The topic of this research is understanding a two-way relationship between the concepts of music ... more The topic of this research is understanding a two-way relationship between the concepts of music and place. The hypothesis I am starting from is that music has an “ability" to create an identity of a certain space. More specifically, that would mean that music can have an impact on the establishing a set of images and knowledge of a specific city through daily social interactions (such as socialising, going out, going to concerts). In this case, “an identity of a city", comprises everything that is identified as an important identification mark within a specific sociocultural context and understood in that way, can be reflected in different physical places (e.g. a club, cultural center, café, park, square), and in various modes of everyday living in that particular city and in experiences that evolve from it (e.g. daily routes within a city, a specific style of speech, topics for conversation). The example which I have chosen to analyse this relationship on is the new wave rock-and-roll music scene in Belgrade in the eighties. Although this music phenomenon is not something that accounts for an original local product, it possesses its local authenticity. Therefore, my goal is to explore the process of creating that specific Belgrade identity, and draw attention to the features which make the authentic local phenomenon of this musical “wave". Analyzing current narratives about this phenomenon in the local discourse, I endeavor to identify and abstract the key elements of the “new wave" Belgrade identity and consider them in the light of the theories (in the first place anthropological) which treat music and place as a sociocultural (and therefore contextually dependent and fluid) categories. The analysis is based on the interviews which have been made during the summer of 2011.
World music is a hybrid musical form which is based on traditional elements. Being a product of g... more World music is a hybrid musical form which is based on traditional elements. Being a product of growing interaction between people, intensive cross-cultural flows and technological achievements, world music became a complex cultural phenomenon. Some authors think that this concept presents a new kind of imperialism over, so-called, Third World countries, while the others see it as a possibility for promoting ‟the Other", ‟non-Western" music. The popularity of this musical form is evident in numerous specialised festivals, magazines, new performers, but also in the fact that world music became a relevant topic of academic research and curriculums. In Serbia, world music presents a phenomenon in the making, the scene is not developed enough (the lack of media coverage, publishing and so forth). Despite all that, there is an evident effort that this type of musical expression comes to life locally. World Music Association of Serbia is one such example. The members of this association launched series of activities that seek for better visibility of this phenomenon. They started a magazine Etnoumlje, established an independent recording company WMAS Records and SWM internet radio, a project of registration of Serbian world music groups and musicians. The first festival, Etnomus, was active from 1997-2006. In August 2012, the new festival in Takovo – Serbia World Music Festival was started. This study presents an anthropological analysis of world music phenomenon. The attention is focused on interpreting the term "world music", in Western and local context, and then it reviews the perceptions and usages of this concept by musicians and audiences. A theoretical frame of this work consists of perspectives of two ethnomusicologists – Lauren Aubert and John Blacking, who treat music as a cultural phenomenon. The analysis is divided into three parts: world music in Serbia, world music in the world, and comparison of local example and global flows. Material that is used in the first part of the analysis consists of interviews with informants who deal with ethnomusic, while the other part is based on relevant literature and internet sources.
Zbornik Antropologija muzike predstavlja u najvećoj meri skup radova o dve noseće teme - o rok mu... more Zbornik Antropologija muzike predstavlja u najvećoj meri skup radova o dve noseće teme - o rok muzici i folk muzici. Zbornik otvara tekst Bojana Žikića koji, sa stanovišta kognitivne antropologije, posmatra muzičke žanrove, a potom slede dve pomenute celine. Analizom različitih aspekata rok muzike bave se Marija Ristivojević (beogradski "Novi talas"), Aleksandar Raković, gost-istoričar, (rokenrol i sukobgeneracija), Bojan Žikić (Pop pesma), Ana Banić Grubišić (romski hip-hop) I Marina Simić (Exit).
Deo o folk muzici započinje rad Marije Ristivojević o "etno-muzici" ili world music, da bi se sledeći radovi bavili domaćim folkom. Festival u Guči je predmet analize u tekstu Marije Krstić, dok je sevdalinka obrađena u dva rada Davora Petrovića. Tekst o novim narodnim pesmama napisao je Ivan Čolović, a
mitološke elemente likova u novokomponovanoj muzici analizirao je Marko Stojanović, dok su se Ivan Đorđević i Srđan Radović bavili recepcijom balkanske neofolk muzike u Sloveniji.
