emancipacija! [Turbo emancipation!]”, emancipation!]”, [Turbo emancipacija! “Turbo Dusan: Maljkovic, emancipation!]”, emancipacija![Turbo “Turbo Dusan: Maljkovic, in: quoted Estrada time the grandmother in Vranje. So, these people have lived in globalization for the for years.last 40 globalization in lived samehave people the these at So, and Vranje. in Philadelphia grandmother in the aunt time the to and Sydney, in to brother my just to greetings Listen (…) former industries cultural of global space central with crash the the survive to order in space that from of potentials social activate who must industries, globalization cultural periphery of to concept the through now contribution it think I Yugoslavia. only the is Turbo-folk Estrada , as the separate space, may reestablish connections on the space of former of space the on connections reestablish may space, separate the as , , last accessed on 1.5.2009 on accessed last , translation my 1.5.2009, on accessed last , today, to dissect its complexity and see how it works in a combination of combination a in works it how see and complexity its dissect to today, 30 31 The question of reconciliation is taken here too recklessly – recklessly too here taken is reconciliation of question The 13 ao Pink Halo http://blog.b92.net/text/1914/Turbo nd examine the role and the position the and role the examine nd Estrada hw m edn the sending am I show: http://blog.b92.net/text/1914/Turbo ’s engagement with politics with engagement ’s claim that neofolk that singers claim

CEU eTD Collection 34 2.4.2009 33 turbofolk]” of aesthetics and “ Ivana: Kronja, http://www.komunikacija.org.rs/komunikacija/casopisi/sociologija/XLIII_3/d01/html_gb 32 additional out pull to order in ways, which in and functions, body that how see to important is It Serbia. in period posttraumatic and traumatic in body female the for consequences the into trauma”names forSerbian the of one is folk “turbo said, Tomic Milica As time? that same the changes at things the both of or occurred, signifier main the she is or changed, has little or nothing that shows within both happened that changes the all after today, singer folk female the of position is what So of and liberalcharacter identities, certain of performance the always is singer the of Performance performs. she short, in suffers; she loves, she cries, she drinks, she sings, She stage. the of center the in stands constantly the But culture. popular and high rural, and urban Serbia, nationalist and civic blocs, democratic-populist and emancipatory-enlightening posed dualistically between The culture. the to threat a of sort some as appears expressive, and exposed singer, folk female the of body The manifestations. its of another or hips the of shaking or voice the of howling mentions someone whenever present is which body The fracture. debates those all which on something as nationalism, Serbian and culture popular on debates the inhabits which uncanny the as speech, everyday and texts academic society’ manipulation patriarchal regime’s nationalist for tool the as either seen is it all, at mentioned If folk. turbo on discourses critical two the of middle the in fires, two the is debates these all in noticed rarely been has What Tomić, Milica: “Intervencija u prostoru tabua [Intervention in a Taboo Space]”, Space]”, Taboo a in [Intervention tabua prostoru u “Intervencija Milica: Tomić, Folk Turbo “Global Branislav: Dimitrijevic, Serbia”, in Politics Body and Society Civil of Fascizisation Wars, Ethnic The 1989: after “Europe Zarana: Papic, Estrada Smrtonosni ’s market and the Serbian nationalism? Is she the heritage of the regime which regime the of heritage the she Is nationalism? Serbian the and market ’s 33 Bt te eae bd i cntnl tee s goty rsne in presence ghostly a as there, constantly is body female the But .

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CEU eTD Collection 36 Radical Performance] Turbo-Folk as 35 art.” contemporary of field the in culture popular of dislocation and (...) scene, international to genre [musical] Yugoslavia” of history newer about talk we when debates, ideological and political in also but cultural, in just not place important took borders, Serbian beyond as well as context, Serbian in that folk] [turbo phenomenon cultural one about debate a of opening exactly but practices, artistic of „reevaluation says, Dimitrijevic Branislav as not, was project the of aim main the still But the market. art and open art contemporary in capital to of role the today, aimed art of position work about questions Tomic’s title. mentioned above pronouncing by the starting performance festival, Festwochen Wiener on is songs her singer few “This folk perform to invited work Mirkovic and Dragana ready-made her of concept In used regime. Tomic Milica Milosevic’s Art”, Contemporary against works critical highly produced who artist Serbian Tomic, Milica mentioned already by before addressed were question Those apparatus? can body ideological dominant the singer’s of part another folk just is it or female politics, emancipatory any the to contribute if explore to want I rights? human as such liberal of concepts acceptance the to life political in involvement its negates from who road ally the Milosevic’s pass it does how affairs, socio-political domestic the and market open the between balance body singer’s the does today’s How context? in socio-political and position economic Serbian its is what then space, capitalist developed most the is that If Serbia. that agree to easy is It region. forthe whole and its consequences destroying ofothers… isolations, sanctions, war, of period trauma: that about conclusions insightful more maybe and performans [ kao umetnost»:turbo radikalni folk je savremena Branislav: «Ovo Dimitrijević, Tomić, Milica: “Intervencija u prostoru tabua [Intervention in a Taboo Space]”, Space]”, Taboo a in [Intervention tabua prostoru u “Intervencija Milica: Tomić, 35 Tomic’s work, as she says, aimed at two directions: „dislocation of local of „dislocation directions: two at aimed says, she as work, Tomic’s 36 Problematization of divide on high and low culture in Tomic’s work here work Tomic’s in culture low and high on divide of Problematization Estrada , in ,in Prelom is still the most open and developed market of contemporary of market developed and open most the still is , 2-3., CSUb, Beograd, 2-3., 2002 Beograd, CSUb, , 15 Vreme , Vreme “ This is Contemporary Art!”: is Contemporary This no 546, 21. 6. 2001 6. 21. 546, no .

CEU eTD Collection 38 serbia.com/teorija/2003/03-02-14-kako-upokojiti-tv-manijaka/index.jsp 37 nationalism of and subversion from scale a on standing are they (and analyze identities, new these explore identify, to important is It minorities. sexual and racial national, of othering enables still argue, I also, but workers, of dismissal care, health education, free of cancellation the inevitable as posits and normalizes which climate socio-political the creates and valuable, less of position the classes audience/lower its for enables consequently which equation the dismantle to culture; popular whole the of critique the from neofolk of critique the separate to order in depth, in more them explore and produces, singer folk female the identities which see to important is It elite. intellectual and political of class the to threat a and transition, of losers and growing of the usually now are who masses’, ‘uncontrollable those with associated gets easily singer fear folk the of reflection the masses uncontrollable also was modernism in culture popular era. socialist the of the benefits cancelling mercilessly is which the transition of gains context question the at The look we intersect. when importance sexuality and class ethnicity, of problems the which in point the as function can people’ of masses ‘wide with that via and culture popular whole Serbian the with that via and genre, neofolk whole public, with discourses through common equated and singer, academic folk female the of body The world. the and nationalism Serbian between relationship the and Serbia in transition of process the about story wider a open can capital of routes and processes nationalist in engagement body’s the of question The culture high/low of trap into fall capitalism. ofcritiqueliberal the lines opoosition, follow should to not order in folk, turbo of critique that argues who Maljkovic, Dusan of conclusions follows goes that folk turbo of critique for path the paved Huyssen, Andreas: “Mass Culture as Woman” in Woman” as Culture “Mass Andreas: Huyssen, Maljkovic: Dusan: “Kako upokojiti TV manijaka [How to kill kill [How manijaka to upokojiti TV Dusan: “Kako 38 , and applying that claim to Serbian contemporary context, the female the context, contemporary Serbian to claim that applying and , olwn nra use’ li httethe that claim Huyssen’s Andreas Following Modernism’s Other. Other. Modernism’s 16 TV Maniac TV , accessed: 2.6.2009.,accessed: ]”, Indiana University Press, 1986, p 44-62 p 1986, Press, University Indiana http://www.gay- 37

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CEU eTD Collection University Press, 1989, p 13 p 1989, Press, University knowing and being of reconstructions feminist : Gender/body/knowledge 41 40 21.5.2009 Press, University Cambridge by: Published 155-176 pp. 1993), those what 39 of question the avoid cannot One messages. and concepts cultural own narratives, its out speaks body That singer. the of body mediated media that by written also are thus and inscribed are culture body.” a the of language concrete the through reinforced of commitments metaphysical rules, even central the and which hierarchies, on surface a form, symbolic powerful a is argued, has Mary Douglas anthropologist as body, The culture. of medium a is – body the to attend we which through rituals daily the dress, we how eat, we what – body “The body: that on written are meanings Many media. in represented place first the in is that body a but inscriptions, cultural various bears which woman the of body the just not is singer folk female the of body The ofher body. performance in women of role The voice. the to looks the from – manifestations its and body own her but just mere becomes she then performer, the of position the to reduced is woman the If business. musical in divide gendered that follow to seems technology, of development and trends musical recent followed always in new used and widely machines, is rhythm software Samplers, computer technologies. those of use the on based strongly is about writes Bradby music dance/house as just genre, neofolk The performer. simple the of position occupythe women while machines, the behind people arrangers, samplers, producers, language.” and technology culture, of realm with equated been the to again assigned been have men while music, once dance in nature and emotion body, have the sexuality, women which in way obvious an is “there claims: authorship the from women out casted business musical into incorporation their Ibid. (May,2 No. 12, Vol. Music, Popular Music, Dance in Body the and Technology Gender, Barbara: Bradby, Bordo, Susan: “The Body and the Reproduction of Femininity”, in Alison M. Jaggar and Susan R. Bordo (eds.) Bordo R. Susan and Jaggar M. Alison in Femininity”, of Reproduction the and Body “The Susan: Bordo, Estrada Estrada 19 40 ieal oe on t h rsne and presence the to down comes literally Men got the realm of technology: they are they technology: of realm the got Men spoutos eba Serbian productions. ’s http://www.jstor.org/stable/931296 41 But at the same time, some meanings some time, same the at But , , New Brunswick, N.J. : Rutgers : N.J. Brunswick, New Estrada , accessed: , , which has which , 39 .

