Remember the Nineties? Turbo-Folk as the Vanishing Mediator of Nationalism

Cvoro, Uros

doi:10.1215/17432197-1572021

Cited by 4 publications

(3 citation statements)

References 5 publications

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“…Рад се бави "оријенталном контроверзом" у фолк музици Србије и Југославије, академским и медијским наративима идентитетских подела по оси Исток-Запад, као основној имагинарној вододелници која дели "заостали", "сиромашни", "аутократски" Балкан од "прогресивне", "имућне" и "демократске" Европе. Оријенталистички и егзотизацијски механизми конструкције идентитетских подела на "нас" и "њих" на ширем простору Блиског истока и Југоисточне Европе теоријски су добро истражена тема у оквиру антропологије и сродних хуманистичких дисциплина (Said 2008;Todorova 2006;Bakić-Hayden & Hayden 1992;Bakić-Hayden 1998;Žižek 1992;Jansen 2001;Bjelić i Savić 2002;Fleming 2001;Georgiev 2012;Archer 2012;Čvoro 2012;Dumnić 2012;Pišev 2011), али у оквиру студија медија и популарне културе ови концепти не губе на актуелности када се транспонују у конкретне ситуације и контексте савремене медијске културе. Ова студија то демонстрира на случају академске и медијске рецепције дуговечног фолк састава и музичке издавачке куће Јужни ветар, настале у Београду 1980. године, а која је активна и данас.…”

Section: уводне напоменеunclassified

All that turban-folk: Orientalism and neo-folk music in Serbia

Šentevska¹

2020

Glas Etnogr inst

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In this paper I look at the ?oriental controversy? of the neo-folk music in Serbia, focusing on the changes in the perception of the longstanding Serbian-Bosnian ensemble Juzni vetar (Southern Wind) in the academic circles, media and various segments of the music industry. The affirmative attitude towards the performers and music legacy of Juzni vetar, which has in recent years gradually entered the media from the alternative (non-commercial) music and art circles, may be observed in the context of the contemporary globalized music industry which constantly challenges orientalist assumptions and divisions between East and West. The key turning point in this process is the newly-embraced understanding of Juzni vetar (and ?turban-folk? in general) as part of Serbia?s cultural heritage. Using a representative sample of academic and media comments, in this paper I shed some light on the shifts in the reception of Juzni vetar primarily as an indication of the wider changes in the reception of the Ottoman legacy and contemporary influences of the ?Orient? in the contemporary Serbian culture, not excluding the wider context of Southeastern Europe.

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Section: уводне напоменеunclassified

All that turban-folk: Orientalism and neo-folk music in Serbia

Šentevska¹

2020

Glas Etnogr inst

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“…17 св. 1 (2022) postavlja kao veoma plodno istraživačko polje koje nam štošta može reći o široj dinamici sociokulturnog života (Dragićević Šešić 1994;Gordy 1999;Jansen 2001;Kronja 2001;Đurković 2002;Kronja 2004;Đurković 2005;Simić 2006;Baker 2007;Đurković 2009;Grujić 2009;Đorđević 2010;Radović 2010;Kronja 2011;Mitrović 2011;Pišev 2011;Živković 2011;Archer 2012;Ćirjaković 2012;Čvoro 2012;Đurković 2013;Gotthardi Pavlovsky 2014;Čvoro 2014;Kovačević i Ristivojević 2014;Đurić i Ćirić 2015;Mitrović 2017;Rašić 2018;. U ovom radu sledimo opšte mesto antropologije muzike -kad antropolozi proučavaju muziku, oni ne proučavaju zvuk po sebi, već značenja koja se pripisuju muzici u određenom sociokulturnom kontekstu.…”

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"A Raindrop in the Ocean for a Kafana in the Balkans": The Balkan "Barbarogenius" in the Narratives of the Turbotronic Scene

Kulenović

Grubišić

2022

EAP / IEA

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This paper is part of ongoing research conducted by the authors which aims to map the turbotronic scene and provide an answer to the question of what music can reveal about the broader dynamic of sociocultural life in contemporary Serbia. The paper follows the paths of the anthropology of music, already well established in Serbian anthropology. It focuses on the seemingly banal, everyday discursive practices of ordinary people, situates them in a wider framework of symbolic geographies, and suggests that turbotronic narratives belong to the discourse of the Balkan "barbarogenius". The paper shows, to use Hertzfeld's terminology, "how and under what pressure people resort to stereotypes, and even represent them directly – act them out, as it were". It answers the question of where the creators of turbotronic find binary oppositions consisting of essentialist constructs, how they instrumentalize them strategically, and how they use them in negotiating power. Our analysis shows that the following value signs assigned to the key pairs of oppositions in the discourse of the "Second Serbia" – (+) Western/European : (–) Balkan, (+) civilized : (–) primitive – have switched places within turbotronic discourse, and that the following pairs of oppositions have been added – (+) emotions : (–) reason, and (+) authentic : (–) fake. We propose that the change be interpreted as a potential reflection in the literature of the wider changes in the reception of the Ottoman heritage in Serbian culture but also in the wider region of the Balkans. An analysis of ethnographic material will show why the authors of turbotronic take the side of "the people" and "ordinary folk", why they insist on the "banished Balkan heritage", and will shed light on the function and symbolic significance that the kafana (a type of Balkan pub) assumes in their narratives. Finally, we suggest directions for future research of this analytically fruitful phenomenon.

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“…It appears that, for many critics, an understanding of turbo folk remains firmly tied to the binary analytic that assesses the presence/absence of chauvinism and nationalism (Uros Cvoro 2012;Gordy 1999). Yet, as Hall posited, "the meaning of a cultural form and its place or position in the cultural field is not inscribed inside its form.…”

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confidence: 99%

Feminine Libidinal Entrepreneurship

Jelača

2014

Feminist Media Studies

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This essay examines the upward mobility appeal of Serbia's post-socialist feminine libidinal entrepreneurship rooted in the figure of the sponzoruša ("sponsored woman"), and closely tied to the aesthetics of turbo folk. Contrary to the dominant critical dismissal of the phenomenon as inherently anti-feminist, the sponzoruša figure has the potential to reveal deeply contradictory tendencies of popular culture: to both reaffirm and transgress some of society's most troubling hierarchies. Here I offer a reparative reading of the sponzoruša as a figure that deploys her very features of sexual difference towards an enactment of class mobility during precarious times. I examine how, within the performative domain of such technologically mediated, post-socialist femininity, a potentially transgressive challenge to traditional gender roles takes place. This challenge, embodied in what I call a cyborg-goddess, exposes both femininity and class identity as historically and economically contingent factors of women's material and cultural marginalization. I argue that turbo folk's sponzoruša has the potential-though not a guarantee-to short-circuit a clean boundary between nature and technology and the ways in which this binary constitutes womanhood as such.

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Remember the Nineties? Turbo-Folk as the Vanishing Mediator of Nationalism

Cited by 4 publications

References 5 publications

All that turban-folk: Orientalism and neo-folk music in Serbia

All that turban-folk: Orientalism and neo-folk music in Serbia

"A Raindrop in the Ocean for a Kafana in the Balkans": The Balkan "Barbarogenius" in the Narratives of the Turbotronic Scene

Feminine Libidinal Entrepreneurship

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