Serbia Slides to the Right
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Serbia's Announced Reshuffle Reflects East
any stories on reconstruction or anydisputes”. on reconstruction any stories in herself agencythat she“didn’trecognize news Beta told Mihajlovic Zorana +381 11 4030 306 114030 +381 Political Tides Political Shifting Serbia’s Amid Easter Orthodox Page 5 [email protected] Issue No. No. Issue 249 Thursday, April 5 - Thursday, April 19, 2018 19, April 5-Thursday, April Thursday, Photo: Beta Photo: Serbia’s public broadcaster RTS, after a after RTS, broadcaster public Serbia’s ascendant. isinthe these interests of which showing government, in the influences Western and Eastern tween be battle the on light fresh cast to likely power. to came Party SerbianProgressive the since W Maja Prime Minister Ana Brnabic told told AnaBrnabic Prime Minister are changes latest the Moreover, ZIVANOVIC Museum National the in Treasures Must-See Five Page 13 ‘battle’ between pro-Russian pro-Russian between ‘battle’ ANNOUNCED ANNOUNCED reshuffle is widely seenas a widely is reshuffle the fifth in six years years fifthinsix the willbe government of the Serbian fle reshuf announced the happens, it hen RESHUFFLE RESHUFFLE and pro-Western options. pro-Western and EAST-WEST EAST-WEST because of tensions with with tensions of because Temporarily postponed postponed Temporarily government’s planned planned government’s REFLECTS REFLECTS Kosovo, the Serbian Serbian the Kosovo, SERBIA’S SERBIA’S - - BELGRADE INSIGHT IS PUBLISHED BY INSIGHTISPUBLISHED BELGRADE BATTLE to May. May. to postponed had been reshuffle the that 26. March on Djuric, Marko Kosovo, for Serbian office of head the deported and arrested Kosovo after caused tension the and reshuffle the thanever.” more ready be must thisteam and asateam, tion func “We added: She times inKosovo”. -
Belgrade Insight
Issue No. 188 Friday, July 10 - Thursday, July 23, 2015 ORDER DELIVERY TO Belgrade’s "The The YOUR DOOR +381 11 4030 303 public sector European ultimate [email protected] - - - - - - - ISSN 1820-8339 1 drivers slam Dream" EXIT survival BELGRADE INSIGHT IS PUBLISHED BY 0 1 working at Palić Lake guide conditions Page 6 Page 9 Page 10 9 7 7 1 8 2 0 8 3 3 0 0 0 Even when the Democrats longas continue to likely is This also are negotiations Drawn-out Surely the situation is urgent Many of us who have experi We feel in-the-know because bia has shown us that (a.) no single no (a.) that us shown has bia party or coalition will ever gain the governa form to required majority negotiations political (b.) and ment, will never be quickly concluded. achieved their surprising result at last month’s general election, quickly itbecame clear that the re sult was actually more-or-less the result election other every as same in Serbia, i.e. inconclusive. as Serbia’s politicians form new political parties every time disagree with they their current party reg 342 currently are (there leader political parties in Serbia). istered the norm. One Ambassador Belgrade-based recently told me he was also alarmed by the distinct lack of urgency among politicians. Serbian “The country is standstill at and a I don’t understand their logic. If they are so eager to progress towards the EU and en theycome how investors, courage go home at 5pm sharp and don’t work weekends?” overtime. -
The Global and the Local in Max Cavalera's Music
Jelena Gligorijevic THE GLOBAL AND THE LOCAL IN MAX CAVALERA’S MUSIC PROJECTS The career of the originally Brazilian trash/death metal musician Massimiliano Antonio ‘Max’ Cavalera represents an excellent case study for understanding the dynamic and complex processes of ‘glocalisation’ of music, in which the elements of the global and the local operate simultaneously across economic and cultural domains (Shuker 1994: 72). On the one hand, both Cavalera’s ex- ploration of trash/death metal as a popular music genre of Western origins, and his success on the global music market, can illustrate music’s mobility across space – facilitated by the global “fows of capital, new technologies and styles” (Connell and Gibson 2003: 18) and dictated by the efforts of