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UNIVERZA V LJUBLJANI FILOZOFSKA FAKULTETA ODDELEK ZA ETNOLOGIJO IN KULTURNO ANTROPOLOGIJO DIPLOMSKO DELO LJUBLJANA, 2013 PETRA HAMER 1 UNIVERZA V LJUBLJANI FILOZOFSKA FAKULTETA ODDELEK ZA ETNOLOGIJO IN KULTURNO ANTROPOLOGIJO PETRA HAMER »Sarajevo će biti, sve drugo će proći!« Antropološki in etnomuzikološki oris glasbenega dogajanja v Sarajevu 1992-1995 Diplomsko delo Študijski program: Etnologija in kulturna antropologija- E Mentorja: red. prof. dr. Mirjam Mencej red. prof. dr. Svanibor Pettan Ljubljana, 2013 2 ZAHVALA: Prof. dr. Svaniborju Pettanu za vso podporo, razumevanje, potrpljenje, vzpodbujanje in vodenje med pisanjem diplomskega dela, prof. dr. Mirjam Mencej za podporo in pomoč, doc. dr. Tamari Karača Beljak in doc. dr. Jasmini Talam, ki sta mi med bivanjem v Sarajevu nesebično pomagali kjerkoli in kadarkoli, sogovornikom in sogovornicam, mojim staršem, Simoni, Nedimu, mojim etnologinjam in etnologom. 3 Izvleček »Sarajevo će biti, sve drugo će proći« Antropološki in etnomuzikološki oris glasbenega dogajanja v Sarajevu 1992 – 1995 Diplomsko delo na podlagi terenskega raziskovanja in arhivskega dela predstavlja glasbeno življenje v Sarajevu v času agresije med leti 1992 in 1995. Upravičeno bi pomislili, da je nenehno ogrožanje posameznikovega življenja (pomanjkanje vode, hrane, zdravil, granatiranje) nanj vplivalo skrajno negativno. Sarajlije so nam dokazale nasprotno. Med agresijo je delovalo več na novo ustanovljenih glasbenih skupin, ki so igrale rock in metal glasbo in predstavljale alternativno klubsko sceno. Njihov glavni promotor je bil Radio Zid. Mediji so v tem obdobju igrali glavno vlogo pri obveščanju in soustvarjanju nacionalne identitete, še posebej državni Radio Sarajevo, ki je poleg dnevnih poročil predvajal tudi patriotske pesmi in sevdalinke. Podobno vlogo je imela tudi televizijska postaja TV Sarajevo. Glasbena terapija ni bila del splošne klinične prakse, a so jo intervjuvani sogovorniki, vsak s svojo glasbo, nevede prakticirali. V patriotskih pesmih, ki so v tem obdobju bile stalnica radijskih postaj, pa lahko zaznamo upor. Glavni tezi, da glasba na posameznika deluje kot zdravilo ali terapija in kot upor sta bili v diplomskem delu potrjeni. Izkazalo se je, da ima glasba v vojnem in političnem kontekstu tudi druge pomembne funkcije - spodbuja vojake in civilno prebivalstvo, ponižuje sovražnika in deluje kot klic na pomoč namenjen svetovni javnosti. Ključne besede: Sarajevo, agresija, funkcije glasbe, zdravilo ali terapija, upor Abstract »Sarajevo will stay, everything else will pass«. Anthropological and ethnomusicological outline of musical happenings in Sarajevo from 1992 to 1995 The following undergraduate thesis attempts to illuminate musical events in Sarajevo in the period from 1992 to 1995, employing two main methodological approaches, firstly the archive method and secondly, the interview method. A common belief may arise that because of the constant threat of death (no water, food, medicines, constant shelling) cultural happening did not exist. But despite the unenviable situation, Saraljije proved us all wrong. Many new bands emerged the musical scene, playing rock and metal and promoting the alternative club scene. The main radio station for promoting alternative music had been Radio Zid (Wall). In addition the main state-funded radio Sarajevo played an important role by broadcasting patriotic songs and sevdalinka and encouraging the development of national identity. Similar role had also been adopted by the TV Sarajevo. Music therapy was not institutionalized medical practice, but people used various genres of music for therapy, whilst not being aware of it. Patriotic songs were used as resistance. The two main hypotheses – music affecting an individual as a cure or therapy and furthermore, encouraging the atmosphere of resistance were confirmed. Additionally, other functions of music, such as motivating the soldiers and civilians, humiliating the enemy and calling for help, cannot be overlooked. Key words: Sarajevo, aggression, function of music, cure or therapy, resistance 4 1. UVOD ................................................................................................................................................. 6 1.1. OPREDELITEV PROBLEMA ................................................................................................................... 6 1.2. METODOLOGIJA .............................................................................................................................. 9 2. PREGLED POLITIČNEGA IN ZGODOVINSKEGA DOGAJANJA OB RAZPADU JUGOSLAVIJE, S FOKUSOM NA BOSNO IN HERCEGOVINO V ZAČETKU 90 IH DVAJSETEGA STOLETJA .................................................. 11 2.1. PREGLED POLITIČNEGA IN ZGODOVINSKEGA DOGAJANJA V SARAJEVU 1992 - 1995 ................................... 