The ‘System of National Cooperation’ hit factory: the aesthetic of Hungarian government-commissioned songs between 2010 and 2020

Abstract

This article addresses the relationship between popular music and populism through three government-commissioned songs, produced for occasions of national remembering during the post-2010 Orbán regime in Hungary, namely ‘Barackfa’ (2013), ‘Egy szabad országért’ (2016) and ‘Hazám, hazám’ (2020). All three songs are one-off collaborations of artists representing various music genres. We ask, firstly, what aesthetic forms make these songs potentially suitable for the performance of national unity, solidarity and the ‘people’, and secondly, how the songs’ structure, production and dissemination can be interpreted as attempts by government commissioners and creators to gain popularity. Drawing on Ostiguy's performative approach to populism, combined with the notion of collective speculation and musical affordances, we identify three main strategies of constructing the ‘people’ in the songs: singing together as sound, legacy and practice; the pop ‘mega-event’; and the use of the folk music aesthetic as ‘mother tongue’.