transnational en- tertainment companies to continue expanding their marketplace. On the other hand, Cavalera’s hybrid music projects, which are based on a specifc fusion of metal and World Music (in particular, local musical traditions of Brazil’s in- digenous peoples), and which have come to inaugurate his ‘poetics’ from the early 1990s onwards, exemplify music’s ability to construct a particular geo- graphical location and cultural identity. The present research aims to capture and unpack this dual nature of music – both its ‘fuidity’ and ‘fxity’ – in the era of globalization using Cavalera’s musical career and output as an inspiring and instructive case in point. © SES & Jelena Gligorijevic, Etnomusikologian vuosikirja 2011, vol. 23, ss. 140 – 164. THE GLOBAL AND THE LOCAL IN MAX CAVALERA’S MUSIC PROJECTS The Extreme Metal Scene and Cavalera’s Scenic and Musical Profle Development The analysis of the multidirectional ways in which the local and the global inter- sect in Cavalera’s development can be underpinned by a number of theoretical frameworks drawing on the growing corpus of metal scholarship. -
Origins of the Movement's Strategy: the Case of the Serbian Youth
IPS34210.1177/0192512112458129International Political Science ReviewNikolayenko 4581292012 Article International Political Science Review 34(2) 140 –158 © The Author(s) 2012 Origins of the movement’s Reprints and permission: sagepub.co.uk/journalsPermissions.nav strategy: The case of the DOI: 10.1177/0192512112458129 Serbian youth movement Otpor ips.sagepub.com Olena Nikolayenko Abstract Using the case of the Serbian social movement Otpor (Resistance), this article argues that learning is critical to the development of an effective movement strategy. This article specifies three learning mechanisms: (1) participation in previous protest campaigns, (2) the cross-national diffusion of ideas, and (3) within- movement deliberation practices. The empirical analysis is based upon semi-structured interviews with former movement participants. This research seeks to contribute to the comparative democratization literature by tracing the development of the movement’s strategy in a hybrid regime falling somewhere between democracy and dictatorship. Keywords social movements, nonviolent resistance, democratization, Serbia, youth During the past few years, there has been growing interest in the study of movement strategies (Downey and Rohlinger, 2008; Ganz, 2009; Jasper, 2004, 2006; McCammon, 2012; Maney et al., 2012; Meyer and Staggenborg, 2008). Strategy is a long-term plan of action pursued by a chal- lenger organization to attain its goals, while tactics are the means used to execute the strategy. Empirical research indicates that strategy is vital to a movement’s success. Szymanski (2003), for example, demonstrates the impact of strategy on the outcome of two temperance campaigns in the USA. Similarly, McCammon (2012) shows how the use of protest tactics affected women’s struggle for changes in US jury laws. -
New Wave in Yugoslavia: Socio-Political Context Udc 316.723:78(497.11)
FACTA UNIVERSITATIS Series: Philosophy, Sociology, Psychology and History Vol. 12, No1, 2013, pp. 69 - 83 NEW WAVE IN YUGOSLAVIA: SOCIO-POLITICAL CONTEXT UDC 316.723:78(497.11) Jelena Božilović University of Niš, Faculty of Philosophy, Serbia E-mail: [email protected] Abstract. This paper analyzes the social and political implications of a popular culture music trend known as New Wave in SFRY. This trend was created in Great Britain and USA by the end of the 1970's but it "moved" to our country, as well, due to its opennes to Western culture. The Yugoslav New Wave was not a sheer copy of the Western trend but it managed to create its own original music expression becoming a phenomenon of one generation. The most popular new wave bands (Prljavo kazalište, Azra, Haustor, Film, Lajbah, Šarlo akrobata, Električni orgazam, Idoli) left a significant mark on the society, generation and the whole epoch not only in the sense of the music they created but also in the social, cultural and political sense. The New Wave was an avant-gard music trend whose ideals were reflected in simple musical forms, characteristic ideological engagement, visual presentations (music album covers and posters) and particularly in their lyrics full of irony, allusions and metaphors in relation to the establishment of the time. The paper compares the Western and Yugoslav new wave and punk music with a reference to their achievements and influence which is still present in contemporary culture. Key words: New Wave, Subculture, SFRY, Socialist ideology, Urban culture INTRODUCTION The new music trend, known as New Wave, originated in Great Britain and the Unated States of America in the late 1970s. -
