Ivana Vesic
Ivana Vesić completed her undergraduate and graduate studies at the Department of Musicology of the Faculty of Music (University of Arts in Belgrade) in 2007, where she defended her master thesis “‘Between politics and poetics’: The field of music in Serbia and its relations with the social reality of interwar period”. In 2007, she enrolled to master studies at the Department of Sociology of the Faculty of Philosophy (University of Belgrade) which she completed in 2009 defending a thesis “Production and promotion of the ethno-music after the October 5, 2000. The analysis of social and cultural transformations on the examples of media houses RTS and B92”. She continued her doctoral studies at the department in 2010. Since 2011 she has been working on the scientific projects of the Institute of Musicology SASA.
She has published more than thirty papers in scientific journals and collective monographs as well as scientific reviews and encyclopedic articles and participated in more than a dozen scientific conferences in Serbia, Bosnia and Herzegovina and Spain. Ivana has been an editorial assistant of the journal Музикологија/Musicology from February 2011 to January 2015. Since September 2016 she became a member of the Editorial Board of the journal. She was a reviewer of collective monographs and monographs, as well as the journal articles. She gave numerous public lectures in the Student’s Cultural Center in Belgrade and participated in the cultural and scientific program of the national television and radio (Radio-television of Serbia; Radio Belgrade).
She has published more than thirty papers in scientific journals and collective monographs as well as scientific reviews and encyclopedic articles and participated in more than a dozen scientific conferences in Serbia, Bosnia and Herzegovina and Spain. Ivana has been an editorial assistant of the journal Музикологија/Musicology from February 2011 to January 2015. Since September 2016 she became a member of the Editorial Board of the journal. She was a reviewer of collective monographs and monographs, as well as the journal articles. She gave numerous public lectures in the Student’s Cultural Center in Belgrade and participated in the cultural and scientific program of the national television and radio (Radio-television of Serbia; Radio Belgrade).
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This chapter discusses the presence and significance of popular culture in the everyday life of Yugoslav urban centers. The focus is on the cultural transfer of modern dance and dance music, including the important role of cross-border trade relations in the film and publishing industries, and the impact of imperial legacies and migration on this process. A further point of investigation are the critical reactions to the spread of popular culture by the country's political and intellectual elites manifested in the narratives and cultural policies that they publicly promoted. Despite their reservations, the integrative potential of transnational popular culture in interwar Yugoslavia cannot be denied given that, in a highly culturally differentiated environment, it often represented the only form of a commonly shared culture.
Ključne reči: FNR / SFR Jugoslavija, horski amaterizam, kulturna diplomatija, nacionalna kulturna politika, kulturni razvoj.
revival of certain past events that were either neglected or marginalized during Yugoslav
socialism were considered including its cooperation and creating of ties with artists and
intellectuals. The starting point of our research was the assumption that the affirmation
of the phenomena, figures and processes from the WWI and WWII was only partly the
result of overcoming of the socialist culture of forgetting, but was mostly derived from the
articulation of criticism and resistance to the social and political system created after 1945
and its different dimensions. For that purpose, we analyzed the various undertakings of
Church in this period aiming at presenting to the believers and broader public the heroism
and sacrifices of Serbian army and citizens during the WWI as well as horrific sufferings
of Serbs in the concentration camps of the Independent State of Croatia. The objective
was to bring to the fore how marginalized position of the Church and critically oriented
artists and intellectuals and their alienation from the dominant public sphere (mass media
sphere) shaped the process of mediating of critical thinking via rediscovering the past to
the broader audience. Apart from that, the social positioning of the Church and certain
artistic and intellectual circles was also considered as a factor that influenced the process
of mediation particularly in the circumstances of the growing decay of Yugoslav socialism.
that these organizations were primarily focused on development of gymnastics
and certain individual sports, cultural advancement of its members as well as of
Yugoslav population also occupied an important place, particularly in the 1930s.
