The politics of performance: transnationalism and its limits in former Yugoslav popular music, 1999–2004
The politics of performance: transnationalism and its limits in former Yugoslav popular music, 1999–2004
This paper examines transnational relations between the Yugoslav successor states from the point of view of popular music, and demonstrates how transnational musical figures (such as Djordje Balaševi?, Mom?ilo Bajagi?-Bajaga and Ceca Ražnatovi?) are interpreted as symbolic reference points in national ethnopolitical discourse in the process of identity construction. Another symbolic function is served by Serbian turbofolk artists, who in Croatia serve as a cultural resource to distance oneself from a musical genre associated by many urban Croats with the ruralization (and Herzegovinization) of Croatian city space. In addition, value judgements associated with both Serbian and Croatian newly composed folk music provide an insight into the transnational negotiation of conflicting identities in the ex-Yugoslav context. Ultimately the paper shows how the ethnonational boundaries established by nationalizing ideologies created separate cultural spaces which themselves have been transnationalized after Yugoslavia's disintegration.
275-293
Baker, Catherine
50f848f3-f852-43ef-8bbc-a087313a779f
2006
Baker, Catherine
50f848f3-f852-43ef-8bbc-a087313a779f
Baker, Catherine
(2006)
The politics of performance: transnationalism and its limits in former Yugoslav popular music, 1999–2004.
Ethnopolitics, 5 (3), .
(doi:10.1080/17449050600911075).
Abstract
This paper examines transnational relations between the Yugoslav successor states from the point of view of popular music, and demonstrates how transnational musical figures (such as Djordje Balaševi?, Mom?ilo Bajagi?-Bajaga and Ceca Ražnatovi?) are interpreted as symbolic reference points in national ethnopolitical discourse in the process of identity construction. Another symbolic function is served by Serbian turbofolk artists, who in Croatia serve as a cultural resource to distance oneself from a musical genre associated by many urban Croats with the ruralization (and Herzegovinization) of Croatian city space. In addition, value judgements associated with both Serbian and Croatian newly composed folk music provide an insight into the transnational negotiation of conflicting identities in the ex-Yugoslav context. Ultimately the paper shows how the ethnonational boundaries established by nationalizing ideologies created separate cultural spaces which themselves have been transnationalized after Yugoslavia's disintegration.
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Ethnopolitics_article.pdf
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Published date: 2006
Organisations:
Modern Languages
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Local EPrints ID: 199235
URI: http://eprints.soton.ac.uk/id/eprint/199235
ISSN: 1744-9057
PURE UUID: c42067d7-0975-4551-9a3a-58db1ad6a162
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Date deposited: 13 Oct 2011 09:10
Last modified: 14 Mar 2024 04:15
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Author:
Catherine Baker
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