Turbo-folk Music and Cultural Representations of National Identity in Former Yugoslavia

Beginning with 1970s Socialist Yugoslavia, UroS Cvoro explores the cultural and political paradoxes of turbo-folk. Taking as its starting point turbo-folk's popularity across national borders, Cvoro analyses key songs and performers in Serbia, Slovenia and Croatia.

Autorentext
UroS Cvoro is a Senior Lecturer in Art Theory at UNSW Australia. His research areas include contemporary art and national identity, popular culture and post-socialism, and the relation between contemporary art and politics.

Zusammenfassung
Turbo-folk music is the most controversial form of popular culture in the new states of former Yugoslavia. Theoretically ambitious and innovative, this book is a new account of popular music that has been at the centre of national, political and cultural debates for over two decades. Beginning with 1970s Socialist Yugoslavia, UroA! AA voro explores the cultural and political paradoxes of turbo-folk: described as ´backward´ music, whose misogynist and Serb nationalist iconography represents a threat to cosmopolitanism, turbo-folk´s iconography is also perceived as a ´genuinely Balkan´ form of resistance to the threat of neo-liberalism. Taking as its starting point turbo-folk´s popularity across national borders, AA voro analyses key songs and performers in Serbia, Slovenia and Croatia. The book also examines the effects of turbo on the broader cultural sphere - including art, film, sculpture and architecture - twenty years after its inception and popularization. What is proposed is a new way of reading the relationship of contemporary popular music to processes of cultural, political and social change - and a new understanding of how fundamental turbo-folk is to the recent history of former Yugoslavia and its successor states.

Inhalt
Introduction The Three Stories of Turbo-folk; Part I Turbo-nation: Turbo-folk and Representations of National Identity in Former Yugoslavia, 1970-2010; Chapter 1 The People's Eastern Kitsch: Self-management, Modernisation and 'Newly Composed Folk Music' in Yugoslavia; Chapter 2 Remember the Nineties?: Turbo-folk as the Vanishing Mediator of Nationalism; Chapter 3 Beyond Serbia: Turbo-folk across Cultural and National Boundaries; Part II Turbo-culture: Cultural Responses to Turbo-folk; Chapter 4 Turbo-art: Music and National Identity in the Work of Contemporary Artists from Former Yugoslavia; Chapter 5 They Can Be Heroes: Popular Culture and Public Sculpture in Former Yugoslavia; Chapter 6 Singin' in the Film: Turbo-folk and Self-exoticisation in the Films of Sr?an Dragojevi?; conclusion Conclusion;

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