DOCSLIB.ORG

Slavi Trifonov and the Commodification of Nationalism

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Slavi Trifonov and the Commodification of Nationalism Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 Slavi Trifonov and the Commodification of Nationalism: Popular Culture, Popular Music, and the Politics of Identity in Postsocialist Bulgaria, 1990-2005 Plamena Kourtova Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC SLAVI TRIFONOV AND THE COMMODIFICATION OF NATIONALISM: POPULAR CULTURE, POPULAR MUSIC, AND THE POLITICS OF IDENTITY IN POSTSOCIALIST BULGARIA, 1990- 2005 By PLAMENA KOURTOVA A dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2012 Plamena Kourtova defended this dissertation on March 14 2012. The members of the supervisory committee were: Michael B.Bakan Professor Directing Dissertation Robert Romanchuk University Representative Frank Gunderson Committee Member Michael Uzendoski Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii To my mom and dad. iii ACKNOWLEDGEMENTS I would like to thank my dissertation committee, Michael B.Bakan, Frank Gunderson, Michael Uzendoski, and Robert Romanchuk, for their critical commentary and advice. Thanks to your contributions and suggestions this project took on a more definitive shape during my years of study as a doctoral student at Florida State University. Multiple individuals were involved in and contributed to the fieldwork phase of this dissertation. While a number of them have preferred to remain anonymous, I extend my deepest gratification to Vera, Dika, Rada, Margarita, Nikolai, Svetlana, Elena, Decho, Raina, Boriana, Veni, Martin, and the students at the National Academy for Music and Dance in Plovdiv, Bulgaria. Thank you all for sharing your time, for our conversations, for your hospitality, and for your continuing interest and support in my work. Also in Bulgaria, Professor Clair Levy and her late husband Professor Gencho Gaintandzhiev deserve a special mention and my sincere gratitude for their receptiveness and fruitful conversation. Because this project unfolded and developed between two worlds, I also express my sincere thanks to all of my friends and colleagues in the Unites States. My peers and friends, thank you for sharing, for listening, and for comforting me in good and bad times. My dear friend and colleague Ryan McCormack deserves a special thank you for his skill with music software and his realization of the musical transcriptions provided in the dissertation. Finally, thank you to my family whose encouragement and support helped both the intellectual and fieldwork aspects of this project. This dissertation is also about you and about your experiences. Thank you for allowing me to share them in my own way. iv TABLE OF CONTENTS List of Musical Examples ............................................................................................................. vii List of Audio Examples ............................................................................................................... viii List of Figures…………………………………………………………………………………….ix Abstract ............................................................................................................................................x 1. CHAPTER ONE: INTRODUCTION Background…………………………………………………………………………....4 Purpose and Significance……………………………………………………………...9 Theoretical Approach………………………………………………………………...11 Review of Literature…………………………………………………………………13 Bulgaria………………………………………………………………………13 The Balkans………………………………………………………………….16 Nationalism…………………………………………………………………..18 Manifestations of Nationalism……………………………………………….19 Nationalism and Remembrance……………………………………………...20 Commodification…………………………………………………………….22 Ethnographic Approach……………………………………………………………...23 Methodology…………………………………………………………………………26 Organization and Chapter Outline…………………………………………………...29 2. CHAPTER TWO: SLAVI TRIFONOV, A BULGARIAN PHENOMENON…………….32 Prelude…………………………………………………………………………………..32 Introduction……………………………………………………………………………..34 Trifonov as a Cultural Phenomenon: Biographical Sketch……………………………..36 Episode 1…………………………………………………………………… 37 Episode 2…………………………………………………………………….40 Episode 3…………………………………………………………………….43 Episode 4…………………………………………………………………….47 Trifonov as an Individual……………………………………………………………….49 