Invited lecture at the conference "Heritage, Performance and the Everyday" in Cape Town, in which the author discusses tensions, ambiguities, and political implications of the fact that what is negotiated as heritage in the former Yugoslavia is still part of lived experience of several generations of men and women. What is more, this heritage significantly shapes not only their memories but also their present everyday practices and self-perceptions. Discussing the case of the socialist car industry “IMV” in Novo Mesto (Slovenia), whose (former) workers managed to collect, restore and display a rich collection of cars produced in this factory, the paper deals with the questions what modes of legitimization were employed in negotiating the local industrial past as cultural heritage, how these modes relate to negotiation of heritage from the position of power, through institutionalized discourse of heritage, as well as how this case of local heritage making relates to the local community and its everyday.
B.03 Paper at an international scientific conference
COBISS.SI-ID: 35771181The lecture given at the 29th annual meeting of European ethnomusicologists that emphasized on “inadequate”, “contested” or “dissonant” musical heritages focuses on recent discussions about Yugoslav musical heritage, which suggest that musical heritage should only considered what falls into the category of cultural practices within ideological (socialist) content. The analysis deals with four dominant narratives about socialist cultural and musical practices 1) as ideologically laden (problematic ownership); 2) as non-original/non-authentic (reality “falsified” by the Communist Party – problematic value); 3) as decontextualised (without continuity and roots in the past – problematic continuity); 4) Yugoslav musical heritage as related with the everyday and popular culture, trivial and with no added value.
B.04 Guest lecture
COBISS.SI-ID: 35974445The incongruity between production and categorization during National Liberation Struggle (NOB) in Yugoslavia makes the question about partisan “national songs” particularly complex. Cultural artistic societies (KUD) established before or after WWII were the central keepers of traditional dance and musical heritage of Yugoslav nations and nationalities and they rarely featured partisan songs in their repertoires (most often performed was “Kozara kolo”). They generally avoided “ideological elements” and “infestation” of authentic folklore and grounded their repertoires on the concept of “traditional” musical and dance heritage. The paper discusses several new practices of reviving NOB musical practices in individual KUDs in the area of the former Yugoslavia.
B.03 Paper at an international scientific conference
COBISS.SI-ID: 35772205