Antropološko istraživanje – sprovedeno u periodu od 2020. do 2022. godine – dizajnirano je s cilj... more Antropološko istraživanje – sprovedeno u periodu od 2020. do 2022. godine – dizajnirano je s ciljem da uputi u najvažnija pitanja koja se odnose na strukturalne preduslove za rad u starosti, ali i na motive trinaest sagovornika za preduzimanje poslovnih aktivnosti nakon penzionisanja. Na ovaj način bilo je moguće odgovoriti i na neka ključna pitanja koja se tiču kvaliteta života u starosti, i to na osnovu procena ljudi koji ga žive, što je u skladu sa antropološkom orijentacijom preduzetog kvalitativnog istraživanja. Rad u starosti bio je tako shvatan ili kao preimućstvo ili kao egzistencijalna nužnost, što je dalje imalo implikacija i na pojedine strategije delovanja pojedinaca. Među njima, kao najznačajnije, izdvajaju se one koje podrazumevaju nastavak rada u okviru ranijih obrazovnih i radnih usmerenja ili pak potpunu promenu delatnosti od one u kojoj su ostvarili pravo na penziju. Na osnovu dobijenih etnografskih podataka bilo je moguće konstatovati i specifičan vid preduzetništva poput srebrnog preduzetništva, pored rada u okviru neformalne ekonomije i/ili prema propisanim zakonskim rešenjima.
Ovaj rad je posvećen analizi kulturnih predstava o (muzičkom) novom talasu u jugoslovenskom konte... more Ovaj rad je posvećen analizi kulturnih predstava o (muzičkom) novom talasu u jugoslovenskom kontekstu u poslednjih deset godina (do 2020ih). Svako obeležavanje određenog jubileja sa sobom nosi pregršt značenja koja se određenom događaju pripisuju kroz sećanja i nostalgične narative. Inspirisana teorijskim osvrtom Beneta i Rodžersa u delu "Popularne muzičke scene i kultura sećanja" (2016) o "naletima sećanja" u kreiranju i konzumiranju popularne muzike, osnovna ideja je bila da pratim na koji način se danas proizvodi narativ o novom talasu. Analizom različitih manifestacija koje su organizovane na prostorima bivše Jugoslavije u poslednjih deset godina, a koje za povod imaju novi talas, nastojim da identifikujem kulturne predstave o ovom fenomenu, te da izdvojim njene ključne elemente koji se ponavljaju. Svaka analizirana manifestacija je bila medijski propraćena, te su se zbog toga internet izvori nametnuli kao plodan materijal u ovom istraživanju.
The development of the Internet and digital technologies has influenced the ever-greater migratio... more The development of the Internet and digital technologies has influenced the ever-greater migrations of printed content to the digital sphere (blogs, online media, Internet portals, social networks), which has also brought with itself changes in readers' habits and in the concept and format of texts as wells. Music press is no exception in that respect. In the context of South European states, these processes coincide with the period of political, social, cultural and economic transition, giving rise to the development of numerous regional and local specific forms of popular culture. The existence of the SFRY as a shared state enabled the creation of an authentic cultural space, which continued to develop even after its disintegration.
Umetnost i kultura danas: umetničko nasleđe, savremeno stvaralaštvo i obrazovanje ukusa: zbornik radova sa naučnog skupa, 2018
U radu se razmatraju odrednice tradicionalno i moderno kroz sagledavanje njihovog međusobnog odno... more U radu se razmatraju odrednice tradicionalno i moderno kroz sagledavanje njihovog međusobnog odnosa. Primer na kojem nastojim da ukažem na komplementarni, a ne antagonistički odnos ovih koncepata, jeste muzički žanr etno pank. Sam žanr neće biti razmatran u muzičkom niti vrednovan u estetskom smislu, već će biti analiziran kao kulturni fenomen ponikao u vreme kada je sve više moderno biti tradicionalan.
