The book sheds light on the phenomenon of re-actualisation of partisan songs in the post-Yugoslav societies since 2000 onwards. It researches why the partisan songs continue attracting attention and affect the most sensitive social strings, how many and whether they are a symbol of resistance to nationalism and new fascisms of today, and whether and how they call for solidarity in the post-Yugoslav societies and for struggle for the transformation of social relations. Using the case of re-actualization of partisan songs, the book exhibits thinking about the political potential of music and sound, but also talks about the challenges and difficulties of thought and practice of socio-musical engagements in the circumstances of the global neoliberal capitalism.
COBISS.SI-ID: 223274508
This article argues that after the disintegration of Yugoslavia, Yugoslav rock music lost little cultural value and is still a prominent trigger of vernacular memories of the socialist Yugoslav past, as well as a vehicle of socio-political commentary in post-Yugoslav contexts. In this view, music is understood as a galvaniser of affective relationships to that past and to post-Yugoslav presents. In the first part of the article, the author discusses the theoretical and practical implications of digitally mediated music as immersive affective environments, working within the framework of media archaeology and a digital archives approach. In the second part of the article, focusing on Facebook and YouTube, the author investigates how Yugoslav rock has been reframed in social media and how fragments of the country’s past are reframed in digital media environments.
COBISS.SI-ID: 38721837
The power of music to bring people across newly established national borders even during the ethnic conflict and dissolution of socialist Yugoslavia has been particularly appealing to scholars. Reflecting on the complex relationship between the affective, the aural, and the political, this issue points out the limits of existing interpretative discourses of music and memory in post-Yugoslav spaces, which underplay the lived intensity of the sensory experiences, emotional investment, and the affective technologies of remembering the past.
COBISS.SI-ID: 38937389
The war in Bosnia and Herzegovina, between 1992 and 1995, caused mass migrations. Tens of thousands of refugees from the war-torn country found their (temporary) home in Slovenia, including large number of teenagers. This article, based on in-depth interviews and archive research, aims to present creative engagement of young refugees in the refugee centre Trnovo in the town of Ilirska Bistrica. The article focuses on the career of punk rock group Nešto između and its artistic counterpart Sprung. It intends to widen the ethnomusicological perspective on refugees’ music-making from the study of traditional forms, e.g. sevdalinka, to the search for musical heterogeneity and creativity within the refugee environment. The article highlights the material and social conditions under which refugees’ creativity was evolving and demonstrates how artistic engagement helped a group of teenagers to change the monotony of everyday life in the refugee centre and beyond.
COBISS.SI-ID: 58681954
The author critically examines usability of the notion of authenticity in studies of music, and based on examples from Slovenia and former Yugoslavia (especially music of the Roma), he concludes that identification processes always include simultaneous inclusion and exclusion. Therefore, any phenomenon related to communication in music, is at the same time factor of inclusion and exclusion of individuals and human groups. When we add false perception in linking music and community, we can only deduce that authenticity, as theoretical term, is worthless and without any epistemological meaning.
COBISS.SI-ID: 51384162