Turbo-folk Music and Cultural Representations of National Identity in Former Yugoslavia
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Many if not all of the contributions challenge the assumptions and stereotypes connected to turbo-folk while still maintaining a critical outlook. Turbo-folk stands at the complex intersection of the various highly politicized identities in the former Yugoslavia, such as nationality, gender, sexuality, and class.
Postsocialist, post-conflict, postcolonial?
Emerging in s Yugoslavia, neofolk coincided with rapid industrialization and expansion of the urban working class in the fledgling socialist state. The new-fangled genre combined elements of Balkan folk music, strongly inflected by Ottoman colonial legacy in the region, with western pop structures and modern electric instruments. Frequently derided as overly crass, kitschy, and even foreign, neofolk nevertheless occupied a dominant position in Yugoslav socialist culture as its unacknowledged pleasure-filled underbelly.
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Reflecting on this history, many student contributions examine the afterlife of neofolk—and of Yugoslavia—in contemporary turbo-folk. The career of Lepa Brena, the neofolk singer who rose to spectacular fame in the early s, is especially interesting in this respect. If neofolk is representative of socialist Yugoslavia and its contradictions , then turbo-folk has become symbolic of its violent dissolution.
Since the s, the genre has become largely autonomous from regime politics, although the controversies around turbo-folk divas and their fans continue to linger.
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Many essays demonstrate that turbo-folk has significantly evolved in the 21 st century by reflecting more socially progressive themes. Usually delivered in days?
Meeting with Professor Dr Uroš Čvoro
Sanbook 2. Turbo-folk music is the most controversial form of popular culture in the new states of former Yugoslavia. Theoretically ambitious and innovative, this book is a new account of popular music that has been at the centre of national, political and cultural debates for over two decades.
Beginning with s Socialist Yugoslavia, UroA! AExvoro explores the cultural and political paradoxes of turbo-folk: described as 'backward' music, whose misogynist and Serb nationalist iconography represents a threat to cosmopolitanism, turbo-folk's iconography is also perceived as a 'genuinely Balkan' form of resistance to the threat of neo-liberalism.
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Pin by American University Library on New Books in | Musicals, Music, Classic
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