An Ethnographic Dialogue…………………………………………………..52 Trifonov as a Bulgarian……………………………………………………...54 Trifonov as a Celebrity………………………………………………………56 Celebrities and Audiences…………………………………………………...58 Celebrities on Television and in Music……………………………………...60 Celebrities as Commodity Culture…………………………………………..62 3. CHAPTER THREE: POP-FOLK……………………………………………………….64 Prelude……………………………………………………………………………….64 Historical Overview………………………………………………………………….69 Chalga……………………………………………………………………….69 Kuchek………………………………………………………………………72 Ethnopop…………………………………………………………………….74 Imagery and Poetics…………………………………………………………77 v Pop-folk, Trifonov, and Bulgarian Identity…………………………………………..81 4. CHAPTER FOUR: NARRATIVES OF NATION……………………………………...87 Introduction…………………………………………………………………………...87 Nationalism…………………………………………………………………………...89 Narrating the Nation………………………………………………………………….92 Poeticizing the Nation……………………………………………………….93 Sounding the Nation…………………………………………………………99 Performing the Nation……………………………………………………...105 Broadcasting the Nation……………………………………………………108 Remembering the Nation……………………………………………………………112 Remembering……………………………………………………………….113 Space and Place……………………………………………………………..114 Remembering as Social Reproduction……………………………………...115 5. CHAPTER FIVE: NARRATIVES OF COMMODIFICATION……………………..118 Prelude…………………………………………………………………………….118 Introduction……………………………………………………………………….120 Commodification and the Question of Value……………………………………..121 Narratives of Commodification…………………………………………………...124 The Poetics of Commodification…………………………………………...125 Vignette1 ………………………………………………………………125 Vignette 2……………………………………………………………....126 The Sound of Commodification…………………………………………….132 Vignette 1……………………………………………………………....132 Vignette 2………………………………………………………………133 Value Conflict and Social Reproduction………………………………………….141 6. CHAPTER SIX: CONCLUDING THOUGHTS……………………………………145 Commodifying Nationalism………...……………………………………............147 In-Betweenness…………………………………………………………………...150 APPENDIX A: SONG TEXTS………………………………………………………………...153 APPENDIX B: MISCELLANEOUS…………………………………………………………..178 REFERENCES…………………………………………………………………………………186 BIOGRAPHICAL SKETCH…………………………………………………………………...198 vi LIST OF MUSICAL EXAMPLES 1 Opening clarinet solo, “Nazad, Nazad Mome Kalino” .......................................................101 2 Partial transcription of opening clarinet solo, “Novite Varvari” .........................................102 3 Opening kuchek variation presented by the percussion section ..........................................135 4 Melodic material of the voice part .......................................................................................135 5 Melodic elaboration of the same material by the brass/wind section ..................................135 6 Bass/Rhythm/Lead guitar variation of the kuchek rhythm presented by the percussion section ..................................................................................................................................136 7 Main theme of “Rakia Sŭnraiz” where the exclamation “rakia!” is inserted after beat four of the last measure of the saxophone solo ...............................................................................138 8 Brass/Wind section variation of the main melodic material in pop-folk style ....................139 9 Ostinato pattern emphasizing beat one and four (accented) and therefore implying the rhythmic sense of kuchek .....................................................................................................140 vii LIST OF AUDIO EXAMPLES 1 “Neka Me Boli,” transition between kuchek and pop-ballad groove and texture .................82 2 “Neka Me Boli,” brass/wind section improvisational interlude ............................................82 3 “Neka Me Boli,” slapped, funky bass guitar style during brass/wind interlude ....................83 4 “Neka Me Boli,” vocalizations by Ku Ku Band’s bass player .............................................83 5 Clarinet solo, “Kalino Mome” .............................................................................................101 6 Clarinet solo, “Novite Varvari” ..........................................................................................103 7 “Katerino Mome,” verse, performed by the Pirin Folklore Ensemble ................................103 8 “Katerino Mome,” orchestral interlude, performed by the Pirin Folklore Ensemble .........104 9 “Katerino Mome,” verse, performed by Trifonov and Ku Ku Band ..................................104 10 “Katerino Mome,” instrumental interlude, performed by Trifonov and Ku Ku Band ........104 11 “Kombainero-Inteligentska,” opening kuchek rhythm variant ...........................................135 12 “Kombainero-Inteligentska,” refrain ...................................................................................136 13 “Kombainero-Inteligentska,” clarinet solo ..........................................................................136 14 “Kamikadze,” opening fast-paced kuchek groove
Load more

Recommended publications
  • Academic Catalog 2017-2018
    This catalog was prepared by the Office of the dean of faculty on the basis of the best information available at the time of publication. All information, including statements of tuition and fees, course offerings, policies, and admission and graduation requirements, is subject to change without notice or obligation. Updates after publication can be found at www.aubg.edu/catalog ACADEMIC CALENDAR 2017–18 Fall 2017 Student Orientation Begins August 31 Unification Day Holiday September 6 Classes Begin September 7 Add/Drop Week Ends (5 pm) September 13 Bulgarian Independence Day (No Classes) September 22 Board Meeting October 20-22 Fall Break Begins October 30 National Revival Holiday November 1 Classes Resume November 6 Students' Holiday (No Classes) December 8 Classes End December 14 Final Exams Begin December 16 Final Exams End December 20 State Exams December 21 Spring 2018 Student Orientation Begins January 17 Classes Begin January 22 Add/Drop Week Ends (5 pm) January 26 Board Meeting January 27-29 Bulgarian Liberation Holiday (No Classes) March 3 Spring Break Begins March 12 Classes Resume March 19 Orthodox Good Friday (No Classes) April 6 Orthodox Easter Monday (No Classes) April 9 Honors Convocation April 11 Student-Faculty Research Conference April 28 Labor Day Holiday (Classes Held) May 1 Classes End May 4 St. George's Day Holiday May 6 Final Exams Begin May 7 Final Exams End May 11 State Exams Begin May 14 State Exams End May 16 Board Meeting May 17-19 Commencement May 20 ACADEMIC CALENDAR 2018–19 Contents Fall 2018 Academic Calendar 2017–18.................................................................................. iii Student Orientation Begins August 29 Academic Calendar 2018–19 .................................................................................
    [Show full text]
  • From Notes to Narrative: Writing Ethnographies That Everyone Can
    From Notes to Narrative Writing Ethnographies That Everyone Can Read Kristen Ghodsee The University of Chicago Press Chicago and London Contents Introduction: Why Write Clearly? 1 1. Choose a Subject You Love 9 2. Put Yourself into the Data 23 3. Incorporate Ethnographic Detail 31 4. Describe Places and Events 41 5. Integrate Your Theory 51 6. Embrace Dialogue 62 7. Include Images 71 8. Minimize Scientism 82 9. Unclutter Your Prose 91 10. Master Good Grammar and Syntax 99 11. Revise! 110 12. Find Your Process 117 Conclusion 127 Acknowledgments 129 Notes 131 Suggested Reading and Bibliography 135 Index 145 Introduction Why Write Clearly? At the end of each semester, I survey student opinions of the re- quired books on my syllabi. “Reading [this book] was like being forced to read Facebook’s terms and conditions for class,” a student wrote about one of the texts I assigned. The book in question suited the course subject and contained field- changing theoretical insights. As a piece of scholarship the book excelled, winning a major award from a large professional society. As a piece of writing, however, the book failed. My students judged the prose opaque, circular, jargon- laden, and gratuitously verbose. I agreed. I prepared a lecture on the core arguments and spared my students the headaches induced by needless erudition. University students, especially at the undergraduate level, despise inaccessible books that use language to obfuscate rather than clarify. After many years of teaching, I believe it pedagogically cruel to force students to read bad books, no matter how clever or important those books may be.