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CEU eTD Collection University Press, 1989, p 13 p 1989, Press, University knowing and being of reconstructions feminist : Gender/body/knowledge 45 Politics 44 16 p 1989, Press, University knowing and being of reconstructions feminist : Gender/body/knowledge 43 204 (eds.) Stanbury Sarah 42 whom: to here, according MoiraGatens recall culture.” for metaphor a as “operate says, Bordo S. as might, it of culture, inscriptions bears that something Estrada nationalism. of pillar the be to out turn Peterson Spike V. to according which those exactly gender, of understandings heterosexist Estrada says. phrase Serbian well-known a as attributes’, following the ‘all with body female typical a as constructed always is body That femininities. normative performs constantly it and norms, Serbian on represented as body, female The of norms certain femininity” of proscribes “text certain a is it body her formulation, Bordo’s gender, Susan use to or of femininity, one the is regulates body singer’s female of representation that thing first the then regulation, of form a as representation understand we If KuhnAnnette claims: in body female the that are narratives

Kuhn, Annette: “The Body and Cinema: Some Problems for Feminism”, in Katie Conboy, Nadia Medina and Medina Nadia Conboy, Katie in Feminism”, for Problems Some Cinema: and Body “The Annette: Kuhn, Bordo, Susan: “The Body and the Reproduction of Femininity”, in Alison M. Jaggar and Susan R. Bordo (eds.) Bordo R. Susan and Jaggar M. Alison in Femininity”, of Reproduction the and Body “The Susan: Bordo, Heterosexism,” as Nationalism Identities: Political “Sexing Spike V. Peterson, (eds.) Bordo R. Susan and Jaggar M. Alison in Femininity”, of Reproduction the and Body “The Susan: Bordo, 1(1), June 1999: 34-65. 1999: June 1(1), urudd ad i hc e ae awy n oe wy o nte implicated. another or way one in always are are we we which which form of then, regulation. as a understood, can be Representation with in power of and relations surrounded various the in participates Representation be may representation sense, this normalization. of strategy a In as terminology, Foucauldian adopt to more once regarded, produced. ongoingly are discourses those for and in subjects and differences sexual through around discourses power things, of other among relations which, certain play in sets suggested, have I as Representation, , and what it represents gains strong political inscriptions. While the body is seen as seen is body the While inscriptions. political strong gains represents it what and , and heteronormative to correspond that femininities of types those only allows 45 But the representaton of female body on on body female of representaton the But Female Embodiment and Feminist Theory, Theory, Feminist and Embodiment Female Estrada 44 Thus the body of the female folk singer on Serbian on singer folk female the of body the Thus 20 Estrada speaks out, actually, what that body represents. body that what actually, out, speaks , is always following traditional gender traditional following always is , Estrada Columbia University Press, Ney York, 1997, p 1997, York, Ney Press, University Columbia , , , New Brunswick, N.J. : Rutgers : N.J. Brunswick, New Rutgers : N.J. Brunswick, New has its political significance. I significance. political its has International Feminist Journal of Journal Feminist International 42

CEU eTD Collection Criticism 8 4 47 (eds.) Stanbury 46 on applied is theory the when raised be can structure rigid its and theory her to objections claim, Mulvey’s followed that debates Similar camera. byTV bodyparts specific byemphasizing partly the gaze, it male to and subjects body whole her fetishizes constructed, is camera) of (instead stage the how way the and stage gaze male of concept Mulvey’s Laura borrow will I analysis, that For stage. the on body that of position rigid and normative very seemingly about questions various open might singer folk female the of body the on perspective wider A ‘the as other’. divide, sideofthe the other its politics isolationist and nationalism Serbian of construction of part the was lifestyles rural and in traditional reflected nature autochthonous the of Recalling rural. – urban consequently and body, – mind female, – male nature, – culture as such dichotomies following of side privileged the on itself puts process that through and gender of theorizing wider neglected mostly nineties of criticism political Prevailing lenses. gender using without of analysis an do to problematic highly is it therefore and gendered highly being are culture high/popular urban/rural, as neofolk on discourses in circulate that dichotomies aforementioned all process metonymic this Through chapter. first the in process metonymic that of implications about wrote I culture. popular of part most for that via and genre neofolk whole the for metonymy a become also has body, her is, that singer, folk female the Thus Colovic, Ivan: “Politics of identity in Serbia”, New York: New York University Press, 2002 Press, University York New York: New Serbia”, in identity of “Politics Ivan: Colovic, Sarah and Medina Nadia Conboy, Katie in Politic”, Body the and / in Representation “Corporeal Moira: Gatens, uvyLua Vsa laue n artv iea” I arca Ees d ed. Erens, Patricia In Cinema.” Narrative and Pleasures “Visual Mulvey,Laura: . Bloomington : Indiana University Press, c1990. 28-40. c1990. Press, University Indiana : Bloomington . slides into metonymy.” into slides here metaphor The body. that of part privileged a by body complex a of representation metonymical the considering are we Here bodies. diverse of group a for stand to taken is agent or body one where sense the in ‘representation’ understanding involves “This Female Embodiment and Feminist Theory, Theory, Feminist and Embodiment Female 47 , but the consequences of such positioning are that feminine again takes again feminine that are positioning such of consequences the but , 46

Estrada 48 21 . The position of the female star on on star female the of position The . Columbia University Press, Ney York, 1997, p 81 p 1997, York, Ney Press, ColumbiaUniversity ’s space. As Jackey Stacey asked, “How asked, Stacey Jackey As space. ’s Estrada produced during the during produced sus i eiit Film Feminist in Issues Estrada Estrada

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CEU eTD Collection University Press, 1989, pp 23-4 pp 1989, Press, University knowing and being of reconstructions feminist : Gender/body/knowledge 51 23-4 pp 1989, Press, University knowing and being of reconstructions feminist : Gender/body/knowledge 50 365-379. c1990. Press, University Indiana : Bloomington 9 4 bodily feminine”. “conventionally the deconstructing of favor of and in work may body perfection the of outcome disciplining excessive singer’s an female this not still is example, Bordo’s certainly in as body modifications, ‘male’ the While singers? folk female the that male.” as coded say our has culture values might those we onto opens excess and of opposite its point into this ‘deconstructs’ At feminine conventionally extreme. to excess, to – object an as body the perfecting of discipline the case, this in – behavior feminine conventional pursuing the enter to possibility world. its male privileged and anorexic, an of body the on observations Bordo’s Susan recalls extent certain to a femininities practicing ofnormative singerand its body ofthe female the of Modifications stage? the on body the of reading resistant of possibility the there is But emancipation. and independence women’s Estrada celebrate or violence, the domestic address can of songs problem i.e. relations, power patriarchal society’s to opposite something completely speak might interview or song the through transmitted narrative, personal her singer, female the objectifies doubtlessly show the of structure the Although response. a gets and audience, female addresses intentionally singer female The women. all, above are, singers of analysis in useful narrative centered woman- of concept Stacey’s find I movies. Hollywood classical of some in narrative centered spectator?” male the of that with compare character, and spectator between and diegesis the within both woman, another at look woman’s a might

Bordo, Susan: “The Body and the Reproduction of Femininity”, in Alison M. Jaggar and Susan R. Bordo (eds.) Bordo R. Susan and Jaggar M. Alison in Femininity”, of Reproduction the and Body “The Susan: Bordo, (eds.) Bordo R. Susan and Jaggar M. Alison in Femininity”, of Reproduction the and Body “The Susan: Bordo, tcy ake DseaeySeigDfeec. nPtii rn,e.ed. Erens, Patricia In Difference.” Seeking “Desperately Jackie: Stacey, exists as one of rare spheres in Serbian public life in which female voices are heard. voices whichfemale in in life Serbian spheres public one ofrare as exists 50 As Bordo formulates it: “she has discovered this, paradoxically, by paradoxically, this, discovered has “she it: formulates Bordo As 51 Could we say something similar for bodily practices of some of practices bodily for similar something say we Could Estrada 22 , since the target audience of female folk female of audience target the since , 49 Stacey found examples of woman- of examples found Stacey , , , New Brunswick, N.J. : Rutgers : N.J. Brunswick, New Rutgers : N.J. Brunswick, New Issues in Feminist Film Criticism Film Feminist in Issues

CEU eTD Collection Century," in Century," 55 272 p 1993, Press, California of University 54 2.4.2009 3 5 Theory Feminist in Reader whole the by shaped body, female 2 5 That spot. video the of modifying through or voice, the on interventions other some or multiplication filtering, through body, singer’s female the to connected are and influence directly production neofolk in used are that technologies fiction” of creature a well as reality ofsocial a creature and ofmachine organism, “a singeras hybrid folk female the of body the regard might One cyborg. a of concept Haraway’s Donna play into bring to pain” its reveal not does it itself, maintain to struggle continual its conceals it history; material no “has body constructed newly each says, Bordo As body. Madonna’s The one. next on observation Bordo’s the Susan with described be can body to shattered singer’s folk postmodern album one from reconstruction, bodily constant of image, their of changing constant of process the through passing are singers Folk market. the of demands the from separately happen not do interventions, plastic especially body, the on interventions The order.” social patriarchal the in cracks open press and desire that to threat a poses ultimately desire, how demonstrate male of actually object the exclusively as Karleusa, body female the of Jelena construction the on stress as exaggerated such stars turbo-folk of image overall “the noticed, Dimitrijevic Branislav As about. writes Butler drag subversive of characteristics subversion that of example the as drag sees Butler fail. to performance the for possibility a always is there there: lies subversion of possibility the and performed, constantly as seen is gender where performativity, of theory Butler’s Judith recalls performance complete singer’s female The

Donna Haraway, "A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Late the in Socialist-Feminism and Technology, Science, Manifesto: Cyborg "A Haraway, Donna Bordo, Susan: “Material Girl” in Girl” “Material Susan: Bordo, iirjvc rnsa: “lbl Tro Folk Turbo “Global Branislav: Dimitrijevic, Insubordination” Gender and “Imitation Judith: Butler, 53 Simians, Cyborgs and Women: The Reinvention of Nature of Reinvention The Women: and Cyborgs Simians, 52 n vrtetp promd fmnnt f te snes bas strong bears singers the of femininity performed over-the-top and , 55 , New York and London: Routledge, 1997, pp 300 – 315 – 300 pp 1997, Routledge, London: and York New , , a synthesis of flesh and technological apparatus of the media. Digital media. the of apparatus technological and flesh of synthesis a , Unbearable weight: feminism, Western culture, and the body the and culture, Western feminism, weight: Unbearable ,”, http://www.ex-yupress.com/nin/nin139.html 23

