Multiple Cultural Encounters of Urban Youth in Russia’s Muslim Regions

Maslovskiy, Mikhail; Maiboroda, Alina; Garifzianova, Al'bina

doi:10.1080/07256868.2018.1508005

Cited by 2 publications

(1 citation statement)

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“…(Laughs) (M_27_Tatar_Bulgar_Postmetal) At the same time, Baradj reproduces more likely a European musical style focused on urban Tatars and, moreover, on the audience who does not know the Tatar language, who live outside Tatarstan. That is why they are not only the representatives of Tatar alternative music, representing what the ancestors of the Tatars -the Bulgars were, but also their own lifestyle associated with creativity, constructs a certain elitism, which makes their music unusual for most (Maslovskiy et al, 2018). On the one hand, this relationship with elitism is seen in the specifics of the musical product -a combination of the European musical style (heavy metal) with the Bulgarian heritage plus the Tatar language are complex cultural codes, and many do not understand such music often.…”

Section: (M_40_music Scene_underground_expert_garifzyanova_kazan_5)mentioning

confidence: 99%

Construction of Historical Memory through Youth Music: Example of the City of Kazan

Garifzianova

Ozerova

2019

TAKSAD

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This article is devoted not only to how language, traditions and the past can serve as a creative resource for the creative activity of youth, but also about the ways music becomes a tool for social memory development by youth at the level of everyday life. In this article we want to consider how the historical memory of modern youth is actualized through cultural practices and interests. Actualization should be understood on the one hand, as referring to the themes of the past, not only to legitimize certain decisions of the state, social movements and public persons, but also to justify, with the help of the past, a certain assessment of current events and incitement to action. Also, a significant layer of research draws attention to the creation of symbolic objects (including music) to demonstrate the specific content of historical representations of various groups and those remembering practices that are relevant to them. Moreover, the level of these practices can be both organized, associated with the actions of formal institutions (the World Forum of Tatar Youth, for example), and relate to direct interaction between people at the everyday level -in our study the thing is about the latter. Footnotes 1 This article was prepared as the part of the RNF project "Creative fields of interethnic interaction and youth cultural scenes of Russian cities" by the HSE Center for Youth Studies, the curator is the professor of HSE St. Petersburg Omelchenko E.L. 2 In 2015, Z. Bikmukhametova took an interview as the part of an individual case study under the scientific supervision by A. Garifzyanova.

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Section: (M_40_music Scene_underground_expert_garifzyanova_kazan_5)mentioning

confidence: 99%