    [Show full text]
  • Folk Pop Bands and Artists List
    Folk Pop Bands and Artists List Rusi Rusev https://www.listvote.com/lists/music/artists/rusi-rusev-12292700/albums Sasho Roman https://www.listvote.com/lists/music/artists/sasho-roman-12293022/albums Desi https://www.listvote.com/lists/music/artists/desi-19826007/albums Ina https://www.listvote.com/lists/music/artists/ina-19826020/albums Liya https://www.listvote.com/lists/music/artists/liya-19826040/albums Rumina https://www.listvote.com/lists/music/artists/rumina-19826057/albums Anna https://www.listvote.com/lists/music/artists/anna-19825976/albums Dmitro Yaremchuk https://www.listvote.com/lists/music/artists/dmitro-yaremchuk-20070994/albums Iliyan Mihov https://www.listvote.com/lists/music/artists/iliyan-mihov-19826046/albums Гумени https://www.listvote.com/lists/music/artists/%D0%B3%D1%83%D0%BC%D0%B5%D0%BD%D0%B8- Глави %D0%B3%D0%BB%D0%B0%D0%B2%D0%B8-50097492/albums Samara Karimova https://www.listvote.com/lists/music/artists/samara-karimova-23948090/albums Jack Moy & Glöden https://www.listvote.com/lists/music/artists/jack-moy-%26-gl%C3%B6den-18242947/albums Raghu Dixit https://www.listvote.com/lists/music/artists/raghu-dixit-7282983/albums Rose Cousins https://www.listvote.com/lists/music/artists/rose-cousins-7367699/albums Yelena Yesenina https://www.listvote.com/lists/music/artists/yelena-yesenina-7274969/albums Indila https://www.listvote.com/lists/music/artists/indila-6024866/albums Carlos https://www.listvote.com/lists/music/artists/carlos-20500701/albums Bilyana https://www.listvote.com/lists/music/artists/bilyana-22575729/albums Avi Benedi https://www.listvote.com/lists/music/artists/avi-benedi-23640839/albums AURORA https://www.listvote.com/lists/music/artists/aurora-19329827/albums Hazariy Yaremchuk https://www.listvote.com/lists/music/artists/hazariy-yaremchuk-jr.-21533969/albums Jr.
    [Show full text]
  • Freepint Report: Product Review of Factiva
    FreePint Report: Product Review of Factiva December 2014 Product Review of Factiva In-depth, independent review of the product, plus links to related resources “...has some 32,000 sources spanning all forms of content of which thousands are not available on the free web. Some source archives go back to 1951...” [SAMPLE] www.freepint.com © Free Pint Limited 2014 Contents Introduction & Contact Details 4 Sources - Content and Coverage 5 Technology - Search and User Interface 8 Technology - Outputs, Analytics, Alerts, Help 18 Value - Competitors, Development & Pricing 29 FreePint Buyer’s Guide: News 33 Other Products 35 About the Reviewer 36 ^ Back to Contents | www.freepint.com - 2 - © Free Pint Limited 2014 About this Report Reports FreePint raises the value of information in the enterprise, by publishing articles, reports and resources that support information sources, information technology and information value. A FreePint Subscription provides customers with full access to everything we publish. Customers can share individual articles and reports with anyone at their organisations as part of the terms and conditions of their license. Some license levels also enable customers to place materials on their intranets. To learn more about FreePint, visit http://www.freepint.com/ Disclaimer FreePint Report: Product Review of Factiva (ISBN 978-1-78123-181-4) is a FreePint report published by Free Pint Limited. The opinions, advice, products and services offered herein are the sole responsibility of the contributors. Whilst all reasonable care has been taken to ensure the accuracy of the publication, the publishers cannot accept responsibility for any errors or omissions. Except as covered by subscriber or purchaser licence agreement, this publication MAY NOT be copied and/or distributed without the prior written agreement of the publishers.
    [Show full text]
  • About Bulgaria
    Source: Zone Bulgaria (http://en.zonebulgaria.com/) About Bulgaria General Information about Bulgaria Bulgaria is a country in Southeastern Europe and is situated on the Balkan Peninsula. To the north the country borders Rumania, to the east – the Black Sea, to the south – Turkey and Greece, and to the west – Yugoslavia and Macedonia. Bulgaria is a parliamentary republic with a National Assembly (One House Parliament) of 240 national representatives. The President is Head of State. Geography of Bulgaria The Republic of Bulgaria covers a territory of 110 993 square kilometres. The average altitude of the country is 470 metres above sea level. The Stara Planina Mountain occupies central position and serves as a natural dividing line from the west to the east. It is a 750 km long mountain range stretching from the Vrushka Chuka Pass to Cape Emine and is part of the Alpine-Himalayan mountain range. It reaches the Black Sea to the east and turns to the north along the Bulgarian-Yugoslavian border. A natural boundary with Romania is the Danube River, which is navigable all along for cargo and passenger vessels. The Black Sea is the natural eastern border of Bulgaria and its coastline is 378 km long. There are clearly cut bays, the biggest two being those of Varna and Bourgas. About 25% of the coastline are covered with sand and hosts our seaside resorts. The southern part of Bulgaria is mainly mountainous. The highest mountain is Rila with Mt. Moussala being the highest peak on the Balkan Peninsula (2925 m). The second highest and the mountain of most alpine character in Bulgaria is Pirin with its highest Mt.
