This book asks how a study of many different musics in South East Europe can help us understand the construction of cultural traditions, East and West. It crosses boundaries of many kinds, political, cultural, repertorial and disciplinary. Above all, it seeks to elucidate the relationship between politics and musical practice in a region whose art music has been all but written out of the European story and whose traditional music has been subject to appropriation by one ideology after another. South East Europe, with its mix of ethnicities and religions, presents an exceptionally rich field of study in this respect. The book will be of value to anyone interested in intersections between pre-modern and modern cultures, between empires and nations and between culture and politics.

The Routledge Handbook of Popular Music and Politics of the Balkans is a comprehensive overview of major topics, established debates and new directions in the study of popular music and politics in this region. The vibrant growth of this subject area since the 1990s has been intertwined with the region’s political and socio-economic transformations, including the collapse of state socialism in much of the region, the break-up of Yugoslavia, the advent of neoliberal capitalism, the rise of Romani activism, the complex politics of ‘Europeanization’ before and after the global financial crisis, and the region’s relationship to the European Union border regime. The handbook illustrates the wide range of disciplines and methods that contribute to this field’s interdisciplinary dialogue and highlights emerging approaches such as the study of Black diasporas in the region, popular music’s links with LGBTQ+ communities, and the impact of digital technologies on musical cultures. This volume will benefit specialist researchers, tutors creating or refreshing courses on popular music in the region, and students interested in these topics, especially those who are at the point of developing their own independent research projects.

On the crossroads between the cultural influences of perceived global models and local specificity, entangled in webs of post-communist complexity, Bulgarian popular music has evolved as a space of change and creativity on the edge of Europe. An ethnographic exploration, this book accesses insight from music figures from a spectrum of styles.

Everyday Life in the Balkans gathers the work of leading scholars across disciplines to provide a broad overview of the countries of Albania, Bosnia and Herzegovina, Bulgaria, Croatia, Greece, Kosovo, Macedonia, Romania, Serbia, and Turkey. This region has long been characterized as a place of instability and political turmoil, from World War I, through the Yugoslav Wars, and even today as debate continues over issues such as the influx of refugees or the expansion of the European Union. However, the work gathered here moves beyond the images of war and post-socialist stagnation which dominate Western media coverage of the region to instead focus on the lived experiences of the people in these countries. Contributors consider a wide range of issues including family dynamics, gay rights, war memory, religion, cinema, fashion, and politics. Using clear language and engaging examples, Everyday Life in the Balkans provides the background context necessary for an enlightened conversation about the policies, economics, and culture of the region.

The overall character of the Black Sea region has been defined over time in various ways. For specialists in economy and trade, it has represented a region at the crossroads of the trade routes between Europe and Asia; for political scientists and historians, it has been a space of confrontation between the great terrestrial and naval powers; for the scholars attentive to its cultural dimensions, it has been a contact zone, a space of interaction between different peoples, religions and cultures. These attempts at a definition all revolve around an essential (and ambivalent) feature of the Black Sea as a factor of connection, a bridge, and at the same time a border, a dividing line between Europe and Asia, between the Baltic and the Mediterranean region. In this fluctuation between the two, the predominance of one over the other (“bridge” or “border”) has depended on a number of factors, first among them the distribution of power relations in the region. This volume, which originated in a symposium hosted by the New Europe College – Institute for Advanced Study in Bucharest, brings together contributions coming from scholars within the Black Sea region and outside it, in an attempt to look at the Balkans and Caucasus from a comparative and multi-disciplinary perspective, highlighting their differences, as well as their common features. The overarching question this volume and the papers included in it address – and leave open – is to what extent we are dealing with a coherent zone, whose past, present and future can legitimately be considered as being traversed by meaningful interrelations, suggesting a shared destiny.