Global Music Pulse
$5.95 (U.S.), $6.95 (CAN.), £4.95 (U.K.), Y2,500 (JAPAN) 11i1n11nE1n1E11nE1nE1n11n1n111 I 11,..11 #BXNCCVR 3-DIGIT 908 #90807GEE374EM002# BLBD 722 A06 B0054 001 033002 2 MONTY GREENLY 3740 ELM AVE # A LONG BEACH CA 90807 -3402 THE INTERNATIONAL NEWSWEEKLY OF MUSIC, VIDEO, AND HOME ENTERTAINMEN FEBRUARY 26, 2000 VI U.K. Troubled By New AOL Service To Tap Viacom Preps Static '99 Market Urban Entertainment Market For Net Push BY TOM FERGUSON BY DON JEFFREY and PAUL SEXTON BY GAIL MITCHELL Also as part of this agreement, and BRIAN GARRITY LONDON-On the eve of its LOS ANGELES -As online compa- AOL will take a minority stake in NEW YORK -With revenue annual celebratory, and often nies continue to jockey for ways to DME Interactive, while DME will and profit from longstanding rambunctious, Brit Awards, the reach their targeted audiences, market AOL 5.0 through its various businesses like MTV Networks, U.K. record industry doesn't America Online (AOL) has joined marketing channels. Paramount Pictures, and Block- seem in the mood to party. with Englewood Cliffs, "This is the urban buster rising strongly, Viacom is Newly pub- N.J. -based DME version of AOL, with now prepar- NEWS lished statistics Interactive Holdings to 21,,. AOL /Compu- ing a big r,.nf'M IN neWl, ir.y yucoml ANALYSIS from the British form Places of Color, a V¡,A^MEAI[A Serve as a partner," move into Phonographic new partnership aimed explains DME Interactive CEO new media with an initial pub- Industry (BPI) have confirmed at the urban market. -
Years of Sound Living: Mikser Festival in Savamala (2012–2016)*
DOI https://doi.org/10.2298/MUZ1722039M UDC 7.091.4(497.11)"2012/2016" 7.091.4.073(497.11)"2017" Years of Sound Living: Mikser Festival in Savamala (2012–2016)* Ivana Medić1 Institute of Musicology, Serbian Academy of Sciences and Arts, Belgrade, Serbia Received: 15 February 2017 Accepted: 1 June 2017 Original scientific paper Abstract: This article deals with the soundscape of Mikser, an independent festival of contemporary creativity, established in 2009 in Belgrade, the capital city of Serbia. I focus on the years 2012–2016, during which Mikser was taking place in Savamala, an urban quarter in central Belgrade – which itself has undergone various urbanistic and cultural transformations in recent years. The creative team behind Mikser aimed to turn Savamala into a permanent fixture on the map of Belgrade nightlife and a tourist hotspot; the fact that they did not succeed was on account both of financial issues and conflicting top-down business interests. My conclusion is that the long-term survival of the festival is not dependent on its program or audiences, but on securing official support and infrastructure. Keywords: Savamala, Mikser Festival, Belgrade, soundscape, soundwalk In this article I analyze the soundscape of Mikser, an independent festival of contem- porary creativity, which took place in Savamala, an urban quarter in central Belgrade, between 2012 and 2016. The reasons for choosing this period are twofold. Firstly, it * This article was written for the projectCity Sonic Ecology — Urban Soundscapes of Bern, Ljubljana and Belgrade, financed by Swiss National Science Foundation within its SCOPES program (2013–2016). Some of the research for this project was conducted as part of the project of the Institute of Musico- logy SASA Serbian Musical Identities Within Local and Global Frameworks: Traditions, Changes, Chall- enges (No. -
Sparks Fly at Serbian Christmas Page 4 Top New Year's Eve Revels Pages