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CEU eTD Collection 59 58 57 56 concludes: Kunst nature-culture. binary the collapses singer, female contemporary as just story, L’Isle’s the whenever back strikes which transgressed.” been has non-life and life nature between line demarcation of domain the to body “inevitably time female same the the classifying whileat it analyzed Bradby that way the in production music contemporary here overflows culture of realm the of domination and Masculinist nature/culture. mind/body as such dichotomies traditional of realm the to back brought are we Here ofshow business. teams producers’ and constructor the story, the from scientist the between parallel a draw easily can Clairy” Alicia Ms. capricious and moody the for replacement “the as android female the constructs Edison scientist (male) certain a which in Adam, L'isle de Villiers by story the or avoided text her in Kunst, Bojana be neglected. cannot that performance and presence the with spotlight, the on stage, the of middle the in stands still masters, Photoshop and surgeons designers, of team production Kunst, Bojana: “Cyborg and My Body”, 2001, 2001, Body”, My and “Cyborg Bojana: Kunst, 2001, Body”, My and “Cyborg Bojana: Kunst, Ibid. 2001, Body”, My and “Cyborg Bojana: Kunst, technology results in the birth of a ghost in the machine - and that ghost is ghost that and - machine the her body.actually in ghost a and of woman birth the of in artificiality, results and technology woman of fusion The nature. if unpredictable even woman; of of part a body, matter the of burden the the carries really inevitably woman force, not by regulated is science, of that and it of history or the technology, that is understanding this in concealed supposition main The In consider. to aspect important another android female is brings along. it uncertainty the thehybridity and of imagethreatening an symbolizing with Unheimliche«, »das there of part a constitutes principles), it psychoanalysis, basic some structure, to in harmonic being female a perfection her in reduced and graceful,beautiful, obeying, operativity, its in functional for wish patriarchal of embodiment perfect the a symbolizing woman of artificial the (with authority confirmation and power man's) is, a (that creator's as interpreted be could creation Edison's that fact the Besides 59

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CEU eTD Collection of performing arts performing of 63 62 61 33 p 1996, 60 of recalling the Does nationalism? Serbian of building the to contribution for accused is and cyborg body’s responsibility political bears that it when innocent, not about is body that talk that know we when we functions can How cyborg? a as body singer’s folk female a at of looking implications are What singer? folk female of the politics body the then is what And words: apply Kunst’s B. have, to might singer folk that agency certain the machine, the confront in Ghost might ideology. patriarchal before, dominant mentioned I as that, emotions and thoughts these out speaks representation psychical and emotions feelings, thoughts, of shaping in role constitutive Grosz, Elisabeth to accordingwhose, body the object, an body as of understanding dominant disrupts machine the account.” feminist any of out written be cannot which body, the of materiality completely nor technological wholly neither is] organic.” [it nature; or culture either to wholly belonging as conceived be cannot that] body [a … machine purely nor human purely “neither case, hybrid a as it, call would Balsamo Anne as constructed, appears here body female The Kunst, Bojana: “Simptomi tehno tela [Symptoms of Techno Bodies]” in: in: Bodies]” Techno of [Symptoms tela tehno “Simptomi Bojana: Kunst, Grosz, Elizabeth: „Promenljiva tela [Volatile Bodies]“, Centar za ženske studije, Beograd, 2005, p 2005, Beograd, studije, ženske za Centar Bodies]“, [Volatile tela „Promenljiva Elizabeth: Grosz, Ibid women” cyborg reading : body gendered the of “Technologies Anne: Balsamo, , p 40 p , body as such. In other words, to paraphrase D. Haraway: now the need of its of revealed. is politics need the now Haraway: D. paraphrase to no words, other is In there such. as that body knowledge the face to identity, our of and constitution following relational always paradoxical, the face constantly to and hybrid think to and grasps body the Now us forces and dichotomy in reduction traditional and boundaries with representation. confronts its of way the the problematizing blurring us, to reveals With and visibility strong. true the becomes gains way it hybridity, special contemporary boundaries, some that on potentiality it weak, something. basic being or of someone its of body with the as instead and confronts borders of fading contemporary with visible becomes body (...)The – strong constantly as fact it makes in paradoxically body The 60 As Balsamo claims, “the cyborg image works well to foreground the radical the foreground to well works image cyborg “the claims, Balsamo As 62 , issue no 3, Belgrade, April 2002, p 2002, April Belgrade, 3, no issue , is neglected; and it turns out that the cyborg body of the female folk singer folk female the of body cyborg the that out turns it and neglected; is 63 54. (my translation) (my 54. 25 TkH, magazine for theory and practice and theory for magazine TkH, Durham : Duke University Press, University Duke Durham: 61 This ghost in ghost This 30.

CEU eTD Collection Gender/body/knowledge : feminist reconstructions of being and knowing and being of reconstructions feminist : Gender/body/knowledge 68 Epistemologies, 67 39 p 1996, 66 65 in Century," 64 body”. female the of resources of regiments a that (…) suggest “improvement” bodily “compulsive these formulation, Bordo’s use to again, Once chapter. fourth the in discussed further be will This dream. Serbian the of fulfillment the as appears screen TV the on singer folk female The studios. TV and records music to performances live early of mud the from trip the escape: the of narrative the recalls and classes, upper to transgression difference. class the is differences inscribed those of one example for and body”, the through and by experienced As out. speaks and on inscribed body be way some in that must subjects] [between “differences what says, Grosz Elisabeth and body, singer’s the on inscribed is what of question order” social of systems the between struggle the witness can we which at site the is body female the material, and discursive simultaneously cyborg, a “As 2000. after society Serbian in struggles complex reflect and express visibly more to chance its Now and present. wasvisible clearly enemy so the were andregime his Milosevic Slobodan with case the was it as anymore, enemy’ main ‘the identify to easy so not is it 2000 inessential.” are But socialism. state all, after fathers, Their origins. mention their to unfaithful exceedingly often are to offspring illegitimate not capitalism, patriarchal and militarism of illegitimate the offspring are they that is course, of cyborgs, with trouble main “The states, further innocence” without “completely is cyborg that know we when symbolically, hands its wash to and history the from itself distance to it helps which strategy a recognize to contribute cyborg the of concept the Potter, Elisabeth and Alcoff Linda in: Reason” of Crisis the and “Feminism Elisabeth: Grosz, Ibid. Twentieth Late the in Socialist-Feminism and Technology, Science, Manifesto: Cyborg "A Donna: Haraway, Bordo, Susan: “The Body and the Reproduction of Femininity”, in Alison M. Jaggar and Susan R. Bordo (eds.) Bordo R. Susan and Jaggar M. Alison in Femininity”, of Reproduction the and Body “The Susan: Bordo, women” cyborg reading : body gendered the of “Technologies Anne: Balsamo, Simians, Cyborgs and Women: The Reinvention of Nature, of Reinvention The Women: and Cyborgs Simians, Routledge, New York and London, p 195 p London, and York New Routledge, 65 Such a position is partly enabled by the fact that in Serbian society after society Serbian in that fact the by enabled partly is position a Such 67 Singer’s transgression from ‘natural’ to a cyborg body also signifies the signifies also body cyborg a to ‘natural’ from transgression Singer’s 68 The female singer’s body, constantly present on the stage’s the on present constantly body, singer’s female The Estrada political political 26 ’s distancing from that history? Does Does history? that from distancing ’s battle is being waged over the energies and energies the over waged being is battle New York; Routledge, 1991, p 151 p 1991, Routledge, York; New , , New Brunswick, N.J. : Rutgers : N.J. Brunswick, New 66 . We are coming back to the to back coming are We . Durham : Duke University Press, University Duke Durham: Feminist 64 ? As Haraway As ? Estrada

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CEU eTD Collection 70 (eds.) 69 28. p 1989, Press, University as both time same the at function might It stories. paradoxical even different, two out speak simultaneously may singers folk female the of bodies the how show to intend I chapter this These context. that in In representations. and manifestations its and body singer’s the from identities inseparable are identities various of reconstructions and constructions for basis on body female The 3. Paradox of identities. and these ideologies examine will prevalent I chapters following of the In society. affirmation Serbian contemporary to in discourses resistance from scale wide a contextual on produces identities, it line that following in and context, the within functions still body, cyborg a is it if even body, singer’s entire the that notice to important is It representations. and manifestations its and body singer’s local the from in inseparable are identities identities various These context. of reconstructions and constructions for basis possible the as appears technology, through us to brought singer, folk female the of body The battleground’. a is body ‘the piece, art well-known her in stated Kruger Barbara as that out turns it again, Once politics. certain out speak that spectacles spectacles, extreme of position flamboyant women.” for politics bold cultural the suggested and invisibility, have and danger) and (purity masquerade withdrawal and imposture, performance, silence, feminine of affirmations negation, radical which in way a exposure.” an of was danger The danger. feminine specifically a seemed oneself of out spectacle a “making that observation Russo’s Mary recalls spotlight Ibid, p 319 p Ibid, Stanbury Sarah and Medina Nadia Conboy, Katie in Theory”, and Carnival Grotesque: “Female Mary: Russo, Female Embodiment and Feminist Theory, Theory, Feminist and Embodiment Female Estrada Estrada is determined by local socio-political context, and appears as the as appears and context, socio-political local by determined is Columbia University Press, Ney York, 1997, p 318 p 1997, York, Ney Press, University Columbia 70 h eae fl igr cery ocpe this occupies clearly singer folk female The 27 69 Further Russo says: “There is “There says: Russo Further

CEU eTD Collection 66 72 21.5.2009. Press, University Cambridge by: Published 155-176 pp. 1993), 71 solvedthrough is gender:the paradox is it nationalism: that claims McClintock progress. the pursues time of same the at and past glorious the invoking paradox time about notions McClintock’s Anne with corresponds music” dance in nature and emotion body, the sexuality, with “equated women and language”), and technology culture, of realm (“the song the of creation of process the and technology, production, with associated are men which in divide The nation.. the of gathering the for site the as body singer’s female the to it relating now business, music contemporary of nature gendered on notions Bradby’s Barbara recall will I Again etc. production, of means innovations,and technological latest the accepts influences, musical latest uses them, follows It trends. musical global in included is it that time, one tomore repeat It important is nationalidentity of body homogenizer singer’s as 3.1 Female confronted positions. oftheseseemingly two outcomes are the question:what of complexity the reveal which meanings paradoxical seemingly two those Through nationalism. Serbian of failure a of reminder the and nation, the of axis the McClintock, Anne “Family Feuds: Gender, Nationalism and the Family,” Family,” the and Nationalism Gender, Feuds: “Family Anne McClintock, (May,2 No. 12, Vol. Music, Popular Music, Dance in Body the and Technology Gender, Barbara: Bradby, otniy e, b otat ersn h rgesv gn f national of nationalism’s agent embodying historic), progressive of and the ofdiscontinuity. principle orrevolutionary progressive, potent principle represent thrusting, conservative (forward contrast, modernity nationalism’s by embodying Men, continuity. natural), of and division looking, ‘natural’ a backward as (inert, tradition national of ‘body’ authentic and atavistic as represented contradiction by the resolved typically is figuring – past the off sloughing progressive impatient, the past, the and for nostalgia between veering – nationalism within anomaly Temporal 71 , when brought to context of contemporary Serbia, somehow Serbia, contemporary of context to brought when , Estrada 28 is not an isolated Serbian phenomena, but Serbian phenomena, not is an isolated http://www.jstor.org/stable/931296 Feminist Review Feminist 72 Estrada edr gender. , I intend to pose the pose to intend I , 44, Summer 1993, p 1993, Summer 44, oe are Women , accessed: ,

