2009 Cvitanovic Balkan Soundscapes

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  • 2009 Cvitanovic Balkan Soundscapes

    1. 1. (Re)constructing Balkan identities through popular music Marin Cvitanović
    2. 2. <ul><li>Space: Extent of an area, usually expressed in terms of the earth’s surface. </li></ul><ul><li>Absolute and relative space. </li></ul><ul><li>Place: </li></ul><ul><li>O rganized world of meanings (Tuan) </li></ul><ul><li>C enter endowed with meaning by human beings (Mayhew) </li></ul><ul><li>Emotions </li></ul>
    3. 3. <ul><li>Places are important in literature, movies or art </li></ul><ul><li>“ Genius loci” </li></ul>
    4. 6. <ul><li>Almost all sounds in our lives are what in semiotics is called “indexical”: their meanings are quickly understood by most humans . </li></ul>
    5. 7. <ul><li>Sounds and music spread over space, to particular cities or over particular channels. </li></ul><ul><li>Sound is heard (or listened to) and thus embodied within particular spaces or so undscapes </li></ul><ul><li>people who know and enjoy these sounds. </li></ul>
    6. 8. <ul><li>Music relatively neglected </li></ul><ul><li>Songs are made in characteristic circumstances, written in languages specific for certain regions and peoples, authors express their views about people, events and places relevant for a wide circle of listeners. Through music changes are registered quicker and are more recent. </li></ul><ul><li>Culture </li></ul>
    7. 9. <ul><li>Music is a means of cultural communication and a product of culture </li></ul><ul><li>It evokes the sense of place, as well as creates it </li></ul><ul><li>Quick </li></ul>
    8. 10. <ul><li>Regional identity not just common culutral or social characteristics </li></ul><ul><li>Perception of those characteristics </li></ul><ul><li>From inside or outside </li></ul>
    9. 11. <ul><li>August Zeune 1808. </li></ul><ul><li>Physical feature – social circumstances </li></ul><ul><li>“ Creating” the Balkans </li></ul>
    10. 12. <ul><li>Internet databases -> around 110 songs </li></ul><ul><li>Only 75 analysed which contain metaphores, coded messages or used directly to explain things </li></ul><ul><li>4 categories </li></ul>
    11. 13. <ul><li>Balkanization </li></ul><ul><li>1912 – 1999 -> seven wars </li></ul><ul><li>36 out of 75 talk about the war </li></ul>
    12. 14. <ul><li>‘ Balkan butcher is opening a new butchery’ </li></ul><ul><li>‘ Just another war’ </li></ul><ul><li>‘ Living in the scent of ćevapi and the smoke of bombs </li></ul><ul><li>War as a common thing and the most obvious association with the region </li></ul>
    13. 15. <ul><li>Rebellious music </li></ul><ul><li>Majority of the songs about the war </li></ul><ul><li>Language is vulgar; slang </li></ul><ul><li>“ People die for their soccer team” </li></ul><ul><li>“ Who doesn’t know how to shoot gets an F in home economics” </li></ul><ul><li>“ Killing is a part of the folklore” </li></ul>
    14. 16. <ul><li>Turbo folk </li></ul><ul><li>Gordy (1999) and Kiossev (2002) </li></ul><ul><li>Indigenous to the Balkans </li></ul><ul><li>Politics </li></ul><ul><li>Hedonism </li></ul>
    15. 17. <ul><li>It turns the lowermost picture of the Balkans upside down and converts the stigma into a joyful consumption of pleasures forbidden by European norms and taste. </li></ul><ul><li>This popular culture arrogantly celebrates the Balkans as they are: backward and Oriental, corporeal and semi-rural, rude, funny, but intimate. </li></ul><ul><li>As an act of counter-identification, is a kind of willing regression into a great, scandalous, Balkan &quot;neighborhood,&quot; away from both Europe and the annoying official homelands </li></ul>
    16. 20. <ul><li>Binary opposition </li></ul><ul><li>‘ Not gentle, typical Balkan guy’ </li></ul><ul><li>‘ Never cries’ </li></ul><ul><li>‘ Womanizer’ </li></ul><ul><li>‘ Smells like burek, hairy and sweaty’ </li></ul>
    17. 21. <ul><li>‘ Proud, special woman’ </li></ul><ul><li>‘ Never gives up’ </li></ul><ul><li>‘ Made for him’ </li></ul><ul><li>‘ So pretty it hurts’ </li></ul><ul><li>‘ Her mini-skirt makes every guy faint’ </li></ul><ul><li>Passive, in relation to men, “supporting role” </li></ul>
    18. 22. <ul><li>Yu rock scene in Slovenia </li></ul><ul><li>Questioning the dominant political discourse </li></ul><ul><li>Perpetuates the idea </li></ul>
    19. 23. <ul><li>We’re running towards Europe NATO is keeping us safe From Al Qaida, Saddam and the Mosque Go go Slovenia Auf Wiedersehen Balkan Selam aleikum </li></ul>
    20. 24. <ul><li>Orientalistic discourse </li></ul>
    21. 25. <ul><li>Perception from the inside </li></ul><ul><li>10% of the lyrics from Croatia, 80% from Serbia and Bosnia </li></ul><ul><li>Chronologically – late ’80 and early ’90 </li></ul><ul><li>‘ Balkan is elsewhere?’ </li></ul>

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