Yugoslav popular music and global histories of the Cold War

Baker, Catherine

Abstract

Employing a process of so-called circuit listening and considering the routes, networks, and histories necessary for a song to come about, however, reveals “Colinda” as the outcome of circuits of music, migration, and colonialism, owing its existence to aspects of global history to which Yugoslav popular music cultures are still rarely connected. Dean Vuletic has demonstrated the role of Yugoslav popular music as an instrument of “soft power” in Yugoslav diplomacy. Recognizes popular music as embodied and affective labour, and acknowledges the importance of public and private diaspora performances for many Yugoslav musicians’ earnings. The global histories of popular music and race in the twentieth century (and before) are, indeed, inseparable. Integrating the ever-expanding history of Cold War music with the reach of global Cold War history makes it possible to begin asking how such dynamics might have played out even in societies like Yugoslavia.

Citation

Baker, C. (2020). Yugoslav popular music and global histories of the Cold War. In D. S. Beard, & L. V. Rasmussen (Eds.), Made in Yugoslavia: Studies in Popular Music (232-245). Taylor & Francis (Routledge). https://doi.org/10.4324/9781315452333-25

• Online Publication Date: Jun 22, 2020
• Publication Date: 2020
• Deposit Date: Mar 16, 2021
• Publisher: Taylor & Francis (Routledge)
• Pages: 232-245
• Book Title: Made in Yugoslavia: Studies in Popular Music
• Chapter Number: 19
• ISBN: 9781315452326; 9781138211735
• DOI: https://doi.org/10.4324/9781315452333-25
• Public URL: https://hull-repository.worktribe.com/output/3741705
• Publisher URL: https://www.taylorfrancis.com/chapters/edit/10.4324/9781315452333-25/