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Musical Faces of Croatian Multiculturality

Published online by Cambridge University Press:  07 March 2019

Naila Ceribasic
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Extract

When I started the journey of writing this essay, I wondered at length what topic to propose and what tone it should take. Since the Yearbook for Traditional Music is a highly respected, international ethnomusicological journal, should I speak as an exponent of a small national ethnomusicology or am I allowed to take a more personal stance? Should I use this space for more canonized thoughts or could I allow myself to propose untested ones, to speak from this specific moment, inspired by recent musical events and readings? Although ethnomusicologists at home tend to be resentful when treated as only the providers of ethnographic material, should I present information in its historical, political, and social context or could I try to put forward some broader ethnomusicological thoughts?

Sažetak

SAŽETAK

Članak je zamišljen kao putovanje glazbenim krajolicima nacionalnih manjina u Hrvatskoj. Vrhuncem su im festivali, pa im je posvećeno i najviše pozornosti. Raspravlja se i o pregovorima manjine i većine oko vlasništva nad folklornim tradicijama, produkciji baštine unutar multietničke glazbene tradicije predložene za međunarodni registar nematerijalne kulturne baštine te o primjeru višeznačnosti manjinske etničke glazbe. Na kraju se govori o usporednim putanjama multikulturalnosti u smislu bogatstva raznolikosti i dijaloga na hrvatskome putu prema europskim integracijama.

U uvodnom se dijelu ovaj rad smješta u kontekst teorijskih i metodoloških pristupa Studijske skupine “Glazba i manjine” Međunarodnog savjeta za tradicijsku glazbu, društveno i političko okružje raspada bivše Jugoslavije i nastanka neovisne Hrvatske, u okvir prijepora akademskog i primijenjenog etnomuzikološkog rada, u odnos prema poimanju multikulturalnosti u hrvatskom javnom diskursu te u kontekst teorije o realnosti diskursa i realnosti prakse.

Rasprava o festivalskom predstavljanju manjina zasniva se na analizi triju multimanjinskih priredbi. Kao najvažnija se izdvaja Manifestacija “Kulturno stvaralaštvo nacionalnih manjina u Republici Hrvatskoj.” Njezina se struktura i koncepcija (načela jednakopravnosti i reprezentivnosti manjina, vrsnoća prikazanih sadržaja, pretežnost folklornih stilizacija) uspoređuju s konceptualiziranjem manjina u okviru Međunarodne smotre folklora iz 2003. godine te s pristupom Zagreb world music festivala “Nebo” iz 2004. godine. Na razinama strukturiranja priredbi i izvedbi na njima ta su tri festivala ponudila različite okvire za razumijevanje manjina s obzirom na odnos kulturnog univerzalizma i relativizma te ljudskih i kulturnih prava.

Slijedi dio posvećen prijeporima vlasništva nad folklornim tradicijama na primjeru obrazaca repertoara i načina izvođenja u manjinskih srpskih i većinskih hrvatskih folklornih skupina s područja istočne Hrvatske. Teza o kontradiktornosti glazbenih i plesnih ontologija, koje bi imale zadržati značaj jasnih i omeđenih obrazaca zvuka i pokreta, ali i poslužiti stvaranju etničke posebnosti i međuetničke razlike, dalje se razvija na primjeru oživljene baštine perojskih Crnogoraca. Historicistička uporaba prošlosti za stvaranje sadašnjosti u tom je primjeru bila iznimno uspješna, zaoštravajući međutim pitanje definiranja i odnosa između žive tradicije i naprečac oživljene baštine, te razotkrivajući procijepe UNESCO-va projekta zaštite nematerijalne kulturne baštine. Posljednji dio tematizira etno-glazbeni sastav “Afion” i scenu makedonske glazbe u Hrvatskoj. Suprotno okosnici prethodnih primjera ovdje je riječ o hibridnom zamućivanju esencijalizirajućih koncepcija etničke zajednice, reprezentativnosti, nositelja tradicije i glazbene autentičnosti.

Četiri hrvatske studije primjera u zaključnom se dijelu povezuju s multikulturnim nacionalizmom zapadnih demokratskih društava i lokalnom baštinom multikulturne razmjene onkraj čistih kategorija etničke i kulturne pripadnosti.

Type
Articles
Information
Yearbook for Traditional Music , Volume 39 , 2007 , pp. 1 - 26
Copyright
Copyright © 2007 by the International Council for Traditional Music

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