By Uroš ?voro
Turbo-folk track is the main debatable type of pop culture within the new states of former Yugoslavia. Theoretically bold and leading edge, this publication is a brand new account of renowned song that has been on the centre of nationwide, political and cultural debates for over 20 years. starting with Nineteen Seventies Socialist Yugoslavia, Uro' ?voro explores the cultural and political paradoxes of turbo-folk: defined as 'backward' tune, whose misogynist and Serb nationalist iconography represents a possibility to cosmopolitanism, turbo-folk's iconography is usually perceived as a 'genuinely Balkan' kind of resistance to the specter of neo-liberalism. Taking as its start line turbo-folk's reputation throughout nationwide borders, ?voro analyses key songs and performers in Serbia, Slovenia and Croatia. The e-book additionally examines the results of rapid at the broader cultural sphere - together with artwork, movie, sculpture and structure - two decades after its inception and popularization. what's proposed is a brand new method of analyzing the connection of up to date renowned tune to approaches of cultural, political and social switch - and a brand new figuring out of ways primary turbo-folk is to the hot background of former Yugoslavia and its successor states.
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Extra info for Turbo-folk Music and Cultural Representations of National Identity in Former Yugoslavia
50. The People’s Eastern Kitsch 35 relaxation of laws to allow foreign investment and borrowing, which led to greater investment in the entertainment industry. The resulting disparity between the slow economy of Yugoslavia and the explosive rise of the entertainment industry can at least partly be explained by the fact that Yugoslav citizens were spending more than they could afford by using credits and loans. While this culminated in the deep economic crisis of the eighties, it also established a cultural code of expression steeped in hedonism and indulgence that became associated with music.
As Chapter 2 will show, in some instances, the mediator vanishes or drops off once the change takes place. However, as Chapters 4 and 5 will show, in some instances, the mediator remains in various cultural forms after the change. Thus, as Žižek points out, crucial to this understanding of the mediator is the gap between form and content, in which content can change within the parameters of the existing form and then emancipate itself of the old form, to reveal a new one. Both ‘turbo’ and ‘folk’ can be understood as terms that describe the intersection of political and cultural mediation in turbo-folk.
Building on the insights from previous chapters about the gradual ‘de-nationalisation’ of turbo-folk, this chapter demonstrates the way Dragojević invokes the emotionally charged expression of identity in turbo-folk as a signifier of ‘new Balkanness’. By elucidating the way that turbo-folk music has been taken up in art, sculpture and film, Turbo-folk Music and Cultural Representations of National Identity in Former Yugoslavia provides a more nuanced reading of the often misunderstood, misrepresented and sensationalised ‘turbo-culture’ that has been developing in the Balkans in recent decades.