Uloga muzike u konstrukciji identiteta je tema kojoj se sve više poklanja pažnja u antropološkim,... more Uloga muzike u konstrukciji identiteta je tema kojoj se sve više poklanja pažnja u antropološkim, etnomuzikološkim, muzikološkim, sociološkim naučnim krugovima. Rad se bavi razmatranjem odnosa muzike i etničkog identiteta kroz osvrt na popularne koncepte world music i etno muzike, kako u svetu tako i na domaćem terenu. Osnovna teza od koje se u radu polazi jeste da je muzika, osim što je proizvod jedne kulture, takođe i aktivni činilac koji tu kulturu konstruiše, a kroz nju i određene etničke identitete. Budući da je muzika, kao koncept, neodvojiva od čoveka, tako i ova problematika zahteva širu perspektivu, odnosno sagledavanje muzike u međuodnosu sa konceptima kulture i identiteta. Cilj rada je da se istakne ona "aktivna" strana muzike, odnosno da se, kroz analizu pomenutog međuodnosa, pokaže kako muzika može biti moćna kada je reč o kreiranju određenih predstava. Na taj način shvaćena, muzika predstavlja relevantan antropološki problem.
U radu se analizira Bahtinov koncept karnevala. Za Bahtina karneval ima svoju logiku, filozofiju,... more U radu se analizira Bahtinov koncept karnevala. Za Bahtina karneval ima svoju logiku, filozofiju, zakone. Svoje tumačenje ove svetkovine autor prezentuje na više mesta, međutim, ovom temom se ipak najviše bavi u radu "Stvaralaštvo Fransoa Rablea i narodna kultura srednjega veka i renesanse". Kroz razmatranje pomenutog Bahtinovog dela, kao i radova drugih autora koji se bave ovom problematikom, teži se jednom sistematičnom prikazivanju koncepta karnevala, kao i razumevanju značaja i velike popularnosti ove teorije među teoretičarima kulture i društva. Ključne reči: Bahtin, teorija karnevala, kritika kulture
The paper problematizes the understanding of the concept of tradition in the context of the world... more The paper problematizes the understanding of the concept of tradition in the context of the world music phenomenon. Marketed as a hybrid music genre, from the perspective of anthropological theory, the world music genre is a complex cultural phenomenon, the result of mixing global and local influences which are reflected not only in the creation of a specific sound, but through different perceptions of music itself (the audience, musicians, producers, creators of cultural policies etc.) By analyzing the Serbian world music scene as exemplified by the work of the World Music Association of Serbia, as well as the Serbia World Music Festival in Takovo, I will attempt to determine the way in which the concept of world music is perceived in local narratives, whether it is experienced as a form of musical tradition and if so, what is signified and represented as tradition in this context.
This article analyses the perception of the eighties in SFRY based on the example of a TV show Cr... more This article analyses the perception of the eighties in SFRY based on the example of a TV show Crno-bijeli svijet. The basic thesis is that the eighties are a particular cultural construct whose meanings are continuously (re)produced between a producer and a consumer, in this case between the author of the TV show and the audience. The article aims to illustrate the process of construction of the period in question by revealing meanings assigned to it as well as to answer the question why the eighties as such should be a relevant anthropological topic. Apart from the episodes of the show, the material for the analysis includes the comments of the audience derived from discussion on the internet forum Forum.hr.
The topic of this research is understanding a two-way relationship between the concepts of music ... more The topic of this research is understanding a two-way relationship between the concepts of music and place. The hypothesis I am starting from is that music has an “ability" to create an identity of a certain space. More specifically, that would mean that music can have an impact on the establishing a set of images and knowledge of a specific city through daily social interactions (such as socialising, going out, going to concerts). In this case, “an identity of a city", comprises everything that is identified as an important identification mark within a specific sociocultural context and understood in that way, can be reflected in different physical places (e.g. a club, cultural center, café, park, square), and in various modes of everyday living in that particular city and in experiences that evolve from it (e.g. daily routes within a city, a specific style of speech, topics for conversation). The example which I have chosen to analyse this relationship on is the new wave rock-and-roll music scene in Belgrade in the eighties. Although this music phenomenon is not something that accounts for an original local product, it possesses its local authenticity. Therefore, my goal is to explore the process of creating that specific Belgrade identity, and draw attention to the features which make the authentic local phenomenon of this musical “wave". Analyzing current narratives about this phenomenon in the local discourse, I endeavor to identify and abstract the key elements of the “new wave" Belgrade identity and consider them in the light of the theories (in the first place anthropological) which treat music and place as a sociocultural (and therefore contextually dependent and fluid) categories. The analysis is based on the interviews which have been made during the summer of 2011.
