scholarly journals Yugonostalgia as a Kind of Love: Politics of Emotional Reconciliations through Yugoslav Popular Music

Humanities ◽  
2018 ◽  
Vol 7 (4) ◽  
pp. 119
Author(s):  
Ana Petrov
Keyword(s):  
Popular Music ◽  
General Relation ◽  
The People ◽  
Yugoslav Wars ◽  
Memory Practices

In the aftermath of the Yugoslav wars, listening to Yugoslav popular music has often been seen as a choice charged with political meaning, as a symptom of Yugonostalgia and as a statement against the nationalistic discourses of the post-Yugoslav states. In this article, I will show how the seemingly neutral concept of love is embedded in the music and memory practices in the post-Yugoslav context. In dealing with the issue of love, I draw on the research regarding emotions as social, cultural, and performative categories. The research included the analysis of the interconnectedness of the discourses on love and the discourse on Yugoslavia (promoted by both the performers and the audience). In addition to the striking intertwinement of the two, the actual term love was quite often used when describing the general relation to Yugoslavia, or its music in particular, or the relation of the people from the former country. Pointing to the multifarious meanings and usages of the concept of love as understood in the post-Yugoslav music space, I will argue that Yugonostalgia can be understood as a kind of love. As such, Yugonostalgia can be used for commercial purposes and be a means for the commodification of feelings and memories.

The same roles adopted by people involved in mass media enterprises, such as producers or distributors of feature films, are involved in practices surrounding personal memory artefacts such as photographs, home videos or diary entries. When the social context of such practices changes, these roles are renegotiated in relation to the people with whom we communicate and the tools we use to help us. A pilot study combined an analysis of sets of photographs taken by different participants at the same event – a wedding – with interviews that explored the phenomenological experience of engaging in memory practices connected to these photo sets. Focusing on personal photography, seven media roles were selected as a framework for examining changes in artefact-related memory practices due to shifting socio-cultural contexts and technological affordances. These roles – Creator, Director, Archivist, Gatekeeper, Distributor, Consumer and Critic – were found to be useful in highlighting individual differences in capturing, organising, reviewing and sharing photographs amongst people with varying technological engagement in varying social groupings. Preliminary findings suggest that technological affordances and constraints can change the social and cultural context of communication as well as personal goals of media production and consumption. Different media tools create subjective triggers and barriers for the adoption of roles, making some processes of media production or consumption easier or more accessible to certain types of people while other processes may become more complex or culturally inappropriate. These triggers and barriers, in combination with a continuous reconfiguration of related cultural norms, affect the adoption of roles and these roles directly affect engagement with memory artefacts. This paper forms part of a larger project that aims to explore how our changing engagement with technology is affecting our individual and collective memory practices.

2012 ◽  
pp. 27-40
Keyword(s):  
Cultural Context ◽  
Cultural Norms ◽  
Media Production ◽  
Home Videos ◽  
Feature Films ◽  
The People ◽  
Production And Consumption ◽  
The Social ◽  
Memory Practices ◽  
Technological Affordances

Mediating Culture

2015 ◽  
Author(s):  
Martijn Oosterbaan
Keyword(s):  
Popular Music ◽  
Music Industry ◽  
Gospel Music ◽  
Electronic Media ◽  
Cultural Backgrounds ◽  
Media Technologies ◽  
Life Conditions ◽  
The People ◽  
Potential Gain ◽  
The Face

This chapter seeks to show that Pentecostal musicians struggle with both the potential gain and loss of charisma owing to the current mergers between P/e and electronic media, by drawing from the case of a renowned gospel singer, Elaine Martins. Not only have media technologies transformed and expanded the “reproduction of charisma,” but they have also generated controversies about the sincerity of the performers as converts and evangelists. To defend themselves in the face of the commercialization of the gospel music industry, singers integrate prayers and testimonies into their recordings and performances. This chapter thus underscores the need to take seriously the spiritual aesthetic of popular music and its technological (re)mediation, as well as the structural life conditions and cultural backgrounds of the people involved, in understanding the localization and globalization (what some call the “glocalization”) of P/e in settings such as Brazil.

scholarly journals The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music

Arts ◽  
2020 ◽  
Vol 9 (2) ◽  
pp. 70 ◽  
Author(s):  
Marija Dumnić Vilotijević
Keyword(s):  
Popular Music ◽  
Folk Music ◽  
World Music ◽  
First Century ◽  
Special Focus ◽  
Western Balkans ◽  
Applied Music ◽  
The Balkans ◽  
The People ◽  
Musical Characteristics

In this article, I discuss the use of the term “Balkan” in the regional popular music. In this context, Balkan popular music is contemporary popular folk music produced in the countries of the Balkans and intended for the Balkan markets (specifically, the people in the Western Balkans and diaspora communities). After the global success of “Balkan music” in the world music scene, this term influenced the cultures in the Balkans itself; however, interestingly, in the Balkans themselves “Balkan music” does not only refer to the musical characteristics of this genre—namely, it can also be applied music that derives from the genre of the “newly-composed folk music”, which is well known in the Western Balkans. The most important legacy of “Balkan” world music is the discourse on Balkan stereotypes, hence this article will reveal new aspects of autobalkanism in music. This research starts from several questions: where is “the Balkans” which is mentioned in these songs actually situated; what is the meaning of the term “Balkan” used for the audience from the Balkans; and, what are musical characteristics of the genre called trepfolk? Special focus will be on the post-Yugoslav market in the twenty-first century, with particular examples in Serbian language (as well as Bosnian and Croatian).

Musique Concrètization

2011 ◽  
pp. 125-139
Author(s):  
Jean Hébert
Keyword(s):  
Popular Music ◽  
Heterogeneous Networks ◽  
Social Reproduction ◽  
Music Technology ◽  
The Past ◽  
Critical Theories ◽  
The People ◽  
The Social ◽  
Music Distribution ◽  
And Control

For the past several years, a crisis over copyright and control of music distribution has been developing. The outcome of this crisis has tremendous implications not only for the fate of commercial and creative entities involved in music, but for the social reproduction of knowledge and culture more generally. Critical theories of technology are useful in addressing these implications. This chapter introduces the concept of “concretization” (Feenberg, 1999), and demonstrates how it can be mapped onto the field of current music technologies and the lives and work of the people using them. This reading of popular music technologies resonates strongly with themes arising out of current scholarship covering the crisis of copyright and music distribution. Reading music technology in this way can yield a lucid account of the diverse trajectories and goals inherent in heterogeneous networks of participants involved with music technologies. It can also give us not only a detailed description of the relations of various groups, individuals, and technologies involved in networks of music, but also a prescriptive program for the future maintenance and strengthening of a vibrant, perhaps less intensively commercialized, and radically democratized sphere of creative exchange.

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