    [Show full text]
  • There Has Been No Bulgarian Tradition of Any Long-Standing Resistance to the Communist Regime
    There has been no Bulgarian tradition of any long-standing resistance to the communist regime. There was neither any political opposition, nor any other kind of an influential dissident movement. Bulgaria never went through the purgatory of the Hungarian uprising of 1956, or the “Prague spring” of 1968. It is indeed difficult to find any counter arguments whatsoever against the cliché that Bul- garia was the closest satellite of the Soviet Union. The fundamental contradictions within the Union of Democratic Forces (SDS) coalition were present from the very first day of its inception. There were Marxists who were longing for “socialism with a human face”, intellectuals with liberal ideas, social democrats and Christian democrats, conservatives and radical demo- crats, monarchists and republicans. The members of the center-right coalition did not delude themselves about their differences; they rather shared the clear un- derstanding that only a painful compromise could stand some chances against the Goliath of the totalitarian Bulgarian Communist Party (BKP). It was this unani- mous opposition to the communist regime and its legacy that made the coalition possible. But only for a limited period of time. The United Democratic Forces (ODS) government under Prime Minister Ivan Kostov (1997-2001) completed the reformist agenda of anti-communism. At the end of the ODS term of office, Bulgaria was a country with a functioning market economy, stable democracy, and a clearly outlined foreign policy course towards the country’s accession to the European Union and NATO, which was accepted by all significant political formations, the Bulgarian Socialist Party (BSP) included.
    [Show full text]
  • Introduction Music and Ethnomusicology – Encounters in the Balkans
    INTRODUCTION MUSIC AND ETHNOMUSICOLOGY – ENCOUNTERS IN THE BALKANS DANKA LAJIĆ-MIHAJLOVIĆ, JELENA JOVANOVIĆ Abstract: This paper presents an overview of the latest experiences in ethnomusicological research based on the texts incorporated in this col- lection of works. These experiences emanate primarily from the local re- searchers’ works on music of the Balkans, with a heightened theoretical and methodological dimension. The distinctive Balkan musical practices, created through the amalgamation of elements from different cultures, ethnicities, and religions, made this geo-cultural space intriguing not only to researchers from this very region but also to those from other cultural communities. A theoretical framework for interpreting these practices to- gether with the contemporary research methods stem from interactions of local scientific communities’ experiences, sources and practices they deal with, circumstances, ideologies and politics, including the influences of the world’s dominant ethnomusicological communities as well as re- searchers’ individual affinities and choices. A comparison with the re- search strategies applied in similar, transitory geo-cultural spaces contrib- utes to a more complex exploration of the Balkan ethnomusicologists’ experiences. Keywords: the musics of the Balkans, methodologies in ethnomusico- logy, Balkan national ethnomusicologies, fieldwork, interdisciplinarity. Balkan musical practices, as sound images of a geo-cultural space whose distinct identity has been recognized both ‘inside’ and ‘outside’ are incorporated in the perpetual fascination and inspiration of the folklore researchers and eth- nomusicologists. The recognizability that the region has acquired (not only) in ethnomusicology under the term the Balkans,1 along with the motivation of the Balkan scientists to look into its ontology rather than its metaphoric meanings This study appears as an outcome of a research project Identities of Serbian music from a local to global framework: traditions, transitions, challenges, no.