World music is a hybrid musical form which is based on traditional elements. Being a product of g... more World music is a hybrid musical form which is based on traditional elements. Being a product of growing interaction between people, intensive cross-cultural flows and technological achievements, world music became a complex cultural phenomenon. Some authors think that this concept presents a new kind of imperialism over, so-called, Third World countries, while the others see it as a possibility for promoting ‟the Other", ‟non-Western" music. The popularity of this musical form is evident in numerous specialised festivals, magazines, new performers, but also in the fact that world music became a relevant topic of academic research and curriculums. In Serbia, world music presents a phenomenon in the making, the scene is not developed enough (the lack of media coverage, publishing and so forth). Despite all that, there is an evident effort that this type of musical expression comes to life locally. World Music Association of Serbia is one such example. The members of this association launched series of activities that seek for better visibility of this phenomenon. They started a magazine Etnoumlje, established an independent recording company WMAS Records and SWM internet radio, a project of registration of Serbian world music groups and musicians. The first festival, Etnomus, was active from 1997-2006. In August 2012, the new festival in Takovo – Serbia World Music Festival was started. This study presents an anthropological analysis of world music phenomenon. The attention is focused on interpreting the term "world music", in Western and local context, and then it reviews the perceptions and usages of this concept by musicians and audiences. A theoretical frame of this work consists of perspectives of two ethnomusicologists – Lauren Aubert and John Blacking, who treat music as a cultural phenomenon. The analysis is divided into three parts: world music in Serbia, world music in the world, and comparison of local example and global flows. Material that is used in the first part of the analysis consists of interviews with informants who deal with ethnomusic, while the other part is based on relevant literature and internet sources.
Zbornik Antropologija muzike predstavlja u najvećoj meri skup radova o dve noseće teme - o rok mu... more Zbornik Antropologija muzike predstavlja u najvećoj meri skup radova o dve noseće teme - o rok muzici i folk muzici. Zbornik otvara tekst Bojana Žikića koji, sa stanovišta kognitivne antropologije, posmatra muzičke žanrove, a potom slede dve pomenute celine. Analizom različitih aspekata rok muzike bave se Marija Ristivojević (beogradski "Novi talas"), Aleksandar Raković, gost-istoričar, (rokenrol i sukobgeneracija), Bojan Žikić (Pop pesma), Ana Banić Grubišić (romski hip-hop) I Marina Simić (Exit).
Deo o folk muzici započinje rad Marije Ristivojević o "etno-muzici" ili world music, da bi se sledeći radovi bavili domaćim folkom. Festival u Guči je predmet analize u tekstu Marije Krstić, dok je sevdalinka obrađena u dva rada Davora Petrovića. Tekst o novim narodnim pesmama napisao je Ivan Čolović, a
mitološke elemente likova u novokomponovanoj muzici analizirao je Marko Stojanović, dok su se Ivan Đorđević i Srđan Radović bavili recepcijom balkanske neofolk muzike u Sloveniji.
Antropološko istraživanje – sprovedeno u periodu od 2020. do 2022. godine – dizajnirano je s cilj... more Antropološko istraživanje – sprovedeno u periodu od 2020. do 2022. godine – dizajnirano je s ciljem da uputi u najvažnija pitanja koja se odnose na strukturalne preduslove za rad u starosti, ali i na motive trinaest sagovornika za preduzimanje poslovnih aktivnosti nakon penzionisanja. Na ovaj način bilo je moguće odgovoriti i na neka ključna pitanja koja se tiču kvaliteta života u starosti, i to na osnovu procena ljudi koji ga žive, što je u skladu sa antropološkom orijentacijom preduzetog kvalitativnog istraživanja. Rad u starosti bio je tako shvatan ili kao preimućstvo ili kao egzistencijalna nužnost, što je dalje imalo implikacija i na pojedine strategije delovanja pojedinaca. Među njima, kao najznačajnije, izdvajaju se one koje podrazumevaju nastavak rada u okviru ranijih obrazovnih i radnih usmerenja ili pak potpunu promenu delatnosti od one u kojoj su ostvarili pravo na penziju. Na osnovu dobijenih etnografskih podataka bilo je moguće konstatovati i specifičan vid preduzetništva poput srebrnog preduzetništva, pored rada u okviru neformalne ekonomije i/ili prema propisanim zakonskim rešenjima.
