“Da, da, to je Balkan.” An ethnomusicological study of the ‘Yugoslav Balkans.’

After the creation of the term ‘Balkan’ in 1808 defined the region in geographic terms, it has been discussed countless times in the academic and cultural field. The Western Balkan identity, also known as the ‘Yugoslav Balkans,’ adopts a complex set of traits and multiple cultural aspects. This thesis follows a critical analysis of the nuanced Western Balkan identity portrayed in music examples from 1978-2024. The importance of individual experience also contributes greatly to concepts of identity, especially in the case of the ‘Yugoslav Balkans,’ which include several nationalities, generations and displaced communities. Inspired by the “affected accordances” of music (Arbide, 2024) and following a multi-modal analysis of music originating in the Western Balkan region, processes such as fragmentation, (auto-)Balkanisation, patriotism, solidarity and (Yugo-)nostalgia are noticeable in certain examples. Post-partisan examples from bands such as Nervozni Poštar, Bijelo Dugme, Bajaga i Instruktori, Azra, Galija and musicians including Lepa Brena and Đorđe Balašević touch on topics of nostalgia, patriotism and belonging. Key trends presented by post-Yugoslav generations, such as TBF, Senidah, Coby and Nucci emphasise certain ethnomusicological narratives of auto-Balkanism, identity and regional solidarity.

This is accompanied by semi-structured interviews and surveys surrounding these issues. The critical case study of Coby’s Biseri iz Blata (2018) addresses and criticises several identity issues, many of which are major identifiers of the Western Balkan identity. Through an ethnomusicological lens, this study recognises processes of fragmentation, aggression, strength in community and unity. This research finds that musicians within this space embrace and amplify the harsh reality of ‘being Balkan’ through auto-Balkanism. Additionally, traces of Yugo-nostalgia are evident within these contemporary works through lyrics, visual cues and commodities, and the inherent difference in attitude regarding Balkan versus Yugoslavian continues to exist, shaping cultural narratives and identity. Based on the findings of this study, the importance of community is undeniably significant within musical works, whether that be based in an idealised perception or harsh reality.  The ghost of a past nationality within the contemporary music space emphasises the need for acceptance, by acknowledging the role history and culture play in shaping the current overlapping identities.