Lepa Brena: Repolitization of musical memories on Yugoslavia

Hofman, Ana

doi:10.2298/gei1201021h

Cited by 10 publications

(5 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Brena as a symbol of socialist Yugoslavia opened the Winter Olympic games in Sarajevo in 1984. 80 She was also extremely popular in other Balkan countries (mainly Romania 81 and Bulgaria 82 ) and one of the best selling artists In Yugoslavia from the early 1980s. In 1981 she became the third best-selling Yugoslav performer (Miroslav Ilić was first and Novi Fosili on the second place).…”

Section: Bijelomentioning

confidence: 99%

“…Because of that, old songs return, that's why we remember schlagers." 87 She highly degraded its political and ideological role. Jugoslovenka was written by Miloš Mandić and Brena's vocalists were Alen Islamović (third and the last vocalist of 'Bijelo Dugme'), Milan Popović (best known for representing Yugoslavia at the Eurovision Song Contest in 1983 with the song "Julie"), V. Kalember (original vocalist and bass player of 'Srebrna Krila').…”

Section: Bijelomentioning

confidence: 99%

See 1 more Smart Citation

THE ROLE OF BROTHERHOOD AND UNITY PROPAGANDA IN YUGOSLAV POPULAR MUSIC IN 1970s AND 1980s

Melichárek

2020

Balkan Araştırma Enstitüsü Dergisi

View full text Add to dashboard Cite

Music has been an important part of Yugoslav society, identity and national consciousness throughout the whole existence of Socialist Federal Republic of Yugoslavia. This article focuses on implementation of Brotherhood and Unity ideology into Yugoslav popular music in 1970s and 1980s of 20th century in wider historical, cultural and political context. Building on wide range of primary and secondary sources (mainly of western, central and southeastern European provenience), that has not been yet used and analysed in depth, it seeks to analyse how state ideology affected Yugoslav music and thus society. The aim of the article is by using comparative analysis and methodology developed by Serge R. Denisoff, bring completely new and yet unpublished view on phenomenon of Brotherhood and Unity ideology and its connection to popular music-put much-needed light on the complicated social and cultural relations between Yugoslav nations through music phenomenon. This topic is very important since state doctrine, national narratives, historical memory affect current and also future development of Ex-Yugoslav regions what is clearly visible on elaborated material.

show abstract

Section: Bijelomentioning

confidence: 99%

Section: Bijelomentioning

confidence: 99%

THE ROLE OF BROTHERHOOD AND UNITY PROPAGANDA IN YUGOSLAV POPULAR MUSIC IN 1970s AND 1980s

Melichárek

2020

Balkan Araştırma Enstitüsü Dergisi

View full text Add to dashboard Cite

show abstract

“…Transcending national borders with turbofolk/popfolk (known not only through the popularity of several performers all over the Balkans, but also through the existence of similar tunes sung in various languages) continued with trepfolk, and its pan-Balkan reception is known in practice. A very interesting case is the hidden popularity of turbofolk in Croatia (Baker 2007;Gotthardi-Pavlovsky 2014), and nowadays of trepfolk (Rafaneli 2019;Milevoj 2018), but also a renewed popularity of some NCFM stars as a symptom of Yugonostalgia (Hofman 2012). All songs are in Serbian, Bosnian or Croatian language, so it was logical that they would be profitable in a market larger than the narrowly-national (although not all people who understand these languages consume this musical genre).…”

Section: Stereotypes About the Balkans In Trepfolkmentioning

confidence: 99%

The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music

Vilotijević¹

2020

Arts

View full text Add to dashboard Cite

In this article, I discuss the use of the term “Balkan” in the regional popular music. In this context, Balkan popular music is contemporary popular folk music produced in the countries of the Balkans and intended for the Balkan markets (specifically, the people in the Western Balkans and diaspora communities). After the global success of “Balkan music” in the world music scene, this term influenced the cultures in the Balkans itself; however, interestingly, in the Balkans themselves “Balkan music” does not only refer to the musical characteristics of this genre—namely, it can also be applied music that derives from the genre of the “newly-composed folk music”, which is well known in the Western Balkans. The most important legacy of “Balkan” world music is the discourse on Balkan stereotypes, hence this article will reveal new aspects of autobalkanism in music. This research starts from several questions: where is “the Balkans” which is mentioned in these songs actually situated; what is the meaning of the term “Balkan” used for the audience from the Balkans; and, what are musical characteristics of the genre called trepfolk? Special focus will be on the post-Yugoslav market in the twenty-first century, with particular examples in Serbian language (as well as Bosnian and Croatian).

show abstract

“…About her music and public persona, see more inHofman (2012).CC BY-NC-ND 4.0 https://doi.org/10.3986/9789610507291_08…”

mentioning

confidence: 99%

Popular Music in the Everyday Life of Working-Class People during and after Socialist Yugoslavia: The Endurance of Čaga

Muršič¹

2023

Affect’s Social Lives

View full text Add to dashboard Cite

Lepa Brena: Repolitization of musical memories on Yugoslavia

Cited by 10 publications

References 0 publications

THE ROLE OF BROTHERHOOD AND UNITY PROPAGANDA IN YUGOSLAV POPULAR MUSIC IN 1970s AND 1980s

THE ROLE OF BROTHERHOOD AND UNITY PROPAGANDA IN YUGOSLAV POPULAR MUSIC IN 1970s AND 1980s

The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music

Popular Music in the Everyday Life of Working-Class People during and after Socialist Yugoslavia: The Endurance of Čaga

Contact Info

Product

Resources

About