(Re)constructing Balkan identities through popular music

Marin Cvitanović

Space: Extent of an area, usually expressed in terms of the earth’s surface.

Absolute and relative space.

Place: Organized world of meanings (Tuan) Center endowed with meaning by human

beings (Mayhew)

Emotions

Places are important in literature, movies or art

“Genius loci”

Almost all sounds in our lives are what in semiotics is called “indexical”: their meanings are quickly understood by most humans.

Sounds and music spread over space, to particular cities or over particular channels.

Sound is heard (or listened to) and thus embodied within particular spaces or soundscapes

people who know and enjoy these sounds.

Music relatively neglected

Songs are made in characteristic circumstances, written in languages specific for certain regions and peoples, authors express their views about people, events and places relevant for a wide circle of listeners. Through music changes are registered quicker and are more recent.

Culture

Music is a means of cultural communication and a product of culture

It evokes the sense of place, as well as creates it

Quick

Regional identity not just common culutral or social characteristics

Perception of those characteristics

From inside or outside

August Zeune 1808.

Physical feature – social circumstances

“Creating” the Balkans

Internet databases → around 110 songs

Only 75 analysed which contain metaphores, coded messages or used directly to explain things

4 categories

Balkanization

1912 – 1999 → seven wars

36 out of 75 talk about the war

‘Balkan butcher is opening a new butchery’ ‘Just another war’ ‘Living in the scent of ćevapi and the smoke of

bombs

War as a common thing and the most obvious association with the region

Rebellious music Majority of the songs about the war Language is vulgar; slang

“People die for their soccer team” “Who doesn’t know how to shoot gets an F in

home economics” “Killing is a part of the folklore”

Turbo folk Gordy (1999) and Kiossev (2002) Indigenous to the Balkans Politics

Hedonism

It turns the lowermost picture of the Balkans upside down and converts the stigma into a joyful consumption of pleasures forbidden by European norms and taste.

This popular culture arrogantly celebrates the Balkans as they are: backward and Oriental, corporeal and semi-rural, rude, funny, but intimate.

As an act of counter-identification, is a kind of willing regression into a great, scandalous, Balkan "neighborhood," away from both Europe and the annoying official homelands

Binary opposition

‘Not gentle, typical Balkan guy’ ‘Never cries’ ‘Womanizer’ ‘Smells like burek, hairy and sweaty’

‘Proud, special woman’ ‘Never gives up’ ‘Made for him’ ‘So pretty it hurts’ ‘Her mini-skirt makes every guy faint’

Passive, in relation to men, “supporting role”

Yu rock scene in Slovenia Questioning the dominant political discourse

Perpetuates the idea

We’re running towards EuropeNATO is keeping us safeFrom Al Qaida, Saddam and the MosqueGo go SloveniaAuf Wiedersehen BalkanSelam aleikum

Orientalistic discourse

Perception from the inside 10% of the lyrics from Croatia, 80% from Serbia

and Bosnia Chronologically – late ’80 and early ’90

‘Balkan is elsewhere?’