The thesis focuses on the perception of the subculture of Gaserji and Limke in Slovenia, which are associated with the Balkan or former Yugoslav space. The author begins by presenting the socio-political conditions, that have led to the formation of Dizelaši subculture, and turbo-folk in the 1990s. She continues with a description of trap and Balkan trap, the latter being a hybrid of the two previously mentioned musical genres. Particular attention is placed on the perception of the Balkans and autobalkanisms that occur within said genre. She notes that there are diverging and ambivalent notions of the Balkans within Balkan trap that cannot be reduced to a single, unified idea. The author then presents the occurrence of the genre in Slovenia and describes the notion of the “Balkan Other”, Čefurji, and how they are perceived, pointing out a high prevalence of Balkanist discourse. By elaborating on the previously mentioned concepts the author presents how Gaserji and Limke are perceived from an outside point of view, referring to the field work conducted in Ljubljana among high-school and college students. As they are considered to be part of a Balkan subculture, the author brings attention to the Balkanist discourse, which is intentionally or unintentionally present in the perception of Gaserji in Limke.
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