The Sevdalinka in Exile, Revisited: Young Bosnian Refugees’ Music-Making in Ljubljana in the 1990s (A Note on Applied Ethnomusicology)

Kozorog, Miha; Bartulović, Alenka

doi:10.15176/vol52no106

Cited by 4 publications

(3 citation statements)

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“…While anthropology has long been concerned with creativity, art, and cultural production, relatively little attention has been paid to the relationship between art and migration. Some examples include issues of music in transnational, refugee, or diasporic contexts (e.g., Aparicio and Jáquez 2003;Baily and Collyer 2006;O'Neill 2008;Kozorog and Bartulović 2015;Molek 2017), while performative and particularly visual arts in migration/mobility contexts have been less frequently studied from an anthropological perspective (e.g., Toplak 2008;Repič 2017;Molek et al 2017). Examples from sociology and other disciplines have demonstrated for example the importance of studying the links between migration and art for understanding urban multicultural contexts (e.g., Harris 2013;DiMaggio and Fernandez-Kelly 2010) or highlighted migrants' political participation (e.g., Lafleur and Martiniello 2009;Martiniello 2014).…”

Section: Anthropological Takes On the Arts And Migrationmentioning

confidence: 99%

Violence, Exile, and Homeland in Visual Arts in the Slovenian Diaspora in Argentina

Repič

2023

Arts

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This article explores visual arts and literature in the Slovenian diasporic community in Argentina, founded by post-World-War-II refugees who fled Slovenia at the end of the war and the beginning of the communist revolution in Yugoslavia. Based on the ethnographic data collected among the Slovenes in Argentina and biographical interviews with selected Slovene artists, the article addresses how art and cultural production in the diaspora, imbued with social memories and themes of war, violence, mass executions in the post-war period, and exile from the homeland is encompassed in three levels of cultural policies: (a) an Argentinean framework of cultural pluralism that integrated migrant communities into the national identity and narrative, allowing them to preserve and express their ethnic and cultural backgrounds and identities; (b) a diasporic level that institutionalized specific themes important for diasporic ideologies, some explicitly related to violence, exile, and mass executions; and (c) a transnational level that facilitated the integration of artists from the diaspora into Slovenian and international “art worlds”. These cultural policies were often contradictory and required artists to shift between inclusion in the Argentinean art domain and the diasporic one, which favored partial social exclusivism.

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Section: Anthropological Takes On the Arts And Migrationmentioning

confidence: 99%

Violence, Exile, and Homeland in Visual Arts in the Slovenian Diaspora in Argentina

Repič

2023

Arts

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“…Some scholars for example have addressed music in transnational, refugee or diasporic contexts (e.g. Aparicio, Jáquez 2003;Baily, Collyer 2006;O'Neill 2008;Kozorog, Bartulović 2015), whereas performative and particularly visual arts in migration/mobility contexts were less often studied from the anthropological perspective. Hence, the relationship between creativity and individual and social experiences of mobility -in this particular case art in experiences of diaspora and return mobilities -deserve more attention from various focal points.…”

Section: Anthropological Analysis Of the Arts In Various Contexts Of ...mentioning

confidence: 99%

The Impact of Mobilities on Visual Arts in the Slovenian Diaspora in Argentina

Repič¹

2017

DveDom

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The article addresses the impact of experiences of mobilities on visual arts in the Slovenian diaspora in Argentina. It aims to explore the question of how artistic creativity is related to individual and collective experiences of migration, life in diaspora and return mobilities. It approaches art as processual, relational and embedded in broader social, political and cultural contexts. Hence, such an analysis facilitates not only an understanding of individual experiences and worldviews, but also of the broader conceptualisation of art within particular socio-historical contexts. It explores how artists in diaspora imagine, express and constitute their relations with the homeland and their understanding of the past. By juxtaposing their art production with their life histories and trajectories as well as broader socio-historical contexts, the article explores intersections and correspondences between mobility and visual art, and raises the question of how diasporic sociality influences artists and their works as well as how artworks in turn create sociality.

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“…Migrants and refugees are increasingly recognised as a (potentially) innovative and creative force that makes a crucial contribution to the art scenes of their new or temporary homes (Cohen 1997;Baily, Collyer 2006). We have previously noted that the exploration of refugee creativity is frequently captured in a rigid identitarian framework (Kozorog 2015;Kozorog, Bartulović 2015), interpreted simply as the preservation of national/ethnic identity in exile. In such context other dimensions of art and creativity by migrants and refugees are often overlooked, including the process of the emergence of new identities, among others gender identities and the transformation of the power relations within and beyond the refugee community.…”

Section: Introductionmentioning

confidence: 99%

Gender and Music-Making in Exile: Female Bosnian Refugee Musicians in Slovenia

Bartulović¹,

Kozorog²

2017

DveDom

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This article explores the role of Bosnian refugee women in the music-making and organisational activities of two refugee bands (Dertum and Vali) in Slovenia in the early 1990s. Endorsing the ideas about the transformative power of art and looking beyond the dominant identitarian doxa that views music-making in exile as simply the preservation of the ethnic/national identity in a new context, the article places particular emphasis on the active role of women as creative agents of social change. It traces their role ethnographically not only in the process of reinvention of a traditional musical genre (the sevdalinka), but also in identity negotiations and transformation of the gender and power relations within and beyond the boundaries of the heterogeneous Bosnian refugee community, which had been shaped by the strict Slovenian migration policy.

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The Sevdalinka in Exile, Revisited: Young Bosnian Refugees’ Music-Making in Ljubljana in the 1990s (A Note on Applied Ethnomusicology)

Cited by 4 publications

References 0 publications

Violence, Exile, and Homeland in Visual Arts in the Slovenian Diaspora in Argentina

Violence, Exile, and Homeland in Visual Arts in the Slovenian Diaspora in Argentina

The Impact of Mobilities on Visual Arts in the Slovenian Diaspora in Argentina

Gender and Music-Making in Exile: Female Bosnian Refugee Musicians in Slovenia

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