Page 4 Christmas at Serbian fly Sparks BELGRADE INSIGHT IS PUBLISHED BY INSIGHTISPUBLISHED BELGRADE ORDER DELIVERY TO TO DELIVERY ORDER Festive Guide Festive [email protected] YOUR DOOR YOUR +381 11 4030 303 303 114030 +381 Friday • June 13 • 2008 NEWS NEWS 1 9 +381 11 4030 306 114030 +381 7 7 1 ISSN 1820-8339 8 2 Pages 6 and 7 6and Pages revels Eve Year’s New Top 0 8 3 3 0 0 0 0 1 Issue No. No. Issue [email protected] Issue No. 1 / Friday, June 13, 2008 EDITOR’S WORD 175 Lure of Tadic Alliance Splits Socialists Political Predictability 22,2015 January -Thursday, 26 December Friday, While younger Socialists support joining a new, pro-EU government, old By Mark R. Pullen Page 9 celebrate to reason Another Year: Serbian New Milosevic loyalists threaten revolt over the prospect. party over which way to turn. “The situation in the party seems extremely complicated, as we try to convince the few remaining lag- gards that we need to move out of Milosevic’s shadow,” one Socialist Party official complained. “Dacic will eventually side with Many of us who have experi- Tadic in a bid to guide his party into enced numerous Serbian elections the European mainstream, but much rate ourselves as pundits when it of the membership and many offi- comes to predicting election re- cials may oppose that move.” sults and post-election moves. Nikolic agreed: “The question is We feel in-the-know because will the party split or will the ‘old- our experience of elections in Ser- timers’ back down,” he noted. -
54281199.Pdf
2 FORTRESS EUROPE The Big Shiny Prison Vol. II c/o Ryan Bartek 3 **ATTN: ALL RECIPIENTS OF THIS PROMOTIONAL PDF** The First Edition of “FORTRESS EUROPE (The Big Shiny Prison Vol II)” will be released on 3/15/2016, available worldwide through Amazon.com . Its USA predecessor “THE BIG SHINY PRISON (Volume One)” was released on 2/15/2016, available worldwide through Amazon.com . Both are available through the LSI/Ingram Spark distribution network to booksellers and stores at 55% wholesale in both USA & Europe. This book will remain a Free PDF download at the author’s official website (www.BigShinyPrison.com ), and also remain Free on Kindle. Any reviews or news coverage is highly appreciated. Ryan Bartek is available for interview upon request: [email protected] Copyright © 2012 Ryan Bartek “Fortress Europe (The Big Shiny Prison Vol. II)” First Edition 2016 // All Rights Reserved. ISBN-13: 978-0692628430 ISBN-10: 0692628436 No part of this book may be physically reproduced, transmitted or digitally stored without the express, written permission of the author: “Fortress Europe (The Big Shiny Prison Vol. II)” and Anomie Press are independent of any product, vendor, company, music group or person mentioned in this book. No product, company, or person mentioned or quoted in this book have in any way financially sponsored this manuscript. No product, vendor, company, music group or person mentioned in this book directly endorses any of Mr. Bartek’s personal opinions, social or political views. **Please ask your local book store to carry books by Anomie Press. Anomie Press is a D.I.Y. -
The Global and the Local in Max Cavalera's Music Projects
Jelena Gligorijevic THE GLOBAL AND THE LOCAL IN MAX CAVALERA’S MUSIC PROJECTS The career of the originally Brazilian trash/death metal musician Massimiliano Antonio ‘Max’ Cavalera represents an excellent case study for understanding the dynamic and complex processes of ‘glocalisation’ of music, in which the elements of the global and the local operate simultaneously across economic and cultural domains (Shuker 1994: 72). On the one hand, both Cavalera’s ex- ploration of trash/death metal as a popular music genre of Western origins, and his success on the global music market, can illustrate music’s mobility across space – facilitated by the global “flows of capital, new technologies and styles” (Connell and Gibson 2003: 18) and dictated by the efforts of transnational en- tertainment companies to continue expanding their marketplace. On the other hand, Cavalera’s hybrid music projects, which are based on a specific fusion of metal and World Music (in particular, local musical traditions of Brazil’s