"The past fifteen years have been a time of intense scholarly interest in women, resulting in an explosion of literature that has begun to reveal the overriding effects of gender on other cultural domains. Affecting all aspects of culture, issues of sexuality, gender-related behaviors, and inter-gender relations also have profound implications for music performance. This volume represents an introduction to the field of women, music, and culture and in no way attempts to be comprehensive in its coverage nor conclusive in its implications. For example, Western classical music is not discussed here, many large world areas are not covered, nor does this volume present a comprehensive survey of all recent developments in feminist-oriented anthropology. What these essays do share is a focus on women's culture identity and musical activity, either in socially isolated performance environments or within the public arenas shared by their male counterparts."--From the preface

This volume analyzes innovative forms of media and music (art installations, television commercials, photography, films, songs, telenovelas) to examine the performance of migration in contemporary culture. Though migration studies and media studies are ostensibly different fields, this transnational collection of essays addresses how their interconnection has shaped our understanding of the paradigms through which we think about migration, ethnicity, nation, and the transnational. Cultural representations intervene in collective beliefs. Art and media clearly influence the ways the experience of migration is articulated and recalled, intervening in individual perceptions as well as public policy. To understand the connection between migration and diverse media, the authors examine how migration is represented in film, television, music, and art, but also how media shape the ways in which host country and homeland are imagined. Among the topics considered are new mediated forms for representing migration, widening the perspective on the ways these representations may be analyzed; readings of enactments of memory in trans- and inter-disciplinary ways; and discussions of globalization and transnationalism, inviting us to rethink traditional borders in respect to migration, nation states, as well as disciplines.

This book explores historical discourses on the various forms of identity production in film that are based on memory and shows how these narratives get 'mediated' by (documentary) film. Most films about the Balkans produced in the last two decades were in fact made in response to immediate concerns about the economic crises and political conflicts that struck the region during the 1990s. These new forms of communication about history mostly show a rather self-critical approach. The book's case studies give the reader a clear idea of how processes informing identity formations are directly launched and later on maintained in peoples' real and everyday lives. Thus, the case studies' principal objective is to integrate the study of 'private space' with existing macro-debates in politics as well as with dominant discourses within the academic community. The included case studies focus on several topics, i.e. migration, the reproduction and protection of personal as well as collective identities in post-socialist societies, revolutionary processes towards the official end of the Cold War, the (re-)creation of politically constructed narratives, generational conflicts in the post-socialist period, and the fate of women during the war. The multifaceted view of the region under focus in this study shows that common grounds and differences co-exist in the Balkan space, be it on a cultural, economic, social or (geo)-political level. Apart from the field of film studies, this work is a powerful contribution to cultural history as well as to the growing field of visual history.

During the past two decades, there has emerged a growing need to reconsider the objects, axioms and perspectives of writing music history. A certain suspicion towards Francois Lyotard’s grand narratives, as a sign of what he diagnosed as our ’postmodern condition’, has become more or less an established and unquestioned point of departure among historians. This suspicion, at its most extreme, has led to a radical conclusion of the ’end of history’ in the work of postmodern scholars such as Jean Baudrillard and Francis Fukuyama. The contributors to Critical Music Historiography take a step back and argue that the radical view of the ’impossibility of history’, as well as the unavoidable ideology of any history, are counter-productive points of departure for historical scholarship. It is argued that metanarratives in history are still possible and welcome, even if their limitations are acknowledged. Foucault, Lyotard and others should be taken into account but systematized viewpoints and methods for a more critical and multi-faceted re-evaluation of the past through research are needed. As to the metanarratives of music history, they must avoid the pitfalls of evolutionism, hagiography, and teleology, all hallmarks of traditional historiography. In this volume the contributors put these methods and principles into practice. The chapters tackle under-researched and non-conventional domains of music history as well as rethinking older historiographical concepts such as orientalism and nationalism, and consequently introduce new concepts such as occidentalism and transnationalism. The volume is a challenging collection of work that stakes out a unique territory for itself among the growing body of work on critical music history.