Sevdah Celebrities Narrate Sevdalinka. Political (Self-)Contextualization of Sevdalinka Performers in Bosnia-Herzegovina

Gender and Music-Making in Exile: Female Bosnian Refugee Musicians in Slovenia

“…In the 1990s the sevdalinka became a visible national symbol of B&H, and in particular it was also appropriated by the national community as an exclusive national heritage (Kozorog, Bartulović 2016). Yet at the same time it also became a tool for social criticism within the refugee community and later on also in B&H. Because Vali and Dertum were characterised by the participation of high numbers of girls, the appearance of the issue of gender roles and social expectations of (female) youth was inevitable.…”

“…The bands were also connected by the fact that they both, in different stages of their existence, focused on performing traditional songs from various Yugoslav regions. The sevdalinka, which is understood as a Bosnian and regional musical heritage (Kozorog, Bartulović 2016), stood out in both cases. This repertoire made them recognisable on various Slovene 3 Our intention is to overcome the generalised and stereotypical representations of Bosnian women.…”

United in Sevdalinka? Affective Aspirations for the Yugoslav Space

“…It especially remained popular in the republics once part of the Ottoman Empire. Although the genre was systematically cultivated and adapted to the new taste in parts of socialist Yugoslavia from the 1950s onwards (see Kozorog and Bartulović 2016), with some notable exceptions, its fame and appeal did not spread with the same intensity in the northwestern part of the country (see Bartulović 2016;Ceribašić et al 2019). 26 The idea that Slovenians are more resistant to the call of "Bosnian melancholy" with a distinctly oriental feel was reflected in the relative unpopularity in Slovenia of Yugoslav sevdalinka stars.…”