In this article I analyze the reculturalization strategies implemented in Savamala, an urban quarter in central Belgrade. Recent years have witnessed many efforts to rebrand Belgrade as a safe, modern, cosmopolitan and tourist-friendly city. These initiatives transform the soundscape of Belgrade; sometimes the changes are byproducts of other developments, but sometimes, as I demonstrate using the example of Savamala, the changes in soundscape are done deliberately and with a clear purpose.
This article deals with the soundscape of Mikser, an independent festival of contemporary creativity, established in 2009 in Belgrade, the capital city of Serbia. I focus on the years 2012-2016, during which Mikser was taking place in Savamala, an urban quarter in central Belgrade-which itself has undergone various urbanistic and cultural transformations in recent years. The creative team behind Mikser aimed to turn Savamala into a permanent fixture on the map of Belgrade nightlife and a tourist hotspot; the fact that they did not succeed was on account both of financial issues and conflicting top-down business interests. My conclusion is that the long-term survival of the festival is not dependent on its program or audiences, but on securing official support and infrastructure.
The term ′moderated modernism′ has been current for quite some time in Serbian music historiography, but there have been only a few attempts to define it. I shall try to define the term, introduce some of its key concepts and features and demonstrate its applicability. Although moderated modernism was an international phenomenon which had divergent manifestations in various periods before and after the Second World War throughout Europe, my aim is to focus on the period between the decline of Socialist Realism and the ascent of post-modernism (roughly 1950 to 1980) in socialist Serbia, and to discuss the discourses and ideologies surrounding moderated modernism then and there
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