in- digenous peoples), and which have come to inaugurate his ‘poetics’ from the early 1990s onwards, exemplify music’s ability to construct a particular geo- graphical location and cultural identity. The present research aims to capture and unpack this dual nature of music – both its ‘fluidity’ and ‘fixity’ – in the era of globalization using Cavalera’s musical career and output as an inspiring and instructive case in point. © SES & Jelena Gligorijevic, Etnomusikologian vuosikirja 2011, vol. 23, ss. 140 – 164. THE GLOBAL AND THE LOCAL IN MAX CAVALERA’S MUSIC PROJECTS The Extreme Metal Scene and Cavalera’s Scenic and Musical Profile Development The analysis of the multidirectional ways in which the local and the global inter- sect in Cavalera’s development can be underpinned by a number of theoretical frameworks drawing on the growing corpus of metal scholarship. -
NYE's Hottest Clubs Pages 4 and 5 Vučić
Pages 4 and 5 4and Pages clubs hottest NYE's BELGRADE INSIGHT IS PUBLISHED BY INSIGHTISPUBLISHED BELGRADE White City Christmas City White ORDER DELIVERY TO TO DELIVERY ORDER [email protected] YOUR DOOR YOUR +381 11 4030 303 303 114030 +381 Friday • June 13 • 2008 NEWS NEWS 1 9 +381 11 4030 306 114030 +381 7 7 1 ISSN 1820-8339 8 2 0 8 3 Page 8 in2016? nice or Naughty Vučić: 3 0 0 0 0 1 Issue No. No. Issue [email protected] Issue No. 1 / Friday, June 13, 2008 EDITOR’S WORD 197 Lure of Tadic Alliance Splits Socialists Political Predictability 21,2016 January 23-Thursday, December Wednesday, While younger Socialists support joining a new, pro-EU government, old By Mark R. Pullen Milosevic loyalists threaten revolt over the prospect. party over which way to turn. “The situation in the party seems Page 10 guide survival Year’s New extremely complicated, as we try to convince the few remaining lag- gards that we need to move out of Milosevic’s shadow,” one Socialist Party official complained. “Dacic will eventually side with Many of us who have experi- Tadic in a bid to guide his party into enced numerous Serbian elections the European mainstream, but much rate ourselves as pundits when it of the membership and many offi- comes to predicting election re- cials may oppose that move.” sults and post-election moves. Nikolic agreed: “The question is We feel in-the-know because will the party split or will the ‘old- our experience of elections in Ser- timers’ back down,” he noted. -
Rock Music in Serbia During the 1990S
“““Throwing“Throwing Stones at the SystemSystem””””:: Rock Music in Serbia during the 1990s BRANA MIJATOVIC Milosevic was brought down by rock and roll, without a doubt. Because rock is also OTPOR [the movement Resistance ], and the fist [visual symbol of OTPOR ], and our empty wallets, and running through the tear-gas, and Dinkic as a governor of the National Bank [Mladjan Dinkic is a young economist, oppositionary intellectual and a musician] and a smile that conquered the fear. 1 During the 1990s rock music in Serbia metamorphosed from urban entertainment to underground opposition and a weapon of resistance against the Slobodan Milosevic regime. The analysis of several rock songs that critically addressed political discourse, key political events, figures, and social injustices in 1990s Serbia will reveal the variety of ways in which metaphors and symbols in music functioned as a powerful political critique. In using this strategy, it is not my intention to provide an encyclopedic and chronological overview of the musical scene in Serbia in the 1990s, nor do I wish to overemphasize the significance that rock music had during those turbulent times. The purpose of this article is to provide examples which will illuminate the role of music as “a kind of cognitive praxis” and a “collective learning process” during times of political unrest. 2 What exactly did rock songs in Serbia oppose and how did they function as a “cognitive praxis”? In order to answer these two questions, I will outline briefly the political and social situation in Serbia during the 1990s and then discuss the concept of cognitive praxis in social movements as proposed by the sociologists Ron Eyerman and Andrew Jamison (1991).