Turbo-folk

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Turbo-folk
Stylistic origins
  • SFR Yugoslavia

Turbo-folk is subgenre of Serbian contemporary pop music that initially developed during the 1990s as a fusion of techno and folk. The music glorified the lavish lifestyle of gangsters such as Arkan who were allowed to proliferate during the rule of Slobodan Milošević.[1]

Croatia

Turbo-folk grew in Croatia in part due to the popularity of the Croatian singer Severina's fusion of turbo-folk in her music. Turbo-folk is seen as a part of everyday life in Croatia and serves a means of social release and reaction to the effects of globalisation in Croatia.[2]

Criticism

anti-Serbian movement Ustaše
)

Although very popular, turbo-folk is described as

Croatian conflicts during the nineties.[1] 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".[3][4] Along the same lines, British culture theorist Alexei Monroe calls the phenomenon "porno-nationalism".[5] However, turbo-folk was equally popular amongst the South Slavic peoples during the Yugoslav Wars.[4]

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[6]

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".[8] 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.[9]

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.[10][11]

See also

Notes

  1. ^ a b "In These Times 25/07 -- Serbia's New New Wave". Inthesetimes.com. Retrieved 23 April 2017.
  2. ISBN 1317006062
    .
  3. ^ "Film Criticism". Filmcriticism.allegheny.edu. Retrieved 3 June 2018.
  4. ^ a b "Komentari". Nspm.rs. Retrieved 23 April 2017.[permanent dead link]
  5. ^ "Central Europe Review - Balkan Hardcore". Ce-review.org. Retrieved 23 April 2017.
  6. ^ "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.
  7. ^ Gordana Andric (15 June 2011). "Turbo-folk Keeps Pace with New Rivals". Balkaninsight.com. Retrieved 21 July 2013.
  8. ^ "Explore Taylor & Francis Online". Maney.co.uk. Retrieved 3 June 2018.
  9. ISBN 0-415-03934-7
  10. ^ "Croatia Songs (Week of February 19, 2022)". Billboard. 15 February 2022. Archived from the original on 17 February 2022. Retrieved 17 February 2022.
  11. ^ Marjanović, Hrvoje (18 February 2022). "Billboard Croatia nikad neće biti Билборд Кроејша". Index.hr (in Croatian). Retrieved 20 February 2022.

References

External links

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