As a result of broadening of Sokol’s work, musical amateurism started to gain
prominence in Sokol legions, societies and parishes (župe). This was reflected in
the proliferation of Sokol vocal and instrumental ensembles, as well as their performances in various Sokol units, both in urban and rural areas. The flourishing
of musical activities among Sokols from different parts of the country led to the
change of circumstances in the cultural sphere of these regions, particularly in the undeveloped ones. Among other things, this included giving an impetus to the preservation and popularization of tamburitza orchestras and epic singing to the accompaniment of the gusle, promotion of national and Slavic music repertoire and enrichment and diversification of musical life.
Keywords: sokol organizations, Kingdom of SCS/Yugoslavia, musical activities, tamburitza orchestras, epic singing to the accompaniment of the gusle, concerts, musical
repertoire.
at the time and it was reproduced in their diplomatic and cultural activities. Parallel to Bulgarian struggle to preserve close ties with the Macedonians, Serbian political leaders and influential scholars worked on their assimilation, turning them both to the South Serbians and
the Yugoslavs. The conflict of interests of neighbouring countries and their overall strained relations in the 1920s were reflected in the work of Yugoslav, specifically Serbian, and Bulgarian musicians, particularly in their initiatives in the sphere of music performance, publishing, criticism, music research etc. Animosities over Macedonian question were mostly brought to light in the musicians’ collaborative projects, but were also visible in the studies of traditional music from Macedonia. In this chapter, the focus is put on the research of musical folklore from the territory of present-day North Macedonia, conducted during the interwar period in the Kingdom of SCS / Yugoslavia. Special attention is given to the circumstances of their planning and implementation, especially the reasons that motivated part of the intellectual elite, mostly of Serbian origin, to make the folklore music material from that territory a priority place in the process of studying and preserving of the national music tradition. One of the goals is to point to the ideological and political background of this process, as well as how it corresponded to the political and cultural climate at the time, inside and outside Yugoslavia.
Keywords: SFR Yugoslavia, Eastern Bloc, cultural exchange, cultural diplomacy, Jeunesse Musicales of Yugoslavia
Različite interpretacije „realnog jugoslovenstva“ koje su se nametnule u muzičkom životu Kralјevine SHS / Jugoslavije detalјno su razmatrane uzimajući u obzir aktivnosti muzičara iz različitih jugoslovenskih krajeva, osobito iz Beograda, Zagreba i Ljublјane. Analizirajući njihove inicijative u domenu koncertnog izvođenja, muzičkog izdavaštva, kritike, produkcije i formiranja profesionalnih udruženja, bilo je moguće ocrtati osnovne pretpostavke na kojima su se temelјili dominantni pogledi na jugoslovenstvo. Javne aktivnosti muzičara otkrile su i nedoslednosti u pristupu konceptu jugoslovenske integracije tokom međuratnog perioda, koje su bile rezultat specifičnih okolnosti u oblasti muzike u različitim jugoslovenskim regionima i preovlađujućih političkih i društvenih uslova. Način na koji su „unutrašnji“ ili „spolјašnji“ faktori doprineli tumačenju „realnog jugoslovenstva“ pažlјivo je ispitan na osnovu podataka prikuplјenih tokom višegodišnjeg istraživanja od kojih je veći deo objavlјen. Za ovu priliku fokus će biti na primarnim izvorima, posebno na periodici, štampanim muzičkim programima, privatnim i javnim arhivskim zbirkama itd.
