History and Popular Culture in Yugoslavia 1945-1990 (original) (raw)

In the Name of the People: Yugoslav Cinema and the Fall of the Yugoslav Dream

2017

This dissertation outlines the trajectory of Yugoslavias decline through an examination of select works of Yugoslav cinema from the late 1960s to the late 1980s which cogently commented on their sociopolitical context. It brings together various interpretive perspectives and utilizes film studies, cultural studies, political history, and postcolonial studies to discuss how the Yugoslav society and its political system are scrutinized through allegory, satire, and genre revisionism, for instance, and to elucidate what the films contribute to discourse on the origins of Yugoslavias violent breakup. Through a discussion of cinema, arguably the most politically subversive form of expression in the Yugoslav public sphere, this dissertation offers insight not only into why the country broke up but also, and perhaps more importantly, into what was lost when it broke up. Although it revolves around Yugoslavias failure, the dissertation validates the egalitarian, anti-imperialist Yugoslav id...

Music Wars: Blood and Song at the End of Yugoslavia

Music and the racial imagination, 2000

Tomislav Longinovic examines music at the two endings of Yugoslavia (1941 and 1991) in "Music Wars: Blood and Song at the End of Yugoslavia." Longinovic explores first the ethnomusicological theories of Vladimir Dvornikovic and then the "hierarchy of musical differences that was constructed as a tool of racial/cultural separation from the common state" (p. 629).

Heritage of the Second World War in Croatia: Identity Imposed upon and by Music

Music, Politics, and War: Views from Croatia, ed. Svanibor Pettan. Zagreb: Institute of Ethnology and Folklore Research, 109-129, 1998

Consideration of conceptions about music and music-making practice in the Independent State of Croatia and in the National Liberation Movement shows the ways in which different worldviews have been implemented at the field of music and the ways of constructing communities through a certain model of music-making. The discourses on traditional, popular and art music have been analyzed, as well as attitudes towards homogeneity and heterogeneity of various genres in various types of public performances. Conceptions from the period of World War II are compared with contemporary conceptions. Sažetak: Kroz razmatranje koncepcija o glazbi i prakse glazbovanja u NDH i NOP pokazuje se kako se željeni svjetonazori provode na području glazba te kakav se čovjek i kakve zajednice stvaraju provođenjem željenih modela glazbovanja. Analizira se diskurz o međuodnosu tradicijske, popularne i umjetničke glazbe, o srodnosti i različitosti u odnosu na druge, o stilskoj i žanrovskoj homogenosti i heterogenosti, o glazbovanju u svečanim prigodama i u svakodnevici. Ondašnje se koncepcije uspoređuju s današnjima.

Sounding the Turn to the West: Music and Diplomacy of Yugoslavia After the Split with the USSR and the Countries of the ‘People’s Democracy’ (1949–1952)

The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century), edited by Ivana Vesić, Vesna Peno and Boštjan Udovič, 2020

The research of music and diplomacy in socialist Yugoslavia (1945–1991) is an extensive, complex and interdisciplinary task that musicologists have not dealt with so far. My study focuses on the period after the conflict with the Cominform (1948), when the Federal People’s Republic of Yugoslavia (FPRY), faced with the problem of political and economic isolation and complete severance of relations with the Soviet Union and other countries of “people’s democracies,” made a strategic turn to the countries of parliamentary democracy. Music gained a significant role as a mediator in diplomatic efforts to renew broken ties with the West. Various types of musical activities were conceived and realized within the framework of the new international cooperation with a number of countries, in a relatively short time. I based my research on the study of archival material, dealing with the role of music in the realization of the new diplomatic policy of turning to the West. I am primarily dedicated to the contextualization of musical activities, not only with respect to the foreign, but also the internal policy of the FPRY, its cultural policy, as well as certain ideological and aesthetic views on music in Yugoslavia. This was the beginning of advocating Yugoslavia’s “neutrality” and its relatively successful balancing between the blocs, with culture (and music) on its forefront. In this context, music was used as a tool of soft power in a very skillful manner. The short period between 1949 and 1952 was the outset of growing musical collaboration and exchange of ideas with the world.

THE EXPANSION OF POPULAR MUSIC IN INTERWAR YUGOSLAVIA: THE EXAMPLES OF PUBLISHING HOUSES OF JOVAN FRAJT AND SERGIJE STRAHOV

Synaxa: Matica srpska international journal for Social Sciences, Arts and Culture, 2017

SUMMARY: This paper will look at the editions of print music by Jovan Frajt and Sergije Strahov which were published in the period from 1921 to 1944 in Belgrade. An examination of the preserved parts of Frajt's and Strahov's collections, and additional analysis of data from the daily press and periodicals, as well as memoirs and archive holdings allow a partial reconstruction of the field of popular music in Yugoslavia, including identification of prominent authors, text writers and performers of popular songs from that period, as well as genres and cultural influences.

A Decade of Freedom, Hope and Lost Illusions. Yugoslav Society in the 1960s as a Framework for New Tendenciesca

2010

Considering invisibility of the New Tendencies in the dominant narrative on European modernism, ongoing process of consolidation of the new media art might be a platform from which to introduce the New Tendencies into the context of new media art history. However explanations given in the recent interpretations of that international art Movement clearly demonstrate that along the lines of that process a spatial configuration of the New Tendencies could be significantly redefined. In order to provide a counter-balance to such an attempt, it is necessary to explain the reasons which made Zagreb and Former Yugoslavia unique locations and appropriate ideological and intellectual framework of that international art movement. Such an explanation is the content of this article.