Turbo-folk

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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 Severina's fusion of turbo-folk in her music. Turbo-folk is purportedly 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" according to contemporary art professor Urosh Cvoro of UNSW Sydney.[3]

Upon introduction of Billboard Croatia Songs chart on 15 February 2022, it became apparent that mainstream music from Serbia and other former Yugoslav republics (which is all described as turbo-folk or by a derogatory term "Script error: No such module "Lang"." (plural: cajke) by its critics in Croatia[4]) dominated the music taste of the 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

File:Grafit protiv turbofolka,Imotski01848.JPG
Graffiti against Ceca's music in Imotski, Croatia: "Turn off all the "Cecas"/Light up the candles/Vukovar will never/Be forgotten" (written with stylized U's of a style belonging to the 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]

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As long as I am the mayor, there will be no nightclub-singers of [Script error: No such module "Lang".] or turbo-folk parades in a single municipal hall.

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The resilience of a turbo-folk culture and musical genre, often referred to as the "soundtrack to Serbia’s wars",[13] was and to a certain extent still is, actively promoted and exploited by pro-government commercial TV stations, most notably on 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

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References

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Further reading

External links

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  1. ↑ Rambo Amadeus, eurovision.tv, 2012 Eurovision Song Contest participant profile
  2. ↑ Script error: No such module "citation/CS1".
  3. ↑ Script error: No such module "citation/CS1".
  4. ↑ Marina Radoš, Narodnjaci, ćirilica i turbofolk: Što su to uopće cajke?
  5. ↑ Template:Cite magazine
  6. ↑ Script error: No such module "citation/CS1".
  7. ↑ Script error: No such module "Citation/CS1".
  8. ↑ Script error: No such module "citation/CS1".
  9. ↑ Script error: No such module "citation/CS1".
  10. ↑ a b Script error: No such module "citation/CS1".Template:Dead link
  11. ↑ Script error: No such module "citation/CS1".
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  13. ↑ Script error: No such module "citation/CS1".
  14. ↑ Script error: No such module "citation/CS1".
  15. ↑ John Fiske, Television Culture, February 1988, Template:ISBN
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