    [Show full text]
  • Chronology of Key Events
    Chronology of key events 1990 13 July 1990 With a Declaration of the Ministry of Foreign Affairs, Bulgaria accepts the invitation extended by NATO to establish regular diplomatic liaison. Mrs. Lea Cohen, Bulgarian Ambassador to Belgium, is authorized to maintain diplomatic liaison with NATO. 1991 4 April 1991 Establishment of the Atlantic Club of Bulgaria, the first non-governmental Atlantic association outside NATO member states. Since October 1992, the Atlantic Club of Bulgaria has been associated with the Atlantic Treaty Association (ATA), initially as an observer and later as an associate member. 12-14 June 1991 Dr Manfred Wörner pays the first official visit of NATO Secretary General to Bulgaria. 20 December 1991 Bulgaria participates as a co-founding state in the inaugural meeting of the North Atlantic Cooperation Council (NACC). 1994 14 February 1994 The President of Bulgaria, Zhelyu Zhelev, signs the Partnership for Peace Framework Document at NATO Headquarters. 25 November 1994 Bulgarian Deputy Foreign Minister Todor Churov visits NATO Headquarters. Bulgaria’s PfP Individual Partnership Program with NATO is formally accepted. 1995 28 September 1995 Bulgaria participates in a meeting at NATO Headquarters for a presentation of the conclusions of the Study on NATO Enlargement to NACC and PfP Cooperation partners. 16 October 1995 Bulgaria accedes to the Status of Forces Agreement between the NATO member states and the PfP countries (ratified by the National Assembly on 5 April 1996). 1996 1996-1998 Bulgaria participates in a number of meetings with NATO within the Intensified Dialogue with interested partners on NATO membership issues. 2-3 May 1996 NATO Secretary General Javier Solana visits Bulgaria.
    [Show full text]
  • Folk/Värld: Europa
    Kulturbibliotekets vinylsamling: Folk/Världsmusik: Europa Samlingar F 2269 ASIEN (s) Dances of the world's peoples vol. 4 (Grekland, Turkiet, Israel, Armenien ) F 2269 EUROPA (s) Dances of the world's peoples vol. 4 (Grekland, Turkiet, Israel, Armenien ) F 2269 GREKLAND (s) Dances of the world's peoples vol. 4 (Grekland, Turkiet, Israel, Armenien ) F 2270 Europa Dances of the world's people vol 1: Grekland, Rumänien, Bulgarien, Makedonien. Albanien F 4248 ALBANIEN (s) Folk music of Albania F 5837 ALBANIEN (s) Folkdanser från norra Albanien (Pllake me kenge dhe muzike shqiptare) F 5836 ALBANIEN (s) Folksånger från Albanien F 5835 ALBANIEN (s) Folksånger från Albanien F 5834 ALBANIEN (s) Folksånger från Albanien F 5838 ALBANIEN (s) Folksånger från mellersta Albanien F 5839 ALBANIEN (s) Folksånger från norra Albanien F 5833 ALBANIEN (s) Folksånger från norra Albanien F 5832 ALBANIEN (s) Folksånger från norra Albanien och Peshkopiatrakten F 5831 ALBANIEN (s) Kärlekssånger från mellersta Albanien F 5840 ALBANIEN (s) Nutida populära sånger med motiv från dagens Albanien F 5841 ALBANIEN (s) Nutida sånger med motiv från dagens Albanien F 5842 ALBANIEN (s) Populära sånger från dagens Albanien F 3784 ALBANIEN (s) Songs and dances of Albania (Orchestra of Radio Pristina) Armenien F 4853 ARMENIEN (s) Armenien (Armenie, Musique de tradition populaire) F 4784 ARMENIEN (s) Medeltida liturgisk sång från Armenien F 2269 ASIEN (s) Dances of the world's peoples vol. 4 (Grekland, Turkiet, Israel, Armenien ) F 2269 EUROPA (s) Dances of the world's peoples vol. 4 (Grekland, Turkiet, Israel, Armenien ) F 2269 GREKLAND (s) Dances of the world's peoples vol.
    [Show full text]
  • Read All About It! Understanding the Role of Media in Economic Development
    Kyklos_2004-01_UG2+UG3.book Seite 21 Mittwoch, 28. Januar 2004 9:15 09 KYKLOS, Vol. 57 – 2004 – Fasc. 1, 21–44 Read All About It! Understanding the Role of Media in Economic Development Christopher J. Coyne and Peter T. Leeson* I. INTRODUCTION The question of what factors lead to economic development has been at the center of economics for over two centuries. Adam Smith, writing in 1776, at- tempted to determine the factors that led to the wealth of nations. He concluded that low taxes, peace and a fair administration of justice would lead to eco- nomic growth (1776: xliii). Despite the straightforward prescription put forth by Smith, many countries have struggled to achieve the goal of economic pros- perity. One can find many examples – Armenia, Bulgaria, Moldova, Romania and Ukraine to name a few – where policies aimed at economic development have either not been effectively implemented or have failed. If the key to eco- nomic development is as simple as the principles outlined by Smith, then why do we see many countries struggling to achieve it? The development process involves working within the given political and economic order to adopt policies that bring about economic growth. Given that political agents are critical to the process, the development of market institu- tions that facilitate economic growth is therefore a problem in ‘public choice’. There have been many explanations for the failure of certain economies to de- velop. A lack of investment in capital, foreign financial aid (Easterly 2001: 26– 45), culture (Lal 1998) and geographic location (Gallup et al. 1998) have all been postulated as potential explanations for the failure of economies to de- velop.