CEU eTD Collection 77 6 7 Nation-State 5 7 74 73 us’ envy robust the to stands degenerate biologically just and morally before, this “facing as describes, picturesquely can, others (‘The envying of capable but life of essence the knowing of incapable soulless, and cold artificial, something as rendered stereotypically is Europe pleasure, and experience physical pure of level the On others”. “the or “them” are Europe describe to used are which Words West. the other”, “the to opposed as stone’), of made not (‘heart reactions spontaneous and feelings pure life, of full entity, passionate as Balkan/Serbia describe Songs Kosovo. Serbia, Balkan, Europe, like toponyms, geographical certain about precisely very speak that songs the in example perfect the find can We performance. stage and lyrics the through both manifested is it and nation Serbian Europe” Maid Old the or West Rotten the of name the by known angel fallen of kind a divinity, evil one by occupied been that notices Colovic again once has important place myth, an Serbian political the figuresofcontemporary “among Ivan others. the to relation in identity that national of of positioning homogenization is and identity construction of process the of part inherent an Further, and embodiment. symbolic collectivity the of reproduction ideological culture” its of transmitters the “in participate to is nationalism national of preservation for identity. perfect therefore and influences, foreign by uncorrupted is not only Serbian.” altogether, mythology political ofall goddess the is great “nature says, Colovic Ivan As narratives. nationalist in inevitable is body female natural Authentic, Seka Aleksic – Aleksic Seka 22 p Ibid, 21 p 2002, Press, University York New York: New Serbia”, in identity of “Politics Ivan: Colovic, Colovic, Ivan: “Politics of identity in Serbia”, New York: New York University Press, 2002, p 39 p 2002, Press, University York New York: New Serbia”, in identity of “Politics Ivan: Colovic, (eds.), Anthias Floya and Yuval-Davis Nira In “Introduction.” Nira: Yuval-Davis, and Flora Anthias, 74 As Flora Anthias and Nira Yuval-Davis stated, one of women’s major roles in roles major women’s of one stated, Yuval-Davis Nira and Anthias Flora As . (New York: St. Martin’s Press, 1989), p 7 p 1989), Press, Martin’s St. York: (New . Balkan , , http://www.youtube.com/watch?v=YT3V2-adEts 75 . ‘Nature’ becomes the source of nation, and the female body its body female the and nation, of source the becomes ‘Nature’ . 76 . . Estrada has its role in constructing the West as the other of other the as West the constructing in role its has 29 , accessed 3.6.2009. 3.6.2009. accessed , 77 . A Colovic As ). 73 ‘Nature’ Woman-

CEU eTD Collection 81 0 8 9 7 8 7 as such culture, popular Western from mostly moments, various are impersonated is What impersonation. of acts musical small includes Show Grand West. to relation in positioning popular most the of Parts Europe?” caresabout says, “Who simply song the as Or, isolation. its in self-satisfied and self-sufficient unitary, and united as itself constitutes nation the ritual, performed such Through past. the in rootedness deep recalls always which timeframe nationalistic into it puts and authentic, as being national Serbian defines nature the and soil ritualistic the with connection Strong through specificity. mythical its of celebration itself reinforces constantly and gathers community imagined Serbian of notion recalling perversely nation; the of (territory) body the its and spirit the with both passionate represents and nation bears body her the territory, her of and bodies other singer the between the mediator the of becomes here body performance very The individuals. nation’s by worshiped is nation, the represents symbolically setting this in who stage, the on body singer’s Female body. through the lived experience experience, physical states, Colovic as soil”. the to connection its in “reflected is, nation” the of strength existential “the force, national life, national too redeemed is life national of quality the forces, natural and naturalness of recalling and celebration Through values. authentic and pristine natural, around constructed strongly special, and superior as positioned performance, singer’s and shame” song the through is, nationhood and revulsion with her before monster the observing Serbia, of figure Stoja – Stoja Colovic, Ivan: “Politics of identity in Serbia”, New York: New York University Press, 2002, 26 2002, Press, University York New York: New Serbia”, in identity of “Politics Ivan: Colovic, 22 2002, Press, University York New York: New Serbia”, in identity of “Politics Ivan: Colovic, 2002 Press, University York New York: New Serbia”, in identity of “Politics Ivan: Colovic, Evropa [Europe], [Europe], http://www.youtube.com/watch?v=PvPjBeRvST0 Estrada blut und boden und blut 81 ’s TV show, Grand Show, also function as another way of way another as function also Show, Grand show, TV ’s 80 National identity is being constructed through strong through constructed being is identity National , she is becoming a symbolic axis around which around axis symbolic a becoming is she , 30 , accessed: 3.6.2009. accessed: , 78 . Serbian . 79 . That .

CEU eTD Collection accessed: 2.4.2009. accessed: Babylon]”, 84 563-590 pp 83 2.6.2009. dreams, nano Mirno mum], [Sweet Zorica Markovic spavaj – Sexy Mina Robot, Zorica – Markovic as p=19BF8EBD786FEEFA&playnext=1&playnext_from=PL&v=1iRIMcIoukQ a from out fall and nation, 82 the of homogenizer a as function time same the at might singer same The subverted. and undermined be might performance singer’s same the through nation, the of axis the or country) the for metaphor a as (mother mother, the of role symbolic The one” number the is family such enemy forthem because own oftheir interests, affirmation on for chance the as family patriarchal of dismantling turbofolk’s subversively see They moral. social existing act that narratives its and turbofolk in interested are groups] lesbian and “[gay summarizes, Milojevic Jasmina As neofolk. accept eagerly all, above groups lesbian Serbian of construction nationalism. in part crucial the was roles gender patriarchal of reinforcement the noted, Bracewell Wendy As message. paradoxical even different, quite a out speak well as singer might same the identity, of national homogenizer a as functions she as just However, bodygayaudience singer’s and 3.2 Female the West. is ridiculed being actually is what mockery, self through where, farce, through often comedy, of genre the through stage the on presented is ’ours’, as considered originally something with song, folk national with together culture Western of signifiers the Bringing song. (neo)folk of space the to belong originally doesn’t which something title, the in already to them foreign ascribed is ofsomething feature The transformation”. “Grand called is which show the of part are impersonations those all being: national authentic and nature about robot even or hip-hopper, black Batman, Superman, Milojevic, Jasmina: “Turbo-folk: World music ili postmoderni Vavilon? [Turbo-folk: World music or postmodern or music World [Turbo-folk: Vavilon? postmoderni ili music World “Turbo-folk: Jasmina: Milojevic, Wendy: Bracewell, Bora Drljaca and Era Ojdanic – Supermeni [Supermen], [Supermen], Supermeni – Ojdanic Era and Drljaca Bora http://jazzymcoyu.page.tl/Turbo_folk.htm?PHPSESSID=cc00b77590c88b0d0b417b3f3d5eb1b6 83 Following that line, it is not a surprise that activist minority groups, gay and gay groups, minority activist that surprise a not is it line, that Following Rape in Kosovo: Masculinity and Serbian Nationalism, Serbian and Masculinity Kosovo: in Rape http://www.youtube.com/watch?v=5x-572xIAOg 31 http://www.youtube.com/watch?v=cWAWIAgG6X4 http://www.youtube.com/view_play_list? 82 . Here we come back to the old story old the to back come we Here . , accessed: 3.6.2009. accessed: , Nations and Nationalism 6(4), 2000: 6(4), Nationalism and Nations , accessed: 5.6.2009.,accessed: Estrada and Serbian and , , accessed: ,

CEU eTD Collection Reader in Feminist Theory Feminist in Reader 87 2.4.2009 6 8 Theory Feminist in Reader 85 completely a with faced are nationalism we outcome the as and construction, pure a in as (visible?) becomes identity national of bearer the as women of role the then natural, original, an as original the of notion original; no is there which for imitation but imitates, drag that gender primary or original no is there seems, it Ifthistrue, is and ofimpersonation approximation. a is kind gendering all that implies done; it and worn, theatricalized, appropriated, are genders which in way order.” mundane the social constitutes patriarchal the in cracks open “press says, Dimitrijevic Branislav as the singers, is folk female Butler, the for of femininity show, Performed drag identities. The essential of them. deconstruction mocks it stable manner of parodic parody a the in is and Drag identities; roles. gender of instability of performativity, gender’s of about. writes the Butler drag subversive recalls of characteristics performance singer’s female the chapter, previous the in explained I As here. after and audience gay life Serbian between connection sex the But thirties. gay entering of death about prejudice well-known account into take we when here, up opens identification gay for spot Another women. older of sexuality the on taboo the puts sexuality, of manifestation this Through on age The fourth thischapter. in the discuss and Iwill further status, with social connected older. years ten least at as represented is body their young, are singers when even that here note to important is It stage. the on sexuality its shatter to starts it when place, proscribed its from out steps body female middle-age or older the when moment that in happens It nationalism. Serbian supports that pattern nationalist patriarchal Butler, Judith: “Imitation and Gender Insubordination” Gender and “Imitation Judith: Butler, Insubordination” Gender and “Imitation Judith: Butler, iirjvc rnsa: “lbl Tro Folk Turbo “Global Branislav: Dimitrijevic, , New York and London: Routledge, 1997, pp 300 – 315, p 306 p 315, – 300 pp 1997, Routledge, London: and York New , 315 – 300 pp 1997, Routledge, London: and York New , effect effect and consequence of the imitation itself.” imitation the of consequence and ,”, in fact, it is a kind of imitation hat produces very produces hat imitation of kind a is it fact, in http://www.ex-yupress.com/nin/nin139.html Estrada