14 2.1.1. Sarajevski vsakdan pred in med agresijo ........................................................................... 16 2.2. PREGLED GLASBENEGA DOGAJANJA V SARAJEVU .................................................................................... 18 2.2.1. Sarajevska glasbena scena do leta 1991............................................................................ 18 2.2.2. Sarajevska glasbena scena med agresijo ........................................................................... 24 3. VLOGA MEDIJEV MED AGRESIJO....................................................................................................... 26 3.1. TISKANI MEDIJI.............................................................................................................................. 27 3.2. ELEKTRONSKI MEDIJI ....................................................................................................................... 28 3.2.1. Radio Sarajevo ................................................................................................................. 28 3.2.2. Radio Zid ........................................................................................................................ 29 3.2.3. TV Sarajevo ...................................................................................................................... 31 4. FUNKCIJE IN RABA GLASBE ............................................................................................................... 33 5. GLASBA KOT ZDRAVILO ALI TERAPIJA ............................................................................................... 36 5.1. GLASBENA TERAPIJA ....................................................................................................................... 37 5.1.1. Glasba kot zdravilo ali terapija v Sarajevu ......................................................................... 40 6. GLASBA KOT UPOR ........................................................................................................................... 45 6.1. RAZUMEVANJE KONFLIKTA SKOZI GLASBO ............................................................................................. 46 6.2. GLASBA KOT UPOR V SARAJEVU ......................................................................................................... 47 6.3. PATRIOTSKE PESMI ......................................................................................................................... 54 7. SKLEP ................................................................................................................................................ 95 8. POVZETEK ......................................................................................................................................... 97 8.1. SLOVENSKO.................................................................................................................................. 97 8.2. BOSANSKI .................................................................................................................................... 98 8.3. ENGLISH ...................................................................................................................................... 99 9. VIRI IN LITERATURA ........................................................................................................................ 101 9.1. SEZNAM SOGOVORNIKOV .............................................................................................................. 117 9.2. SEZNAM ANALIZIRANIH PESMI ......................................................................................................... 119 5 1. UVOD Devetdeseta dvajsetega stoletja. Razpad Jugoslavije, protestni odhod slovenske delegacije iz skupščine Zveze komunistov Jugoslavije, deset-dnevna osvobodilna vojna za Slovenijo. Razglasitev samostojnosti Slovenije, Hrvaške ter Bosne in Hercegovine, vojna na Hrvaškem (1991-1995), v BiH (1992-1995), nezadovoljna Srbija in z njo Slobodan Milošević, ponovna obuditev ideje o Veliki Srbiji, porast nacionalizma, NATO-vo bombardiranje Beograda, vojna na Kosovu. To so pomembni dogodki, ki pa so samo majhni delčki politične sestavljanke danes bivše Jugoslavije, ki je takrat, kot štiriletno dekle nisem znala sestaviti. Roko na srce, takrat se s tem tudi nisem preveč obremenjevala, raje sem poslušala Tajči, Bijelo dugme, Pro Arte in Čudežna polja. Od vseh omenjenih glasbenikov sem razumela samo slednje. A sčasoma je otroški entuzijazem zamenjalo zanimanje za, delno tudi mojo zgodovino. Gledanje televizije in dokumentarnih oddaj o osamosvojitvi Slovenije, posnetki NATO-vega napada na Beograd in Kosovo, videoposnetki objokanih žena, ki objemajo grobove. Sprva nisem
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