Turbo-folk

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Turbo-folk
Stylistic origins
  • FR Yugoslavia

Turbo-folk is a subgenre of contemporary South Slavic pop music that initially developed in Serbia during the 1990s as a fusion of techno and folk. The term was an invention of the Montenegrin singer Rambo Amadeus, who jokingly described the aggressive, satirical style of music as "turbo folk".[1][2] While primarily associated with Serbia, this style is also popular in other former Yugoslav republics.

Croatia

Turbo-folk grew in Croatia in part due to the popularity of the Croatian singer

UNSW Sydney.[3]

Upon introduction of

people of Croatia, as the only Croatian artists featured on the chart were Eni Jurišić, Matija Cvek, 30zona, Kuku$ Klan, Jelena Rozga and Grše, and the only Western artists featured on the chart were Glass Animals and Red Hot Chili Peppers.[5][6]

Central Europe

Turbo-folk can be heard in Balkan clubs and Ex-Yu-style discos in parts of Switzerland that speak German. Reports of turbo-folk from 2023 describe the music used for diasporic youth in these areas to "socialise and live out the culture of their country of origin" according to Dr Müller-Suleymanova of ZHAW.[7]

Criticism

Croatian nationalist and fascist organisation Ustaše
)

Critics of turbo-folk alleged that it was a promotional instrument of Serbia's political ideology during

Milošević rule.[8] This liberal section of Serbian and Croatian society explicitly viewed this music as vulgar, almost pornographic kitsch, glorifying crime, moral corruption and nationalist xenophobia. In addition to making a connection between turbofolk and "war profiteering, crime & weapons cult, rule of force and violence", in her book Smrtonosni sjaj (Deadly Splendor) Belgrade media theorist Ivana Kronja refers to its look as "aggressive, sadistic and pornographically eroticised iconography".[9][10] Along the same lines, British culture theorist Alexei Monroe calls the phenomenon "porno-nationalism".[11] However, turbo-folk was equally popular amongst the South Slavic peoples during the Yugoslav Wars.[10]

As long as I am the mayor, there will be no nightclub-singers of [cajke] or turbo-folk parades in a single municipal hall.

— Anto Đapić, former mayor of Osijek and leader of the Croatian Party of Rights[12]

The resilience of a turbo-folk culture and musical genre, often referred to as the "soundtrack to Serbia’s wars",

Pink and Palma TV-channels, which devote significant amount of their broadcasting schedule to turbo-folk shows and music videos
.

Others, however, feel that this neglects the specific social and political context that brought about turbo-folk, which was, they say, entirely different from the context of contemporary western popular culture. In their opinion, turbo-folk served as a dominant paradigm of the "militant nationalist" regime of Slobodan Milošević, "fully controlled by regime media managers".[14] John Fiske feels that during that period, turbo-folk and its close counterpart, Serbian Eurodance, had the monopoly over the officially permitted popular culture, while, according to him, in contrast, Western mass media culture of the time provided a variety of music genre, youth styles, and consequently ideological positions.[15]

See also

References

  1. 2012 Eurovision Song Contest
    participant profile
  2. ^ Stakić, Vladimir (11 November 1988). "Ogledalo tamne budućnosti". Борба. No. 316. p. 9. Uostalom, već samo njegovo umetničko ime to govori, kao i njegov termin za muzički pravac kojim se bavi — „turbo folk". [Besides, this is already shown by his artistic alias, as well as by his name for the musical style that he works in – "turbo folk".]
  3. ISBN 978-1317006060
    .
  4. ^ Marina Radoš, Narodnjaci, ćirilica i turbofolk: Što su to uopće cajke?
  5. ^ "Croatia Songs (Week of February 19, 2022)". Billboard. 15 February 2022. Archived from the original on 17 February 2022. Retrieved 17 February 2022.
  6. ^ Marjanović, Hrvoje (18 February 2022). "Billboard Croatia nikad neće biti Билборд Кроејша". Index.hr (in Croatian). Retrieved 20 February 2022.
  7. hdl:11475/23217
    .
  8. ^ "In These Times 25/07 -- Serbia's New New Wave". Inthesetimes.com. Retrieved 23 April 2017.
  9. ^ "Film Criticism". Filmcriticism.allegheny.edu. Retrieved 3 June 2018.
  10. ^ a b "Komentari". Nspm.rs. Retrieved 23 April 2017.[permanent dead link]
  11. ^ "Central Europe Review - Balkan Hardcore". Ce-review.org. Archived from the original on 16 August 2000. Retrieved 23 April 2017.
  12. ^ "Catherine Baker, "The concept of turbofolk in Croatia: inclusion/exclusion in the construction of national musical identity"" (PDF). Eprints.soton.ac.uk. Retrieved 3 June 2018.
  13. ^ Gordana Andric (15 June 2011). "Turbo-folk Keeps Pace with New Rivals". Balkaninsight.com. Retrieved 21 July 2013.
  14. ^ "Explore Taylor & Francis Online". Maney.co.uk. Retrieved 3 June 2018.
  15. ISBN 0-415-03934-7

Further reading
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