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CEU eTD Collection Serbian) Encyclopedia An serbia.com/art/2004/04-02-04-gej-momenti-na-filmu/index.jsp 93 185 p 1991, York, New Routledge, 92 91 Serbian) from translation (my 2.3.2009. accessed: 2000, filmu/index.jsp 90 show TV in concluded Karleusa Jelena and nineties, the in culture popular mainstream Serbian spectatorship” “gay calls Doty what constitutes further culture, popular of consumers gay and pop production gay invisible between Interplay voice. their of embodiment the as her, behind stands performance This performance. singer, the of perforance final of the supports kind some always are homosexuality and autorship are”. authors the who film, a who makes difference a make “does it that claims well as Dyer Richard texts. the of production that film, mainstream the in involved were sexuality their about knowledge public without who with people gay includes associated mostly production it, names Doty as production, or shows videos. music TV movies, of production the in involved ones only the that not are saying people authorship, straight of matter the upon touches Doty readers, queer by appropriation content queer the inputting of product the just not is culture heterocentric mainstream to of audience gay of emergence the of of process the describe to production film gay on notions Doty’s readings A. use will I culture. popular gay characterize that culture popular of readings about speak might we Here with this something must have homosexual it, “some puts Doty Alexander as that, feeling inexplicable the with folkstars, female the behind stands Doty, Alexander, “Gej momenti na filmu [Gay Moments on Cinema]”, Cinema]”, on Moments [Gay filmu na momenti “Gej Alexander, Doty, (ed.) Fuss Diana in Homosexual”, The and Author The Fairies: in “Believing Richard: Dyer, filmu”, na moment “Gej Alexander, Doty, Doty,Alexander: „Flaming Classics“, Routledge, New York i London, 2000, p 4 p 2000, London, i York New Routledge, Classics“, „Flaming Doty,Alexander: Piramida , in: in: , 91 , izd. George E. Haggerty, New York & London, 2000, accessed: 2.3.2009. (my translation from translation (my 2.3.2009. accessed: 2000, London, & York New Haggerty, E. George izd. , 93

Gay Histories and Cultures: An Encyclopedia An Cultures: and Histories Gay , when while defending rights of gay population, literally outed half of her of half outed literally population, gay of rights defending while when , . In that way Dejan Milicevic through video spot introduced gay aesthetics in aesthetics gay introduced spot video through Milicevic Dejan way that In . According to him, one of the aspects of gay film production is the “invisible” the is production film gay of aspects the of one him, to According Estrada http://www.gay-serbia.com/art/2004/04-02-04-gej-momenti-na- 92 Dyer further claims that from that perspective both perspective that from that claims further Dyer . While claiming that that claiming While . the star gets to represent the whole gay group that group gay whole the represent to gets star the 34 , originaly published in: in: published originaly , , izd. George E. Haggerty, New York & London, & York New Haggerty, E. George izd. , 90 . http://www.gay- queering queering Gay Histories and Cultures: and Histories Gay of texts that belong that texts of Inside/Out,

CEU eTD Collection Reader in Feminist Theory Feminist in Reader 98 97 15.5.2009. garde]”, avant- 96 son]”, gay my support would [I sina gej svog bih “Podrzala http://www.gayecho.com/interview.aspx?id=6829&grid=4481&page=2 Pesants]”, of Land the in Princess [Rebelious seljaka zemlji u princeza “Buntovna – Karleusa Jelena http://www.balkanmedia.com/magazin/3306/seka_aleksic_moj_verenik_voli_meso.html 95 4.6.2009. 4 9 her own?” confirmed somehow performance whose queen drag a to it singing were she if what Or me? to singing were Aretha if what “But question: her to answer the makes and drag, with playing upon call Butler’s follows simply songs neofolk of appropriation Gay gender. of parody gay typical evoke ‘rivals’, woman man, a ‘stole’ who woman love, of because suffering revenge, Garland” of reading gay the of much structures that relationship this is it and normality, ordinariness, suffering, to relationship “special ascribed was Garland to that icon, gay a as Garland Judy on writing while Richard noticed, Dyer gay icons. as singers and establishing singers appropriation ofthe “ context. social in value and sense new them gives and contents established of re-reading postmodern of kind a is (…) way selfparodic and camp on given text] our [in (…) nineties and eighties of music folk of lyrics of “Analysis avant-garde”. folk Serbian of history “Forgotten text of authors the T., Vlada and Diva la of forgay reading thestrategy as main Camp appears andto the love. right gay support rights publicly in whichthey interviews, only not icons, gay of such as appearances autonomous public oftheir but alsobecause performance because oftheir image created newly their supported further others, and Aleksic team. fashion and production Butler, Judith: “Imitation and Gender Insubordination” Gender and “Imitation Judith: Butler, 188 p 2004, Routledge, society”, and stars film bodies: “Heavenly Richard: Dyer, meat]”, likes Fiancée [My meso voli verenik “Moj – Aleksic Seka example: For Viva la Diva and Vlada T “Zaboravljena istorija srpske folk-avangarde [The Forgotten history of Serbian folk Serbian of history Forgotten [The folk-avangarde srpske istorija “Zaboravljena T Vlada and Diva la Viva

“Piramida”, “Piramida”, 98 TV TV Pink http://www.gay-serbia.com/kolumna/2002/02-08-14-folk_avangarda/index.jsp , (Belgrade, November2008). 20 , (Belgrade, 97 , New York and London: Routledge, 1997, pp 300 – 315, p 312 p 315, – 300 pp 1997, Routledge, London: and York New , Following these lines, common themes of neofolk songs, such as such songs, neofolk of themes common lines, these Following 94 Female singers, such as Jelena Karleusa, Indira Radic, Seka Radic, Indira Karleusa, Jelena as such singers, Female http://www.youtube.com/watch?v=Ha5k-jHxcPY

35 in Linda Nicholson (ed.) (ed.) Nicholson Linda in Svet Svet magazine 96 Camp is another crucial thing for gay for thing crucial another is Camp Estrada , accessed: 3.4.2009 ; Indira Radic – Radic Indira ; 3.4.2009 accessed: , , Belgrade, 7 Feb. 2009 Feb. 7 , Belgrade, , as was strictly denoted byViva denoted strictly was , as

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CEU eTD Collection Studies 100 119-142. eds. Kaufman, Michael and Brod Harry In Identity”. target new out 99 mark constantly to order in them to responds and currents social dominant now what identity. and national for merging, constitutive becomes are identities these how arises question The forces. nationalist wing right to opposed definition by and political, be must closet) of (out identity gay defined one, homophobic as defined is project nationalist the which in country the in that thinking two analyzed Serbian on body above the of functions of confrontation simple complicates Serbia in identity national and sexuality between relationship complex The nationalism? excludes identity gay extent what of Paradoxality issues. gay for that supportiveness possible is it how arises question the identity, national that mind in bearing and organizations, and parties nationalist ultra of elements constitutive of one be to out turns homophobia Since body that visible, them makes and masculinity. that disturbs additionally audiences gay with allies it as if them subverts claims, it so Dimitrijevic edge the over but notions, these to according shaped is body that if scheme, proper the of out fall and imagination, masculinist transgress body singer’s female reflect roles whose actors ‘place’.” proper women’s supporting of and femininity of notions design, masculinist by are, women (…) and men, about and men, for men, by primarily “written formulation, Nagel’s Joane use to are, narratives these all field; masculine and male a amidst certainly are we narratives nationalist about talk we When homophobia through reinforced and constructed constantly being is masculinity Kimmel, Michael to According masculinity. hegemonic of categories to challenge and roles, gender traditional of dismantling in lies nationalism Serbian on position this of subversiveness The Kimmel, Michael S.: “Masculinity as Homophobia: Fear, Shame and Silence in the Construction of Gender of Construction the in Silence and Shame Fear, Homophobia: as “Masculinity S.: Michael Kimmel, Nagel, Joane: “Masculinity and Nationalism: Gender and Sexuality in the Making of Nations,” Nations,” of Making the in Sexuality and Gender Nationalism: and “Masculinity Joane: Nagel, 21(2), March 1998: 242-269, p 243 p 242-269, 1998: March 21(2), Estrada . Also, such insight in in insight such Also, . Theorizing Masculinities Theorizing Estrada Estrada 36 Estrada lo cnrbts t ooeiain of homogenization to contributes also as the developed market which follows which market developed the as also reveals the following question: to question: following the reveals also . Newbury Park, Ca: Sage 1994, Sage Ca: Park, Newbury . Estrada Estrada 100 If the certain aspects of aspects certain the If disturbs the common the disturbs xrse s much so expresses Ethnic and Racial and Ethnic

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CEU eTD Collection oatc pos ad ams xlsvl n dmsiiy n t icue stereotypical, includes it 101 and domesticity, on exclusively almost and plots romantic hardship." physical and emotional or neuroses, illness, situations, tragedy, familial strained friendship, or romance failed emotion, human of "crises with dealing often audience, the in emotions strong of expression cause that plots use to tend songs these genre, melodrama to Similar melodrama. of characteristics strong bear songs These body ofthebody. singer’s reading the determines textsong way, ofthe out. Inaspeaks certain singer’s that text the supplement lyrics) + (music song The meanings. the produces that package that of part are also voice singers’ the by sung are that Lyrics songs. their from on singer folk female the of body that messages The roles. perform singers their the female way into more closely of function escapist only emphasizes that reading usual beyond go to want I analysis my In communication. that in transmit and articulate to tend singers folk female the on focusing partly, only messages the on and problem audience, female their and this singers folk female between upon communication touch to going am I thesis this in But amongoftransition’. ‘losers majority are women the since ofthis situation, aspect gender significant a also is There etc.). job, of loss education, level (low reasons different very to due transition of benefits the from profit really not did they while etc.) apartments, subsidized vacations, long insurance, medical job, (secured socialism in granted were which rights social significant some lost who people is, that transition’, the of losers greatest ‘the by addressed people the of majority Namely, describing. am I phenomena the of analysis comprehensive more and longer a in extensively more account into taken be to also have would which picture, the into comes issue class the where point a as recognized are who those people’, of masses ‘wide Dirks, Tim: “Melodrama films”, films”, “Melodrama Tim: Dirks, http://www.filmsite.org/melodramafilms.html 38 Estrada Estrada , , accessed: 4.6.2009. ’s main consumers. This is also is This consumers. main ’s Estrada sends out cannot be separated be cannot out sends 101 Melodrama is focused on focused is Melodrama are also recognized as recognized also are Estrada , looking ,