Ovaj rad je posvećen analizi kulturnih predstava o (muzičkom) novom talasu u jugoslovenskom konte... more Ovaj rad je posvećen analizi kulturnih predstava o (muzičkom) novom talasu u jugoslovenskom kontekstu u poslednjih deset godina (do 2020ih). Svako obeležavanje određenog jubileja sa sobom nosi pregršt značenja koja se određenom događaju pripisuju kroz sećanja i nostalgične narative. Inspirisana teorijskim osvrtom Beneta i Rodžersa u delu "Popularne muzičke scene i kultura sećanja" (2016) o "naletima sećanja" u kreiranju i konzumiranju popularne muzike, osnovna ideja je bila da pratim na koji način se danas proizvodi narativ o novom talasu. Analizom različitih manifestacija koje su organizovane na prostorima bivše Jugoslavije u poslednjih deset godina, a koje za povod imaju novi talas, nastojim da identifikujem kulturne predstave o ovom fenomenu, te da izdvojim njene ključne elemente koji se ponavljaju. Svaka analizirana manifestacija je bila medijski propraćena, te su se zbog toga internet izvori nametnuli kao plodan materijal u ovom istraživanju.
The development of the Internet and digital technologies has influenced the ever-greater migratio... more The development of the Internet and digital technologies has influenced the ever-greater migrations of printed content to the digital sphere (blogs, online media, Internet portals, social networks), which has also brought with itself changes in readers' habits and in the concept and format of texts as wells. Music press is no exception in that respect. In the context of South European states, these processes coincide with the period of political, social, cultural and economic transition, giving rise to the development of numerous regional and local specific forms of popular culture. The existence of the SFRY as a shared state enabled the creation of an authentic cultural space, which continued to develop even after its disintegration.
Umetnost i kultura danas: umetničko nasleđe, savremeno stvaralaštvo i obrazovanje ukusa: zbornik radova sa naučnog skupa, 2018
U radu se razmatraju odrednice tradicionalno i moderno kroz sagledavanje njihovog međusobnog odno... more U radu se razmatraju odrednice tradicionalno i moderno kroz sagledavanje njihovog međusobnog odnosa. Primer na kojem nastojim da ukažem na komplementarni, a ne antagonistički odnos ovih koncepata, jeste muzički žanr etno pank. Sam žanr neće biti razmatran u muzičkom niti vrednovan u estetskom smislu, već će biti analiziran kao kulturni fenomen ponikao u vreme kada je sve više moderno biti tradicionalan.
Uloga muzike u konstrukciji identiteta je tema kojoj se sve više poklanja pažnja u antropološkim,... more Uloga muzike u konstrukciji identiteta je tema kojoj se sve više poklanja pažnja u antropološkim, etnomuzikološkim, muzikološkim, sociološkim naučnim krugovima. Rad se bavi razmatranjem odnosa muzike i etničkog identiteta kroz osvrt na popularne koncepte world music i etno muzike, kako u svetu tako i na domaćem terenu. Osnovna teza od koje se u radu polazi jeste da je muzika, osim što je proizvod jedne kulture, takođe i aktivni činilac koji tu kulturu konstruiše, a kroz nju i određene etničke identitete. Budući da je muzika, kao koncept, neodvojiva od čoveka, tako i ova problematika zahteva širu perspektivu, odnosno sagledavanje muzike u međuodnosu sa konceptima kulture i identiteta. Cilj rada je da se istakne ona "aktivna" strana muzike, odnosno da se, kroz analizu pomenutog međuodnosa, pokaže kako muzika može biti moćna kada je reč o kreiranju određenih predstava. Na taj način shvaćena, muzika predstavlja relevantan antropološki problem.