    [Show full text]
  • Traditional Hungarian Romani/Gypsy Dance and Romanian Electronic Pop-Folk Music in Transylvania
    Acta Ethnographica Hungarica, 60 (1), pp. 43–51 (2015) DOI: 10.1556/022.2015.60.1.5 TRADITIONAL HUNGARIAN ROMANI/GYPSY DANCE AND ROMANIAN ELECTRONIC POP-FOLK MUSIC IN TRANSYLVANIA Tamás KORZENSZKY Choreomundus Master Programme – International Master in Dance Knowledge, Practice and Heritage Veres Pálné u. 21, H-1053 Budapest, Hungary E-mail: [email protected] Abstract: This fi eldwork-based ethnochoreological study focuses on traditional dances of Hungar- ian Romani/Gypsy communities in Transylvania (Romania) practiced to electronic pop-folk music. This kind of musical accompaniment is applied not only to the fashionable Romanian manele, but also to their traditional dances (named csingerálás1, cigányos). Thus Romanian electronic pop-folk music including Romani/Gypsy elements provides the possibility for the survival of Transylvanian Hungarian Romani/ Gypsy dance tradition both at community events and public discoes. The continuity in dance idiom is maintained through changes in musical idiom – a remarkable phenomenon, worthy of further discussion from the point of view of the continuity of cultural tradition. Keywords: csingerálás, pop-folk, Romani/Gypsy, tradition, Transylvania INTRODUCTION This fi eldwork-based ethnochoreological study focuses on traditional dances of a Hungarian Romani/Gypsy2 community at Transylvanian villages (Romania) practiced for Romanian electronic pop-folk music. Besides mahala, manele-style dancing prevailing in Romania in Transylvanian villages, also the traditional Hungarian Romani/Gypsy dance dialect – csingerálás – is practiced (‘fi tted’) for mainstream Romanian pop music, the 1 See ORTUTAY 1977. 2 In this paper, I follow Anca Giurchescu (GIURCHESCU 2011: 1) in using ‘Rom’ as a singular noun, ‘Roms’ as a plural noun, and ‘Romani’ as an adjective.
    [Show full text]
  • The Balkans of the Balkans: the Meaning of Autobalkanism in Regional Popular Music
    arts Article The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music Marija Dumni´cVilotijevi´c Institute of Musicology, Serbian Academy of Sciences and Arts, 11000 Belgrade, Serbia; [email protected] Received: 1 April 2020; Accepted: 1 June 2020; Published: 16 June 2020 Abstract: In this article, I discuss the use of the term “Balkan” in the regional popular music. In this context, Balkan popular music is contemporary popular folk music produced in the countries of the Balkans and intended for the Balkan markets (specifically, the people in the Western Balkans and diaspora communities). After the global success of “Balkan music” in the world music scene, this term influenced the cultures in the Balkans itself; however, interestingly, in the Balkans themselves “Balkan music” does not only refer to the musical characteristics of this genre—namely, it can also be applied music that derives from the genre of the “newly-composed folk music”, which is well known in the Western Balkans. The most important legacy of “Balkan” world music is the discourse on Balkan stereotypes, hence this article will reveal new aspects of autobalkanism in music. This research starts from several questions: where is “the Balkans” which is mentioned in these songs actually situated; what is the meaning of the term “Balkan” used for the audience from the Balkans; and, what are musical characteristics of the genre called trepfolk? Special focus will be on the post-Yugoslav market in the twenty-first century, with particular examples in Serbian language (as well as Bosnian and Croatian). Keywords: Balkan; popular folk music; trepfolk; autobalkanism 1.
    [Show full text]