CEU eTD Collection eastern Europe 2007 stranice! Publications, London: SSEES eastern identity”, 105 3.6.2009.accessed: 104 5.5.2009. UniversityPress, 2 No.14,1995), pp. 241-256, Cambridge (May, 103 plots. 102 says: Rasmussen Ljerka out. left completely are society the on reflections that mean doesn’t still It life” family to connected ultimately often motifs’ ‘romantic “emphasized also genre musical this Colovic, Ivan upon calling neofolk, about says Baker Catherine As characters. the highly of problems it the and determines present, strongly is it in context social affairs, domestic on focused strictly cultural of form expression.” alternative an as function to tendency its was as outset, the from strong were classes lower the with associations Melodrama’s class. middle as them constructing by poor the exploiting or disempowering merely than rather class on centered tensions engaged so and audiences marginal for meanings different “embodied melodrama historical Now, women. above all, are, folk singers female of audience target the fashion, similar a In genre. ‘feminine’ be to considered also is solitude.” existential and self-doubt vulnerability, revealing self-reflection, into translate often sentiments Love relations. interpersonal broader of values as interpreted are – loyalty and togetherness friendship, forgiveness, – love romantic of pursuit in invoked affects The fulfillment. emotional of state unattainable the on concentration its by illustrated be can person.” third a of interference the by endangered is love “true as described are be could basically song plot the neofolk and exaggerated, in emotions simplified, characters The white. and black in painted characters, schematized Baker, Catherine: “ Catherine: Baker, Poverty”, Performance of Melodramaand the Kristen: “Victorian Leaver, Popular of Vol. Folk Music, Yugoslavia”, Music Commodity: Newly-Composed Source to Ljerka “From V.: Rasmussen, to on describe commonly melodramatic dramaturgy used Phrase classes im is se smeta”. a vole, treci original: “dvoje In In: In: Nation in formation: inclusion and exclusion in central and central in exclusion and inclusion formation: in Nation 104 Domesticity is the main space of melodrama, but however is melodrama is however but melodrama, of space main the is Domesticity The concept of turbofolk in Croatia: inclusion/exclusion in the construction of national national musicalthe construction of in inclusion/exclusion in conceptof Croatia: turbofolk The , ed. Catherine Baker, Christopher J Gerry, Barbara Madaj, Liz Mellish and Jana Liz Nahodilová,Mellish BarbaraMadaj, Gerry, Christopher J Baker,Catherine ,ed. 105 But in neofolk social criticism is not so evident as in melodrama. in as evident so not is criticism social neofolk in But 39 http://www.jstor.org/stable/853402 102 Neofolk’s“essentially romantic aesthetics romantic Neofolk’s“essentially http://www.jstor.org/stable/25058463 , last ,last accessed on 103 Melodrama

CEU eTD Collection 107 5.5.2009. UniversityPress, 2 No.14,1995), pp. 241-256, Cambridge (May, 106 place gathering the as areas, rural and suburban with associated exclusively today is which of motif the on visible most perhaps is It world. outer the from separated seclusion, in articulated not are emotions those But another. one for feel people two that emotions unequal are reasons common most The fail? to family of ideal causes What reached. really never but pursued constantly is love’ true ‘the achieve; to hard is family heteronormative post-family caring or and loving ideal the that pre- reveal emotions overwhelming its are and song the relationships, songs the of topics The sight. public the on relations patriarchal and family ruined exposes song neofolk way similar a in stage/screen, the the of space in public affairs private puts melodrama As relationship. heterosexual failed is songs the of topic usual and heteronormative, strictly is world That surroundings. smalltown the or circle family the space, small enclosed, is setting usual the songs, neofolk In position. marginal experiences.” emotional into transmuted are marginality and alienation social turn, in withdrawal; social individual’s an marks love unrequited by caused Loneliness poetics. personal into translates prose social ”The following: the music neofolk is, that music, folk composed newly about says Rasmussen Ljerka done? be can it how and songs, neofolk singers’ female from reflections social read to possible it Is Ibid. Popular of Vol. Folk Music, Yugoslavia”, Music Commodity: Newly-Composed Source to Ljerka “From V.: Rasmussen, euu. Yt wie a ciia tne i nt sl-vdn n vra et, NCFM’s texts, verbal in differentiation. ofcultural self-evident context broader not the in music, is the ‘outside’ revealed easily stance is significance subcultural critical a the while have Yet that tenuous. songs the group to isgenreof the stance oppositional havejust that shown ‘weight’ of commentary social attempts Initial power. communicative music’s through of function the from solidarity excluded are themes these that suggest to not is This audience marginality. assert socio-cultural to or allegiance, ethnic than origin, social shared rather of values filtered individual community the to voice’ ‘give to capacity its indicates texts [neofolk] NCFM in leaning political manifest of lack This 106 107 And vice versa, emotional experiences echo social echo experiences emotional versa, vice And 40 http://www.jstor.org/stable/853402 kafana, kafana, a typical Serbian bar, Serbian typical a , last ,last accessed on

CEU eTD Collection 112 1.12.2007. 111 1985 Press, 110 109 5.5.2009. UniversityPress, 2 No.14,1995), pp. 241-256, Cambridge (May, 108 in new you” something And Isaw Ithought dothat youcan’t dothis, Sanja Sanja youcan’t me] tell “[You as manifested and articulated publicly is restrictions doesn’texist: Simply, Right’ in ‘Mr. love. disappointment social and moral by frustration and caused ‘everywoman’ as herself presents song the of Protagonist songs. neofolk in present implicitly is Homosociality resources. power and money to access of out sphere, patriarchal strengthens that force society. the as serves which homosociality establish to serves woman.” a of exchange the through other each to themselves give symbolically men the that suggests Sedgwick males. rival the between bond the to central component erotic an have (…) woman, homosociality of concept Sedgwick Kosofsky Eve embodies which space space, privileged the space, male as coded time.” of unfolding conversational the with along treating, mutual and drinking, competitive carousing, of notions male-dominated with associated typically space.” social in-group for metaphor key “a songs, neofolk of setting that notices Rasmussen Ljerka class. working for typical Sanja Djordjevic Sanja, Djordjevic – Sanja Kosofsky: Eve Sedgwick, Ibid. Popular of Vol. Folk Music, Yugoslavia”, Music Commodity: Newly-Composed Source to Ljerka “From V.: Rasmussen,

Mentxaka, Aintzane Legaretta: “A New Picture: Eve Kosofsky Sedgwick’s BetweenMen”,Kosofsky Sedgwick’s Picture: Eve “A AintzaneLegaretta: New Mentxaka,

oooilt enocs ptirhl scey wih lae oe u f public of out women leaves which society patriarchal reinforces Homosociality 111 The female singer as the central figure in in figure central the as singer female The http://www.youtube.com/watch?v=QIwqFCfG7OE Between men: English literature and male homosocial homosocial and desire men: male English literature Between 110 . She claims that formations that involve “men who desire a desire who “men involve that formations that claims She . 112 41 http://www.jstor.org/stable/853402 kafana kafana kafana ,accessed:6.6.2009. is exposed to male desire, and desire, male to exposed is is somewhat of an essential an of somewhat is 109 , Public space of of space Public New York : Columbia University : New Columbia York 108 Further, “the “the Further, Irish Feminist Review vol. 3 vol.Review Irish Feminist , last ,last accessed on kafana kafana kafana

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CEU eTD Collection 120 119 118 117 2.5.2009. 116 115 114 113 the of tyranny “The says, Konstantinovic Radomir “fallen” and shame public the meets behavior excess glasses” the break would I you, like was I “If through articulated often are Privileges souldeserves” whatyoursinning You get would and lies deceits allFor those first floorround in the onthe dear,You fall my would, seconds thirty a man forjust IfIwas “Hey, tool forrevenge: and ofpowerlessness expression same time at the is songs neofolk in violence upon Calling you!”. with hell “to or “die!”, like lyrics simple the deserved” robot” sexy your not am “I like lyrics through controlling, to resistance dissatisfaction, express further Songs beI won’t with you. that’s why haveand “You everything, suffering to despite:range from wide a on song, the in emotions strong provokes woman of position Marginal status. social privileged with still but alcoholics, cheaters, cowards, are songs neofolk of corpus this in Men Elma – Gradske price [City gossips], price[City – gossips], Gradske Elma [Marked], Obelezena Miljkovic – Viki Opet[Again],Aleksic – Seka man], Da [If was sam Aleksic – a I musko Seka My moje Life Treasure], blago is zivot – [My je Moj Stoja [Go – away], idi Idi, Stoja Sexy Kostic Robot, – Mina no],no, no,ne ne, – ne,[Oh O Stoja 120 116 , in a smalltown setting which is another common motif in many neofolk songs. As songs. neofolk many in motif common another is which setting smalltown a in , ). Emotions are articulated through violence, such as breaking the glasses, or in or glasses, the breaking as such violence, through articulated are Emotions ). 114 g wy ad dnt cm back” come don’t and away “go , 113 http://www.youtube.com/watch?v=kMKyIL2kwG8 http://www.youtube.com/watch?v=B4Zq7qdv4Zg http://www.youtube.com/watch?v=j05DjNJSLYQ http://www.youtube.com/watch?v=YPbLpnumVLw http://www.youtube.com/watch?v=SFmJPxNjrbU http://www.youtube.com/watch?v=Koa2-lPh6Ms http://www.youtube.com/watch?v=778WOYGS1N8 excess behavior. In another song, Seka Aleksic sings: Aleksic Seka song, another In behavior. excess condemnation; she thus becomes “marked” becomes thus she condemnation; 118 42 http://www.youtube.com/watch?v=Z0fRSdO_tU4 . . 117 But the female singer is not ’like him’, so her so him’, ’like not is singer female the But Palanka 115 , accessed: 5.3.2009.,accessed: , accessed: 1.6.2009.,accessed: yu wl e ht you’ve what get will “you , [provincial small town] is the is town] small [provincial , accessed: 2.2.2009. , accessed: 2.2.2009. ,accessed12.1.2009. , , accessed 3.4.2009. , , accessed: 2.4.2009. , , accessed: 7.6.2009. ,accessed: 119 or