His efforts reflected the influence of liberal ideas and the assumption that cultural development can be achieved not only through cultural production, but also through the creation of an appropriate network of institutions and legislation, the spreading of awareness in the public of the music profession and professional organisations, thorough work on music education of the masses etc. Krstić’s emancipatory tendencies came to fruition throughout the entire period of his activity in the musical life of Serbia and Yugoslavia. However, his achievements in the interwar period are of special importance. This was reflected both in the field of amateur music production and in the field of the professional organising of musicians and artists, as well as in the legislative regulation of different spheres of cultural and musical production. In the context of musical amateurism, his work on the foundation of orchestral ensembles during the 1920s and the tendency to present artistic music to a wider audience was of great significance. Although information on this segment of Krstić’s activities is scarce, a few sources and reviews suggest that he understood the problems faced by the majority of the musically non-educated audiences in dealing with more complex musical content and that he sought to bridge ‘a cultural gap’ by choosing the proper repertoire. With his flexible approach to the masses he stood out among his contemporaries. It was also characteristic of his activities in the music and artistic associations. In this respect, Krstić’s undertakings in the Association of Musicians in the Kingdom of SCS / Yugoslavia, of which he was President and Honorary President for many years, deserve attention. His aversion to any kind of parochialism – national, cultural, professional and personal – was reflected in his views on the relationship between educated and illiterate musicians, on the settlement of the headquarters of the Association of Musicians, and, finally, organisational unity. The struggle for the advancement of not only the position of musicians but also of general musical conditions led by Krstić was also carried out through his work on introducing and improving legislation in the fields of artistic and radio production, protection of intellectual property, and the reforming of musical education as a member of numerous committees of the Ministry of Education of the Kingdom of Yugoslavia. Bearing in mind the range of Krstić’s activities, we pointed to the pioneering importance of his initiatives in interwar Yugoslavia concerning musicians as a social group and the diverse aspects of musical life. The results we present come from an investigation of the Legacy of Petar Krstić (Archives of the Musicological Institute of the Serbian Academy of Sciences and Arts), certain fonds of the Archives of Yugoslavia and the Historical Archive of Belgrade, as well as the interwar Yugoslav press and periodicals.
Results of the analysis of type and extent of collaboration between Zagreb and other Slavic musicians were compared with the results of previous researches. The aim of this paper was to consider whether the efforts of this group corresponded with the related tendencies of Yugoslav and Slavic musicians, as well as with the dominant views and practices of the Yugoslav political and intellectual elite.
Keywords: All-Slavism, Association of Musicians of the Kingdom of SCS/Yugoslavia, Fran/Franjo Šidak, Jaroslav Šidak, Jugoslavenski muzičar/Muzičar.
This chapter discusses the presence and significance of popular culture in the everyday life of Yugoslav urban centers. The focus is on the cultural transfer of modern dance and dance music, including the important role of cross-border trade relations in the film and publishing industries, and the impact of imperial legacies and migration on this process. A further point of investigation are the critical reactions to the spread of popular culture by the country's political and intellectual elites manifested in the narratives and cultural policies that they publicly promoted. Despite their reservations, the integrative potential of transnational popular culture in interwar Yugoslavia cannot be denied given that, in a highly culturally differentiated environment, it often represented the only form of a commonly shared culture.
Ključne reči: FNR / SFR Jugoslavija, horski amaterizam, kulturna diplomatija, nacionalna kulturna politika, kulturni razvoj.
revival of certain past events that were either neglected or marginalized during Yugoslav
socialism were considered including its cooperation and creating of ties with artists and
intellectuals. The starting point of our research was the assumption that the affirmation
of the phenomena, figures and processes from the WWI and WWII was only partly the
result of overcoming of the socialist culture of forgetting, but was mostly derived from the
articulation of criticism and resistance to the social and political system created after 1945
and its different dimensions. For that purpose, we analyzed the various undertakings of
Church in this period aiming at presenting to the believers and broader public the heroism
and sacrifices of Serbian army and citizens during the WWI as well as horrific sufferings
of Serbs in the concentration camps of the Independent State of Croatia. The objective
was to bring to the fore how marginalized position of the Church and critically oriented
artists and intellectuals and their alienation from the dominant public sphere (mass media
sphere) shaped the process of mediating of critical thinking via rediscovering the past to
the broader audience. Apart from that, the social positioning of the Church and certain
artistic and intellectual circles was also considered as a factor that influenced the process
of mediation particularly in the circumstances of the growing decay of Yugoslav socialism.
that these organizations were primarily focused on development of gymnastics
and certain individual sports, cultural advancement of its members as well as of
Yugoslav population also occupied an important place, particularly in the 1930s.
