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Uporabe "Balkana": rock in nacionalizem v Sloveniji v devetdesetih letih
ID Stanković, Peter (Author)

URLURL - Presentation file, Visit http://dk.fdv.uni-lj.si/tip/tip20022Stankovic.PDF This link opens in a new window

Abstract
Članek poskuša izpostaviti nekatere ključne politične dimenzije yu-rock glasbe in kulture predvsem v navezavi na fenomen nacionalizma. Avtor ugotavlja,da je yu-rock v pomembni meri prispeval k ohlajevanju razgretih nacionalističnih strasti v času vojn v bivši Jugoslaviji, iz česar izpelje zaključek, da bi ga bilo iz tega zornega kota mogoče razumeti kot politično progresiven pojav. V nadaljevanju je podrobneje predstavljeno dogajanje v Sloveniji, kjer je v prvi polovici devetdesetih let v okviru tako imenovane "Balkan-scene" prišlo do evforičnega obujanja zanimanja za yu-rock in posnemanja domnevnega "tipičnega" "balkanskega" življenjskega stila. Tu avtor ugotavlja, da je imela v tem konkretnem slovenskem primeru uporaba yu-rocka bistveno bolj ambivalentne učinke: ne-esencialistična nastavitev teoretske prizme vodi k spoznanju, da je kljub najboljšim namenom in navidezni politični progresivnosti, "Balkan-scena" v mnogočem zgolj reproducirala številne stereotipe o "Balkanu", s tem pa nehote pripomogla k reprodukciji natanko tistega nacionalističnega diskurza, ki ga je želela postaviti pod vprašaj.

Language:Slovenian
Work type:Not categorized (r6)
Typology:1.01 - Original Scientific Article
Organization:FDV - Faculty of Social Sciences
Year:2002
Number of pages:Str. 220-238
Numbering:Let. 39, št. 2
PID:20.500.12556/RUL-5670 This link opens in a new window
UDC:316.7
ISSN on article:0040-3598
COBISS.SI-ID:21238877 This link opens in a new window
Publication date in RUL:11.07.2014
Views:1453
Downloads:185
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Record is a part of a journal

Title:Teorija in praksa. revija za družbena vprašanja
Shortened title:Teor. praksa
Publisher:Fakulteta za družbene vede
ISSN:0040-3598
COBISS.SI-ID:763652 This link opens in a new window

Secondary language

Language:Unknown
Abstract:
The article raises questions regarding the relations between rock music and nationalism in former Yugoslavia. The author argues that Yu-rock music and culture have with their universal allegiances helped to preserve a degree of sane distance from the feverish outbursts of nationalisms among the significant part of the country's youth during the years of nationalist wars between its former federal republics. As a consequence, it is possible to understand it as a positive movement in a political sense. A special case of Slovenian "Balkan-scene", however, shows that various appropriations of Yu-rock music, which have happened after the dissolution of the former Yugoslavia, do not necessarily have the same positive impact. Although it is true that listening to the Yu-rock music and appropriation of what was perceived as typical Balkan life-style by Slovenian alternative youth meant important symbolic challenge to Slovenian official nationalist discourse, this opposition did little to abolish the stereotyped understanding of the 'Balkan' as such. Just as in the official discourse, there was no recognition among the Slovenian alternative rockers of the fact that 'Balkans' is actually a set of rather different ethnicities, cultures, histories, religions, folkways etc., which means that this affirmative appropriation of the concept of 'Balkan' basically only reproduced the existing understanding of the nations in the region as a fascinating and also sometimes dangerous Otherness.


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