CEU eTD Collection 125 5.5.2009. UniversityPress, 2 No.14,1995), pp. 241-256, Cambridge (May, 124 http://www.marxists.org/reference/subject/ethics/de-beauvoir/2nd-sex/introduction.htm Feminist Theory Reader in 123 122 121 turns it song neofolk singer’s female In itself. – order social – world the often is party third that and party, third the by disturbed is people two between relationship the – melodrama madness” before step one only is “love which in world the time same the at but imperative, is relationship love which in stances, heteronormative of differentiation.” context broader cultural the in music, the ‘outside’ revealed easily is significance subcultural “ said, Rasmusen Ljerka as or, an in pursued neofolk songs, echo in relations social very personal plots, and Despitesimple circle. enclosed constantly being still is which love, everlasting of possibility the disables inequality Gender fails. always that something ideal, unreachable – is relations love social heteronormative about statements of transmission for medium the as appears love texts neofolk In love. to how know not do they exception, the without almost and careless, control, man to reference with differentiated and “defined are there women songs: neofolk of context specific this in here Bouvoire de Simone recall To to Iused be yours.” that everybodyHere knows town in nolovethis is forme “There songs: in one ofher it sings surroundings.Viki Miljkovic as Or, in her be reached ridiculed” and scorned as only acceptable only is (…) exception an exceptions, contains always this If everything. of publicity the and publicity absolute this of tyranny the or inspection, public of tyranny Donna Ares – To mi nije trebalo [I didn’t need this], didn’t nije To trebalo need Ares [I mi – Donna Popular of Vol. Folk Music, Yugoslavia”, Music Commodity: Newly-Composed Source to Ljerka “From V.: Rasmussen, [Marked], Obelezena Miljkovic – Viki Radomir, Konstantinovic, Simone de Beauvoir, de “Introduction”. Beauvoir, Simone . New York/London: Routledge ili Routledge 1997, 7-18 .New York/London: Filozofija palanke palanke Filozofija 121 That despise for the “fallen” singer means that ideal of love cannot love of ideal that means singer “fallen” the for despise That 124 ht i, te wrd ognzd o rdtoa, patriarchal, traditional, on organized world the is, That The Second Sex The Second http://www.youtube.com/watch?v=Koa2-lPh6Ms critical stance is not self-evident in verbal texts, NCFM’s texts, verbal in self-evident not is stance critical [Philosophy of Small Town], Nolit, Belgrade, 1991, p 1991, 20 Belgrade, Nolit,Town], of Small [Philosophy http://www.youtube.com/watch?v=825E862-qvo (originally pub. 1949). In Linda Nicholson, ed. Linda Nicholson, (originally pub. 1949). In 43 122 123 http://www.jstor.org/stable/853402 . . In neofolk texts, these men are willing to willing are men these texts, neofolk In

125 . Again we are in the realm of realm the in are we Again . , , accessed 3.4.2009. , last ,last accessed on The Second Wave. The Second A , , accessed: 7.6.2009.

CEU eTD Collection 126 from song.” in Ilive world, myI live own address name without singerfor,just a doyouneed the What others northe luck broughtto the myself, I haven’t asking youin front singerfor,Iam ofpeople doyouneed the What itLet be be I’ll where whoAnd knows tomorrow, goodpeople forall I sing town in lastthis night “This my is suffering, unrest,and ofhard uncertainty: work, as period described the the in times, singing many of And period dream. dirty that Serbian on of reminiscence fulfillment for metaphor the as here figures astra ad aspera sentence Latin old the through expressed be might easily that narratives romanticized singers) the as careers their started Manojlovic Radmila and Savic Tanja Cukteras, Slavica and childhood hard about are stories narratives life singers’ female in place common The ladder. social the up climbing as to coming of process the in passes body singer’s female which through change The body. modified singer’s female through represented also are stories Those bottom. social the female from escape on personal narratives singer’s with enforced is songs neofolk of utopia romantic The escape. that of dream a and life everyday dreary from escape temporary both audience the to offer they function, escapist have songs Neofolk text? bodily its and songs through both them, sends it messages the and body that to response audience’s female the is What body? singer’s female the on itself manifest lyrics the from out read I that repression social that does how Now, repression.”of social instrument effective most insidious, most best, the is “love Fassbinder, R.W. recall to that, out Fassbinder, Reiner Werner: “Six Films by Douglas Sirk”,by Werner: “Six Douglas Films Reiner Fassbinder, ; they are almost inevitable in singers’ biographies. These life stories are presented in presented are stories life These biographies. singers’ in inevitable almost are they ; . h adti rmfrom trip hard The 126 Estrada , singer’s transgression from ‘natural’ to cyborg body, appears body, cyborg to ‘natural’ from transgression singer’s , Estrada kafana career that started in dirty local bars bars local dirty in started that career 127

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CEU eTD Collection 130 272 p 1993, Press, California 129 difficult.” so is world And the itself. “changing world the order, social the of because but characters, of fate the of because not Fassbinder, paraphrase to happen, can provoke eventually songs that tears Possible achieved. be to aim impossible almost and hard is out stepping of form any and cemented is women of position sense this In undisturbed. through condemned implicitly be might order social The recalled. and present constantly are life daily about stories although life, everyday from separated and distanced society star a is it society; Serbian regular than rules different to according functions that space the goes, anything and possible world. is everything outer the from society, of rest the from isolated intact. remains setting social remaining the but emancipation, of possibility also pose body it singer’s time around same circulate that the Narratives at it. inequality, reinforces gender and class reflects or expresses it Although that is consequence The the erases says, pain bodyand its history ofthat Bordo Susan as beginnings; difficult its from away moves modification new each with singer, folk female the of body cyborg popular, The different. was situation the album second the on Already non-modified. and ‘natural’ as bodies singer’s on insisting was audience the from sympathy the gaining for ways the live of one and it, followed show that performances the During applied. of thousands the from auditions of series the through Fassbinder, Reiner Werner: “Six Films by Douglas Sirk”,by Werner: “Six Douglas Films Reiner Fassbinder, Bordo, Susan: “Material Girl” Girl” “Material in Susan: Bordo, Unbearable weight: feminism, Western culture, and the bodyand culture, the feminism, Unbearable Western weight: Estrada Estrada 129 Estrada , and actually testifies to its escalation on the social ladder. social onthe escalation to its testifies and actually and its stars offer rigid view of the world, in which the which in world, the of view rigid offer stars its and os’ culy dsub rgd srcue o h society. the of structure rigid disturb actually doesn’t , but at the same time it is followed and remains and followed is it time same the at but , New Left Review, Review, New Left 46 130

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CEU eTD Collection ewe eae sne’ n hi eae adec, wih sos ta that shows which audience, female their and singer’s female between of question the opened also of chapter subversiveness That Serbia. contemporary in identities national of transformations of complexity on insight they wider a opened and other, do each exclude mutually extent what at question a rose identity; gay and nationalist identities, confronted towards community of readings different offer also culture Serbian of space public The analysis. academic in just not and way, simplified a in that claim my confirms further identities various these of Construction other. gay identity onthe identity, and nationalist hand one the on example, for identities, diverse very of construction the for basis firm a provides it how and on, 2000 from period the in functions singer folk female of body the how shown have I transition. of period the in nationalism Serbian of changes the on reacts main the as body, female of metonymy and how representative explore and together, positions two those bring to tried which in context political on about works academic and analyses existing the that was point starting My identities. those are what and identities, national of construction in part takes body that how explored have I also, it; around and body, performed of spaces public the in itself represented/represents is it as body singer’s female of position the with related questions Serbian of complexities analyzed have I thesis this In Conclusion Estrada Estrada Estrada , on which I focused in analysis of the relationship established relationship the of analysis in focused I which on , Estrada Estrada n t eae sas h dniiain o w apparently two of identification The stars. female its and . I have examined some of the meanings produced by that by produced meanings the of some examined have I . Estrada Estrada Estrada Estrada Estrada operates, or ignored political context in their analysis. I analysis. their in context political ignored or operates, , which is probably most visible in relation of gay of relation in visible most probably is which , communicates with audiences in Serbia, and how it how and Serbia, in audiences with communicates tended to be one sided, that they focused strictly focused they that sided, one be to tended 47 Estrada and particularly specific particularly and Estrada Estrada cannot be read be cannot offers

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CEU eTD Collection Stoja – Moj zivot je moje blago [My Life is My Treasure], My is blago Life moje [My je Stoja zivot –Moj idi away], Stoja [Go –Idi, Stoja – –Opet[Again], Seka Aleksic man], [IfIwas musko –Da a sam Seka Aleksic – Seka Aleksic meat]”, [My likes voliFiancée –“Mojverenik meso Seka Aleksic Sav TajFolk –Sanja, Sanja Djordjevic ofRadmila Story [Life Manojlovic Radmile prica –“Zivotna Manojlovic Radmila 6.6.2009. radmile.html Manojlovic]” v=Z0fRSdO_tU4 1.6.2009. 3.6.2009. 2.2.2009. v=778WOYGS1N8 ml http://www.balkanmedia.com/magazin/3306/seka_aleksic_moj_verenik_voli_meso.ht Evropa , accessed:1.2.2009 , accessed:1.2.2009 [All that Folk] TV B92, Serbia, B92, TV 2004. Folk] that [All [Europe], Balkan , last accessed on4.1.2009 accessed ,last http://zvezdegranda.blogspot.com/2007/07/ivotna-pria-zvezde-granda- , http://www.youtube.com/watch?v=YT3V2-adEts , accessed: 2.5.2009. , accessed: http://www.youtube.com/watch?v=PvPjBeRvST0 http://www.youtube.com/watch?v=QIwqFCfG7OE http://www.youtube.com/watch?v=kMKyIL2kwG8 , accessed: 7.6.2009. , accessed: http://www.youtube.com/watch?v=j05DjNJSLYQ 50 http://www.youtube.com/watch? http://www.youtube.com/watch?