U radu se analizira Bahtinov koncept karnevala. Za Bahtina karneval ima svoju logiku, filozofiju,... more U radu se analizira Bahtinov koncept karnevala. Za Bahtina karneval ima svoju logiku, filozofiju, zakone. Svoje tumačenje ove svetkovine autor prezentuje na više mesta, međutim, ovom temom se ipak najviše bavi u radu "Stvaralaštvo Fransoa Rablea i narodna kultura srednjega veka i renesanse". Kroz razmatranje pomenutog Bahtinovog dela, kao i radova drugih autora koji se bave ovom problematikom, teži se jednom sistematičnom prikazivanju koncepta karnevala, kao i razumevanju značaja i velike popularnosti ove teorije među teoretičarima kulture i društva. Ključne reči: Bahtin, teorija karnevala, kritika kulture
The paper problematizes the understanding of the concept of tradition in the context of the world... more The paper problematizes the understanding of the concept of tradition in the context of the world music phenomenon. Marketed as a hybrid music genre, from the perspective of anthropological theory, the world music genre is a complex cultural phenomenon, the result of mixing global and local influences which are reflected not only in the creation of a specific sound, but through different perceptions of music itself (the audience, musicians, producers, creators of cultural policies etc.) By analyzing the Serbian world music scene as exemplified by the work of the World Music Association of Serbia, as well as the Serbia World Music Festival in Takovo, I will attempt to determine the way in which the concept of world music is perceived in local narratives, whether it is experienced as a form of musical tradition and if so, what is signified and represented as tradition in this context.
This article analyses the perception of the eighties in SFRY based on the example of a TV show Cr... more This article analyses the perception of the eighties in SFRY based on the example of a TV show Crno-bijeli svijet. The basic thesis is that the eighties are a particular cultural construct whose meanings are continuously (re)produced between a producer and a consumer, in this case between the author of the TV show and the audience. The article aims to illustrate the process of construction of the period in question by revealing meanings assigned to it as well as to answer the question why the eighties as such should be a relevant anthropological topic. Apart from the episodes of the show, the material for the analysis includes the comments of the audience derived from discussion on the internet forum Forum.hr.
U radu su razmatrani različiti pristupi proučavanju muzike u okviru strane i domaće antropologije... more U radu su razmatrani različiti pristupi proučavanju muzike u okviru strane i domaće antropologije. Ukoliko se pođe od pretpostavke da muzika predstavlja kulturni konstrukt, odnosno fenomen koji iz kulture proizlazi, ali je i određuje, potreba za proučavanjem tog fenomena raste. Cilj ovog teksta jeste ukazivanje na tu konstruisanost kroz razmatranje položaja muzike u naučnom diskursu, a koji se očitava kroz načine na koje se muzika u antropološkim krugovima percipirala (u odnosu na kulturu), u kojoj meri je proučavana i sa kojim ciljevima.
U radu se razmatra proces lokalizacije pop kulturnog i muzičkog fenomena - rokenrola. Teza od koj... more U radu se razmatra proces lokalizacije pop kulturnog i muzičkog fenomena - rokenrola. Teza od koje polazim jeste da se i rokenrol, kao prevashodno globalni muzički žanr, može percipirati kao lokalni, te u tom smislu predstavljati prepoznatljiv identifikacijski element lokalnog stanovništva. Rokenrol oznaka se u ovom slučaju odnosi na fenomen beogradskog novog talasa u muzici, aktuelnog osamdesetih godina proteklog veka. Na osnovu analize narativa dobijenih praćenjem relevantnih dokumentarnih filmova, namera mi je da ispitam najpre da li je novi talas percipiran kao lokalni fenomen, na koji način se odvija konstruisanje te predstave, a zatim i šta je to što ovom fenomenu pruža lokalni legitimitet.
Rad predstavlja pokušaj da se osvetli veza između „muzike” i „mesta”. Budući da je reč o sociokul... more Rad predstavlja pokušaj da se osvetli veza između „muzike” i „mesta”. Budući da je reč o sociokulturnim kategorijama, njihov odnos predstavlja vid kulturne konstrukcije, a samim tim postaje moguća antropološka tema. Ovu problematiku sam razmotrila na primeru uticaja „novog talasa” u rokenrol muzici osamdesetih godina, na formiranje specifičnog beogradskog identiteta, koji je za potrebe analize označen kao „novotalasni” identitet. Analizom narativa o tom fenomenu u vreme njegovog nastanka i trajanja, uočila sam i kao ključne identitetske elemente označila, tri ključne beogradske muzičke grupe (Električni orgazam, Šarlo akrobata, Idoli), teme i jezik na kome su pesme pisane, važna mesta okupljanja, kao i originalni muzički izraz. Kroz isticanje elemenata koji konstituišu pomenuti identitet, nastojala sam da skrenem pažnju na formiranje određene lokalne autentičnosti koja se razvila kao rezultat sadejstva „novotalasnog” muzičkog izraza i svakodnevnog iskustva života u tadašnjem Beogradu.