As a result of broadening of Sokol’s work, musical amateurism started to gain
prominence in Sokol legions, societies and parishes (župe). This was reflected in
the proliferation of Sokol vocal and instrumental ensembles, as well as their performances in various Sokol units, both in urban and rural areas. The flourishing
of musical activities among Sokols from different parts of the country led to the
change of circumstances in the cultural sphere of these regions, particularly in the undeveloped ones. Among other things, this included giving an impetus to the preservation and popularization of tamburitza orchestras and epic singing to the accompaniment of the gusle, promotion of national and Slavic music repertoire and enrichment and diversification of musical life.
Keywords: sokol organizations, Kingdom of SCS/Yugoslavia, musical activities, tamburitza orchestras, epic singing to the accompaniment of the gusle, concerts, musical
repertoire.
at the time and it was reproduced in their diplomatic and cultural activities. Parallel to Bulgarian struggle to preserve close ties with the Macedonians, Serbian political leaders and influential scholars worked on their assimilation, turning them both to the South Serbians and
the Yugoslavs. The conflict of interests of neighbouring countries and their overall strained relations in the 1920s were reflected in the work of Yugoslav, specifically Serbian, and Bulgarian musicians, particularly in their initiatives in the sphere of music performance, publishing, criticism, music research etc. Animosities over Macedonian question were mostly brought to light in the musicians’ collaborative projects, but were also visible in the studies of traditional music from Macedonia. In this chapter, the focus is put on the research of musical folklore from the territory of present-day North Macedonia, conducted during the interwar period in the Kingdom of SCS / Yugoslavia. Special attention is given to the circumstances of their planning and implementation, especially the reasons that motivated part of the intellectual elite, mostly of Serbian origin, to make the folklore music material from that territory a priority place in the process of studying and preserving of the national music tradition. One of the goals is to point to the ideological and political background of this process, as well as how it corresponded to the political and cultural climate at the time, inside and outside Yugoslavia.
Keywords: SFR Yugoslavia, Eastern Bloc, cultural exchange, cultural diplomacy, Jeunesse Musicales of Yugoslavia
Različite interpretacije „realnog jugoslovenstva“ koje su se nametnule u muzičkom životu Kralјevine SHS / Jugoslavije detalјno su razmatrane uzimajući u obzir aktivnosti muzičara iz različitih jugoslovenskih krajeva, osobito iz Beograda, Zagreba i Ljublјane. Analizirajući njihove inicijative u domenu koncertnog izvođenja, muzičkog izdavaštva, kritike, produkcije i formiranja profesionalnih udruženja, bilo je moguće ocrtati osnovne pretpostavke na kojima su se temelјili dominantni pogledi na jugoslovenstvo. Javne aktivnosti muzičara otkrile su i nedoslednosti u pristupu konceptu jugoslovenske integracije tokom međuratnog perioda, koje su bile rezultat specifičnih okolnosti u oblasti muzike u različitim jugoslovenskim regionima i preovlađujućih političkih i društvenih uslova. Način na koji su „unutrašnji“ ili „spolјašnji“ faktori doprineli tumačenju „realnog jugoslovenstva“ pažlјivo je ispitan na osnovu podataka prikuplјenih tokom višegodišnjeg istraživanja od kojih je veći deo objavlјen. Za ovu priliku fokus će biti na primarnim izvorima, posebno na periodici, štampanim muzičkim programima, privatnim i javnim arhivskim zbirkama itd.
