Popularna muzika kao anticipacija, 'uokviravanje' i konstrukcija generacijskog sećanja na studentski bunt 1968. godine u Jugoslaviji

Abstract

Analizirajući muziku u kontekstu jednog političkog događaja, studentskih protesta 1968. autorka teksta spaja sociologiju muzike sa sociologijom društvenih pokreta američkih sociologa Rona Ejermana (Ron Eyerman) i Endrjua Džejmisona (Andrew Jamison) - na tragu ovih jejlskih sociologa, autorka insistira na kulturnoj osnovi društvenih pokreta, a predlaže i dalja istraživanja sociologije generacija. U tekstu se, nasuprot često jednostranoj ili negativnoj evaluaciji uticaja protesta iz 1968. na dalji razvoj jugoslovenskog društva, otvara diskusija o uticaju te prelomne godine na istoriju rokenrola i stil života studenata u Jugoslaviji. Autorka zastupa mišljenje da su za samoopis aktera 60-ih presudne bile institucije zabave u Jugoslaviji, posebno rokenrol, zabavna i džez muzika, te folklorna amaterska društva, a ne isključivo njihovo političko opredeljenje. Muzika je anticipirala i pratila proteste 1968, a kasnije doprinela sećanju na njih. Izdvajanje muzike u kontekstu proučavanja datih događaja proizašlo je iz analize obimne građe/svedočenja aktera, koja je pokazala da je muzika jedini konstantni parametar u procesu konstrukcije sećanja na šezdesete godine u SFRJ i konkretno 1968. Razmatranje muzike u kontekstu društvenih pokreta sprovodi se u cilju analize višeznačnosti muzike za određene društvene grupe, a muzika se prati u vaninstitucionalnom delanju. Budući da naučne literature koja se integralno bavi stilom života tadašnje omladine, a posebno one koja se odnosi na muzičke preferencije omladine, nema, za ovaj rad smo koristili različite sekundarne izvore.

By focusing on the role of music within a certain political event - in this case, the students' protests in Yugoslavia in June 1968 - I connect the sociology of music with the sociology of social movements as defined by American writers Ron Eyerman and Andrew Jamison. Moreover, I suggest further research based on the sociology of generations. I insist on the cultural basis of social movements, as argued by these Yale-educated sociologists. Contrary to the typically onesided or negative evaluation on the consequences of the 1968 protests on the further development of Yugoslav society, I discuss the importance of this crucial year on the history of Yugoslav rock music and the students' lifestyle. I argue that the entertainment institutions in Yugoslavia, including rock'n'roll, pop and jazz music, as well as the amateur folklore societies, were crucial for the selfidentification of the protagonists of the 1960s student protests, and not only the students' political choices. Music anticipated and accompanied the 1968 protests, and later helped in constructing the memories on these protests. Music is singled out as the object of study based on the analysis of a vast body of archival material and the participants' testimonies, in which the music could be observed as the only constant parameter in the process of constructing collective memory to the 1960s in Yugoslavia and the 1968 events. I discuss music in the context of social movements for the sake of analyzing the multiplicity of music's meanings for various social groups. Music is seen outside of institutional frameworks. Bearing in mind the lack of literature that deals comprehensively with the lifestyle of the youth at that time, including their musical preferences, I used various secondary sources.