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CEU eTD Collection Beauvoir, Simone de: “Introduction”. “Introduction”. Simone de: Beauvoir, Anne: Balsamo, “ Baker, Catherine: AnthiasFloya and Nira Yuval-Davis In “Introduction.” Nira: Yuval-Davis, Flora and Anthias, REFERENCES: Robot, –Sexy Mina Markovic as Zorica mum], nanodreams, [Sweet Markovicspavaj –Mirno Zorica [Marked], –Obelezena Viki Miljkovic no,no], ne [Oh Stoja ne, ne, –O http://www.youtube.com/watch?v=cWAWIAgG6X4 3.4.2009. accessed 2.4.2009. accessed: Routledge 1997,7-18 Routledge ed.Nicholson, 1996, University Press, Europe andeastern in central and exclusion (eds.) andNahodilová Jana Mellish Madaj, Liz Barbara identity”, ofnationalmusical construction (eds.), 5.6.2009. accessed: Woman-Nation-State Technologies of the gendered body : reading cyborg women, women, genderedbody : readingcyborg of the Technologies The concept of turbofolk in Croatia: inclusion/exclusion in the in inclusion/exclusion Croatia: ofturbofolk concept The The Second Wave. A Reader in Feminist Theory Reader in Feminist Wave. A Second The . (New York: St. Martin’s Press, 1989)pp7-11 Press, St.Martin’s York: . (New http://www.youtube.com/watch?v=YPbLpnumVLw The SecondThe Sex http://www.youtube.com/watch?v=Koa2-lPh6Ms http://www.youtube.com/watch?v=5x-572xIAOg 51 In: Catherine Baker, Christopher J Gerry, Christopher J Baker, Catherine In: , , London: SSEES Publications, 2007 Publications, SSEES , London: (originally pub.1949).InLinda , accessed: 2.6.2009. , accessed:

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CEU eTD Collection Dirks, Tim: “Melodrama films”, films”, “Melodrama Dirks, Tim: Folk” Turbo “Global Branislav: Dimitrijevic, kao radikalniperformans turbo folk umetnost»: savremena je «Ovo Branislav: Dimitrijević, Ivan: Colovic, Insubordination” Gender and “Imitation Judith: Butler, Bradby, Barbara: Wendy: Bracewell, Susan: Bordo, and Jaggar inM. Alison ofFemininity”, and Body the Reproduction “The Susan: Bordo, University of California Press, 1993 University ofCalifornia knowing Susan (eds.) Bordo R. 4.6.2009. 2.4.2009 accessed: 2002,p.100 CSUb, Beograd, [ pp 300–315 Theory Feminist in Reader A Reader. Wave http://www.jstor.org/stable/931296 Press, University by: Cambridge No. 1993),pp.155-176Published 2(May, pp563-590 6(4),2000: Nationalism “ This is Contemporary Art!”: Turbo-Folk as Radical Performance] Turbo-FolkRadical as Art!”: This Contemporary is Unbearable weight: feminism, Western culture, and the body andthe culture, Western feminism, weight: Unbearable Politics of identity in Serbia of identity Politics , New Brunswick, N.J. : Rutgers University Press, 1989,pp13-33 University Press, N.J. : Brunswick, Rutgers New Gender, Technology and the Body in Dance Music Body in andthe Dance Technology Gender, Rape in Kosovo: Masculinity andSerbianNationalism, Masculinity Kosovo: Rape in Gender/body/knowledge : feminist reconstructions of being and of reconstructions :feminist Gender/body/knowledge http://www.filmsite.org/melodramafilms.html , accessed: 21.5.2009. , accessed: , New York: New York University Press, 2002 University Press, York , New New York: , 52 http://www.ex-yupress.com/nin/nin139.html , New York and London: Routledge, 1997, Routledge, London: and York New ,

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CEU eTD Collection Grosz, Elisabeth: “Feminism and the Crisis of Reason” in: Linda Alcoff andPotter Elisabeth in: Alcoff Linda theofReason” Crisis and “Feminism Grosz, Elisabeth: D.: Eric Gordy, Nadia Conboy, Katie Politic”, in Body / and the in Representation “Corporeal Moira: Gatens, Sirk”, “Six Films byDouglas Werner: Reiner Fassbinder, Richard: Dyer, Fuss(ed.) in Diana The Homosexual”, The and inAuthor Fairies: “Believing Richard: Dyer, Dragičević Alexander: Doty, in Cinema]”, [Gay filmu Moments “Gej na moment Alexander, Doty, accessed: 2.3.2009. (my translation from Serbian) 2.3.2009.(my translation accessed: AnCultures: Encyclopedia serbia.com/art/2004/04-02-04-gej-momenti-na-filmu/index.jsp GODINA (eds.) 1999 University Press, 1997,pp80-89 York, Press, Ney University Columbia SarahStanbury (eds.) Medina and 1975 Inside/Out, 1994 Karlovci, Sad, Novi Sremski Stojanovića Zorana knjižara Izdavačka and its stars], - Šešić, Milena Šešić, Feminist Epistemologies, Epistemologies, Feminist Heavenly bodies: film stars andsociety bodies:film Heavenly The Culture of Power in Serbia in Power of Culture The Flaming Classics Routledge, New York, 1991,pp185-201 York, New Routledge, : : Neofolk kultura Neofolk , izd. George E. Haggerty, New York & London, 2000, New & London, York E. George Haggerty, , izd. , Routledge, New York and London, York 2000 New , Routledge, Routledge, New York and London, STRANICE I YorkSTRANICE New and London, Routledge, Female Embodiment and Feminist Theory, andFeminist Embodiment Female , publika i njene zvezde i njene , publika 53 , University Park, Pa.: Pennsylvania State Pennsylvania Pa.: Park, University , , Routledge, New York, 2004 York, New , Routledge, New Left Review, Review, Left New [Neofolk culture, audience [Neofolkculture, , in: http://www.gay- Gay Histories and Histories Gay I/91, May-June, I/91,

CEU eTD Collection Kunst, Bojana: “Simptomi tehno tela [Symptoms of Techno Bodies]” in: Bodies]” [Symptoms tela ofTechno “Simptomitehno Kunst, Bojana: Conboy, in Katie ProblemsforFeminism”, Some Cinema: “The and Body Kuhn, Annette: Kronja, Ivana: Radomir, Konstantinovic, in the Silence Shame and Homophobia: as Fear, S.:“Masculinity Michael Kimmel, in Woman” as Culture “Mass Andreas: Huyssen, the in and Socialist-Feminism Technology, Science, Manifesto: Cyborg "A Haraway,Donna: the in and Socialist-Feminism Technology, Science, Manifesto: Cyborg Donna:"A Haraway, Grosz, Elizabeth: Nature, in Century," Twentieth Late 2005 theory and practice of performing arts performing of theory andpractice 1997,pp195-207 York, Press, Ney University Columbia (eds.) and SarahStanbury Nadia Medina ofturbofolk] psychology and aesthetics mass 1991 MasculinitiesTheorizing Kaufman, (eds.) Michael and Brod Identity”.InHarry ofGender Construction Press, 1986,pp44-62 Nature in Century," Twentieth Late (New York; Routledge, 1991),pp.149-181. Routledge, York; (New Smrtonosni 1991,pp.149-181 Routledge, York; New Promenljiva telaPromenljiva

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psihologija [Philosophy of Small Town], Nolit, Belgrade, Nolit, Town], ofSmall [Philosophy 54 , issue no 3, Belgrade, April 2002 April no3,Belgrade, , issue Female Embodiment and Feminist Theory, Embodiment andFeminist Female ; Tehnokratia, Beograd, 2001 Tehnokratia, Beograd, ;

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CEU eTD Collection Milojevic, Jasmina: “Turbo-folk: World music ili postmoderni Vavilon? [Turbo-folk: World [Turbo-folk: postmoderni ili Vavilon? music World “Turbo-folk: Jasmina: Milojevic, Men”, Between Eve Sedgwick’s Kosofsky New “A Picture: Legaretta: Aintzane Mentxaka, Family” and the Nationalism Gender, Feuds: Anne:“Family McClintock, Ana:“ Vujanovic, and Markovic, Tanja Maljkovic: emancipation!]”, [Turbo “Turbo Dusan: emancipacija! Maljkovic, Kristen: Leaver, Body”,2001, “Cyborgand My Kunst, Bojana: translation http://blog.b92.net/text/1914/Turbo%20emancipacija!/ http://www.jstor.org/stable/25058463 PHPSESSID=cc00b77590c88b0d0b417b3f3d5eb1b6 Babylon]”, music orpostmodern vol. 3 Review Irish Feminist 44 5.4.2009 accessed: http://www.stfx.ca/pinstitutes/cpcs/perspectives/vol2no1_files/Mutations.pdf, problematics”,and popculture theofmass mapfield in intellectual ofthe Serbian The Europe: case South-Eastern 2.6.2009. serbia.com/teorija/2003/03-02-14-kako-upokojiti-tv-manijaka/index.jsp , Summer 1993: 61-80 , Summer 1993: Dusan: “Kako upokojiti TV manijaka [How to kill manijaka TV [How upokojiti “Kako Dusan: Victorian Melodrama and the Performance of Poverty of MelodramaPerformance andthe Victorian , 1.12.2007.

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CEU eTD Collection tcy ake DseaeySeigDfeec. nPtii rn,e.ed. Erens, Patricia In Difference.” Seeking “Desperately Jackie: Stacey, Kosofsky: Eve Sedgwick, and Nadia Conboy, Medina in Katie Theory”, and Grotesque:Carnival Russo, “Female Mary: V.: Ljerka Rasmussen, of FolkMusic Commodity: Newly-Composed “From V.: Sourceto Ljerka Rasmussen, Heterosexism,” as Identities: Nationalism Political Spike “Sexing V. Peterson, and Body Society ofCivil Fascizisation Wars, The after Ethnic “Europe 1989: Papic, Zarana: of Making the in Sexuality and Gender Nationalism: and “Masculinity Joane: Nagel, ed. Erens, Patricia In Cinema.” Narrative and Pleasures “Visual Mulvey,Laura: Politics in Serbia”,Politics Nations,” Film CriticismFeminist Film Criticism Press, 1985 University Columbia York : 1997,pp318-336 Press, York, Ney Sarah Stanbury(eds.) 2002, University Press, 14,No. Vol. 1995),pp.241-256,Cambridge PopularMusic, 2(May, Yugoslavia”, Journalof PoliticsFeminist gb http://www.komunikacija.org.rs/komunikacija/casopisi/sociologija/XLIII_3/d01/html_ , accessed: 13.5.2009 , accessed: Ethnic and Racial Studies andRacial Ethnic . Bloomington : Indiana University Press, c1990. 365-379. University Press, : Indiana . Bloomington Newly composed folk music of Yugoslavia of composed music folk Newly http://www.jstor.org/stable/853402

Between men: English literature and male homosocial desire andmalehomosocial literature English men: Between Female Embodiment and Feminist Theory, Theory, andFeminist Embodiment Female . Bloomington : Indiana University Press, c1990. 28-40. University :. Bloomington Indiana 1(1), June 1999: 1(1),June 34-65. 21(2), March 1998: 242-269 1998: 21(2),March 56 , accessed: 5.5.2009. , accessed: , New Routledge, York: Columbia University Columbia Issues in Feminist in Issues International Issues in Issues

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CEU eTD Collection Viva la Diva and Vlada T: Divaand Vlada Viva la Taboo Space]”, [Interventionin a tabua uprostoru “Intervencija Milica: Tomić, accessed: 15.5.2009. accessed: garde]” folk avant history ofSerbian 546, 21.6.2001 http://www.gay-serbia.com/kolumna/2002/02-08-14-folk_avangarda/index.jsp . “Zaboravljena istorija srpske folk-avangarde [The Forgotten srpske istorija folk-avangarde “Zaboravljena Gay Serbia Gay 57 (Belgrade, n.d) Available online at: at: online n.d)Available (Belgrade, Vreme , Vreme