His efforts reflected the influence of liberal ideas and the assumption that cultural development can be achieved not only through cultural production, but also through the creation of an appropriate network of institutions and legislation, the spreading of awareness in the public of the music profession and professional organisations, thorough work on music education of the masses etc. Krstić’s emancipatory tendencies came to fruition throughout the entire period of his activity in the musical life of Serbia and Yugoslavia. However, his achievements in the interwar period are of special importance. This was reflected both in the field of amateur music production and in the field of the professional organising of musicians and artists, as well as in the legislative regulation of different spheres of cultural and musical production. In the context of musical amateurism, his work on the foundation of orchestral ensembles during the 1920s and the tendency to present artistic music to a wider audience was of great significance. Although information on this segment of Krstić’s activities is scarce, a few sources and reviews suggest that he understood the problems faced by the majority of the musically non-educated audiences in dealing with more complex musical content and that he sought to bridge ‘a cultural gap’ by choosing the proper repertoire. With his flexible approach to the masses he stood out among his contemporaries. It was also characteristic of his activities in the music and artistic associations. In this respect, Krstić’s undertakings in the Association of Musicians in the Kingdom of SCS / Yugoslavia, of which he was President and Honorary President for many years, deserve attention. His aversion to any kind of parochialism – national, cultural, professional and personal – was reflected in his views on the relationship between educated and illiterate musicians, on the settlement of the headquarters of the Association of Musicians, and, finally, organisational unity. The struggle for the advancement of not only the position of musicians but also of general musical conditions led by Krstić was also carried out through his work on introducing and improving legislation in the fields of artistic and radio production, protection of intellectual property, and the reforming of musical education as a member of numerous committees of the Ministry of Education of the Kingdom of Yugoslavia. Bearing in mind the range of Krstić’s activities, we pointed to the pioneering importance of his initiatives in interwar Yugoslavia concerning musicians as a social group and the diverse aspects of musical life. The results we present come from an investigation of the Legacy of Petar Krstić (Archives of the Musicological Institute of the Serbian Academy of Sciences and Arts), certain fonds of the Archives of Yugoslavia and the Historical Archive of Belgrade, as well as the interwar Yugoslav press and periodicals.
Results of the analysis of type and extent of collaboration between Zagreb and other Slavic musicians were compared with the results of previous researches. The aim of this paper was to consider whether the efforts of this group corresponded with the related tendencies of Yugoslav and Slavic musicians, as well as with the dominant views and practices of the Yugoslav political and intellectual elite.
Keywords: All-Slavism, Association of Musicians of the Kingdom of SCS/Yugoslavia, Fran/Franjo Šidak, Jaroslav Šidak, Jugoslavenski muzičar/Muzičar.
Kosta P. Manojlović (1890–1946) is one of the most important Serbian musicians and musical intellectuals of the interwar period. His musical activities were diverse and fuitful. As a composer, he was a proponent of the “national style”, which was primarily reflected in choral music. In this domain he left pieces of lasting value, such as Sever duva [The North Wind blows] for the mixed choir. His melographic and ethnomusicological work dedicated to Serbian musical folklore is of great significance. He was a pioneer of Serbian musical historiography and a proliferous critic who collaborated with numerous journals and dailies from Yugoslavia and abroad.
Кључне речи: јавно поље, интелектуална елита, политичка елита, национална
култура, национални идентитет, идеологија, конструисање традиције, наратив о
музици, Краљевина СХС/Југославија
Over the two days 24 papers were presented both on-site and online via Zoom (three presenters were, unfortunately, unable to join us) divided into seven thematic panels. There was a nice mixture of both established and emerging scholars from the field coming from a number of countries. Professor António Costa Pinto from the Institute of Social Sciences, University of Lisbon, delivered a keynote lecture “Building Dictatorships in the Era of Fascism. A Global View” on the second day of the conference.
The organizers, Dragan Bakić, Dušan Fundić and Rastko Lompar from the Institute for Balkan Studies SASA, would like to extend their thanks to all the participants. It is their intention to publish an edited volume consisting of the conference proceedings which will, hopefully, be out in print next year.