Musical Faces of Croatian Multiculturality

Ceribašić, Naila

doi:10.1017/s0740155800006640

yearb. tradit. music

2007

DOI: 10.1017/s0740155800006640

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Musical Faces of Croatian Multiculturality

Naila Ceribašić¹

Abstract: When I started the journey of writing this essay, I wondered at length what topic to propose and what tone it should take. Since the Yearbook for Traditional Music is a highly respected, international ethnomusicological journal, should I speak as an exponent of a small national ethnomusicology or am I allowed to take a more personal stance? Should I use this space for more canonized thoughts or could I allow myself to propose untested ones, to speak from this specific moment, inspired by recent musical events … Show more

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Cited by 3 publications

References 7 publications

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Managing Musical Diversity Within Frameworks of Western Development AID: Views from Ukraine, Georgia, and Bosnia and Herzegovina

Helbig¹,

Tsitsishvili²,

Haskell³

2008

yearb. tradit. music

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Researchers have increasingly begun to critically assess local engagements with globalizing notions of civil society that have been introduced via Western-based supranational political, economic, financial, and cultural programmes (Fischer 1997; Okongwu and Mencher 2000; Yúdice 2003). Following the notion of thinking globally and acting locally, such programmes are usually set up by transnational structures such as the World Bank, UNESCO, the European Union, or global foundations such as the Open Society Institute, and put into practice by local actors, among them non-governmental organizations. This article positions music within intra-national discourses that work hand-in-hand with the political and cultural economics of Western cultural initiatives and aim to promote an understanding of pluralism in countries throughout Eastern and South Eastern Europe. Drawing on ethnographic fieldwork conducted by Nino Tsitsishvili, Erica Haskell, and myself in Georgia, Bosnia and Herzegovina, and Ukraine, respectively, this study juxtaposes the perspectives of policy makers and grant givers in Western Europe and the United States with the views of people in post-socialist conflict zones for whom such initiatives are intended. It analyses the political and cultural implications of UNESCO's declaration of Georgian polyphony as a masterpiece of intangible cultural heritage of humanity, the local effects of internationally sponsored music projects in post-war Bosnia and Herzegovina, and the role of national minority music festivals sponsored by Western philanthropic organizations in nation-building processes in Ukraine.

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Managing Musical Diversity Within Frameworks of Western Development AID: Views from Ukraine, Georgia, and Bosnia and Herzegovina

Helbig¹,

Tsitsishvili²,

Haskell³

2008

yearb. tradit. music

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Politically Purposed Music Genres

Lena

Peterson

2011

American Behavioral Scientist

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Building on previous work documenting musical genre forms in the United States, this exploratory study reports the discovery of a new type, which the authors term the politically purposed genre. They find two major types: those sponsored by governments, which benefit from national distribution and legal protection, and an anti-status quo type supported by an opposition party or constituency that shares its critique of the existing sociopolitical and economic order. Four nation-cases have been examined: the People's Republic of China, Chile, Serbia, and Nigeria. The authors examine each case in turn and close with a discussion of the limitations and possibilities of this discovery.Numerous case studies chart the ebb and flow of a particular music style, but little systematic attention has been devoted to looking for formal similarities among styles and how styles change over time. To make a more systematic study of music genre formation and decay, we previously completed a survey of sixty 20th-century commercial music styles in the United States. Our findings can be stated briefly, and a full exposition can be found in Lena and Peterson (2008).First, we found that musical styles take one of four forms, each having distinctive ideological, social, organizational, and symbolic attributes. Avant-garde genres are composed of a few musicians and supporters united to create a new kind of music. Scene-based genres comprise musicians and supporters who congregate around community performance spaces, record stores, and eateries. Industry-based genres

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Safeguarding Intangible Cultural Heritage in the Republic of Macedonia

Serafimovska¹,

Wilson²,

Tatarčevska³

2016

yearb. tradit. music

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In this article we examine the way local, national, and regional politics affect the policies and practices of “intangible cultural heritage” (ICH)—a notion derived from the 2003 UNESCO Convention for the Safeguarding of Intangible Cultural Heritage—in two detailed case studies from the Republic of Macedonia. While our conclusions are particular to our case studies, we hope that researchers in other national settings will find them useful for describing and analysing their own situations. We begin with a discussion of heritagization and recontextualization, which are inherent in ICH safeguarding processes. Next, we provide background on the external contestation of a distinct Macedonian ethnic and national identity, and the ways that UNESCO ICH safeguarding processes have been perceived and applied in Macedonia. Against that backdrop, we then describe and analyse two contrasting cases of ICH—the social dance “Kopackata” and the Galicnik Wedding—both of which illustrate how the cultural heritage concept itself can sometimes be used for national, commercial, and political ends.

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Musical Faces of Croatian Multiculturality

Cited by 3 publications

References 7 publications

Managing Musical Diversity Within Frameworks of Western Development AID: Views from Ukraine, Georgia, and Bosnia and Herzegovina

Managing Musical Diversity Within Frameworks of Western Development AID: Views from Ukraine, Georgia, and Bosnia and Herzegovina

Politically Purposed Music Genres

Safeguarding Intangible Cultural Heritage in the Republic of Macedonia

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