U radu se istražuje reprezentacija jugoslovenskog novog talasa na osnovu analize dokumentarnog fi... more U radu se istražuje reprezentacija jugoslovenskog novog talasa na osnovu analize dokumentarnog filma “Novi talas u SFRJ kao društveni pokret”. Iako je novi talas obuhvatan pojam koji se odnosi na različite sfere umetnosti, u ovoj analizi se razmatra kao muzički i kulturni fenomen. Teorijski okvir unutar kojeg se odvija istraživanje zasniva se na ideji da dokumentarni film može da nam pomogne da razumemo određeni period, da ga preispitamo i iznova (re)konstruišemo. Rezultati analize bi trebalo da pokažu na koji način narativ o novom talasu nastavlja da živi i trideset, četrdeset godina kasnije, te kako se (re)kreira i utvrđuje svakim novim snimljenim filmom.
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In Serbia, world music presents a phenomenon in the making, the scene is not developed enough (the lack of media coverage, publishing and so forth). Despite all that, there is an evident effort that this type of musical expression comes to life locally. World Music Association of Serbia is one such example. The members of this association launched series of activities that seek for better visibility of this phenomenon. They started a magazine Etnoumlje, established an independent recording company WMAS Records and SWM internet radio, a project of registration of Serbian world music groups and musicians. The first festival, Etnomus, was active from 1997-2006. In August 2012, the new festival in Takovo – Serbia World Music Festival was started.
This study presents an anthropological analysis of world music phenomenon. The attention is focused on interpreting the term "world music", in Western and local context, and then it reviews the perceptions and usages of this concept by musicians and audiences. A theoretical frame of this work consists of perspectives of two ethnomusicologists – Lauren Aubert and John Blacking, who treat music as a cultural phenomenon. The analysis is divided into three parts: world music in Serbia, world music in the world, and comparison of local example and global flows. Material that is used in the first part of the analysis consists of interviews with informants who deal with ethnomusic, while the other part is based on relevant literature and internet sources.
Deo o folk muzici započinje rad Marije Ristivojević o "etno-muzici" ili world music, da bi se sledeći radovi bavili domaćim folkom. Festival u Guči je predmet analize u tekstu Marije Krstić, dok je sevdalinka obrađena u dva rada Davora Petrovića. Tekst o novim narodnim pesmama napisao je Ivan Čolović, a
mitološke elemente likova u novokomponovanoj muzici analizirao je Marko Stojanović, dok su se Ivan Đorđević i Srđan Radović bavili recepcijom balkanske neofolk muzike u Sloveniji.
Ključne reči: Bahtin, teorija karnevala, kritika kulture
In Serbia, world music presents a phenomenon in the making, the scene is not developed enough (the lack of media coverage, publishing and so forth). Despite all that, there is an evident effort that this type of musical expression comes to life locally. World Music Association of Serbia is one such example. The members of this association launched series of activities that seek for better visibility of this phenomenon. They started a magazine Etnoumlje, established an independent recording company WMAS Records and SWM internet radio, a project of registration of Serbian world music groups and musicians. The first festival, Etnomus, was active from 1997-2006. In August 2012, the new festival in Takovo – Serbia World Music Festival was started.
This study presents an anthropological analysis of world music phenomenon. The attention is focused on interpreting the term "world music", in Western and local context, and then it reviews the perceptions and usages of this concept by musicians and audiences. A theoretical frame of this work consists of perspectives of two ethnomusicologists – Lauren Aubert and John Blacking, who treat music as a cultural phenomenon. The analysis is divided into three parts: world music in Serbia, world music in the world, and comparison of local example and global flows. Material that is used in the first part of the analysis consists of interviews with informants who deal with ethnomusic, while the other part is based on relevant literature and internet sources.
Deo o folk muzici započinje rad Marije Ristivojević o "etno-muzici" ili world music, da bi se sledeći radovi bavili domaćim folkom. Festival u Guči je predmet analize u tekstu Marije Krstić, dok je sevdalinka obrađena u dva rada Davora Petrovića. Tekst o novim narodnim pesmama napisao je Ivan Čolović, a
mitološke elemente likova u novokomponovanoj muzici analizirao je Marko Stojanović, dok su se Ivan Đorđević i Srđan Radović bavili recepcijom balkanske neofolk muzike u Sloveniji.
Ključne reči: Bahtin, teorija karnevala, kritika kulture