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Eckehard Pistrick: Spatial detachment – emotional detachment. Delocalizing and instrumentalizing local musical practice in the communist regimes of Southeastern Europe

Eckehard Pistrick
Spatial detachment – emotional detachment. Delocalizing and instrumentalizing local musical practice in the communist regimes of Southeastern Europe
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Abstract
Cultural traditions in their local understanding are bound to particular places and to a particular social setting, possessing generally a high degree of interaction. The exercise of political power and the commercialization of traditional music have fundamentally shaken this interactive relation between sound, space and social action. Local identities and histories became confronted with constructed national identities and a homogenized national history. Musical practice witnessed a process of uprooting, the division of performers from their audience related to an emotional reconfiguration. The emotionally and spatially-bound cultural practice became redefined in terms of a static “cultural object” whose aesthetic properties were highlighted over its dynamic functional and interactional character. This progression from local tradition towards national folklore had many implications and was often accompanied or accelerated by state-directed audiovisual media. The symbolic distancing of musical practice from its origin had undeniable socio-political implications. Especially in the communist regimes of Southeastern Europe this act was interpreted as a logical parallel movement to the break with the ill-famed past in other spheres of the society. After the fall of the communist regimes cultural practice was re-appropriated and re-contextualized on an impressive scale by local actors. The return of the Local was guided by wider (cultural) politics of regionalization and re-traditionalization and the needs of a world-wide music market with a growing interest in what was called “authentic” and “rooted” musical practice. At the same time the brand “Balkan music” emerged, depicting an apolitical “emotional territory” which stood in sharp contrast to the image of the Balkans in the Western mediascape.

Zitation
Pistrick, Eckehard (2012): Spatial detachment – emotional detachment. Delocalizing and instrumentalizing local musical practice in the communist regimes of Southeastern Europe. In: Südosteuropäische Hefte 1 (2), S. 77–87.

Persistent Identifier (PID): http://nbn-resolving.de/urn:nbn:de:0168-ssoar-324616

Andreas Guidi: „Traditionen im Transit“. Deutung der lokalen Geschichte und Kategorisierungsprozesse am Beispiel von kulturpolitischen Institutionen im serbischen Sandžak

Andreas Guidi
„Traditionen im Transit“. Deutung der lokalen Geschichte und Kategorisierungsprozesse am Beispiel von kulturpolitischen Institutionen im serbischen Sandžak
(als pdf-Datei herunterladen)

Abstract
From the occupation of the Sandžak of Novi Pazar by Serbian troops, precisely one hundred years ago during the First Balkan War, this territory has undergone rash changes as to the cultural-political references adopted by the elite in order to bolster the loyalty of the local Muslim population. This article questions the content and the dynamics of the discourses of the 20th century which made a complicated juxtaposition of symbols – especially by “inventing tradition” and establishing links with other world regions – become an “identity” postulated by local institutions, mainly opposing the authorities in Belgrade. The theoretical tools used through this research help underline the role of elites in “transition” times and their use of the imaginaire to re-define the criteria of “community” according to categories based on “cultural identity”, though aiming at increasing loyalty for political purposes. Since new cultural-political actors have entered this arena in the recent years, it is worthy enquiring the process of interpretation of local history from this “national” perspective, revealing at the same time it’s controversial and less fundated features. In doing this, three periods are dealt with: the interwar Kingdom of Yugoslavia, the SFRJ after 1945 and the turbulent 1990s: each of them is properly contextualised, nonetheless it is possible to find certain analogies in the“invention“ of an appareantly coherent path towards full emancipation of the “Bošnjaks”, still to be eked out. Lastly, this work describes the self-representation of newly founded cultural institutions such as the Faculty for Islamic Studies and the Turkish Cultural Centre. The main theses of the article points at the peculiar nature of the Sandžak as a transit-territory exposed to enormous exchange and mixture between human beings and their ideas where a “national movement” without an inner centre of gravity emerged. Thus, the actual “ideological” friction with Belgrade is read as an attempt to affirm the “openness” to external influence, especially with other countries historically and economically related with the Sandžak.

Zitation
Guidi, Andreas (2012): „Traditionen im Transit“. Deutung der lokalen Geschichte und Kategorisierungsprozesse am Beispiel von kulturpolitischen Institutionen im serbischen Sandžak. In: Südosteuropäische Hefte 1 (2), S. 58–76.

Persistent Identifier (PID): http://nbn-resolving.de/urn:nbn:de:0168-ssoar-324622