Beograd na "novom talasu". Muzika kao element konstrukcije lokalnog identiteta

Abstract

Predmet istraživanja koje je jednim svojim delom prezentovano u ovoj monografiji, predstavlja analiza uloge muzike u konstruisanju lokalnog identiteta. Osnovna hipoteza od koje polazim jeste da muzika poseduje "sposobnost" da formira identitet nekog grada, odnosno da određena vrste muzike utiče na stvaranje skupa predstava i (sa)znanja o nekom mestu koji jedan broj ljudi deli. Primer na kojem se ispituje odnos muzike i mesta u ovom radu jeste novi talas u rokenrol muzici u Beogradu osamdesetih godina dvadesetog veka. U skladu sa prethodno iznetom hipotezom, osnovna intencija ovog istraživanja jeste potvrda da je novi talas moguće posmatrati kao lokalni muzički i kulturni fenomen, kao i da novi talas predstavlja element konstrukcije određenog beogradskog identiteta, koji bih, za potrebe analize, odredila kao "novotalasni identitet", a koji je kao takav prepoznat od strane određene grupe ljudi.

The topic of this research is understanding a two-way relationship between the concepts of music and place. The hypothesis I am starting from is that music has an “ability" to create an identity of a certain space. More specifically, that would mean that music can have an impact on the establishing a set of images and knowledge of a specific city through daily social interactions (such as socializing, going out, going to concerts). In this case, “an identity of a city", comprises everything that is identified as an important identification mark within a specific sociocultural context and understood in that way, can be reflected in different physical places (e.g. a club, cultural center, café, park, square), and in various modes of everyday living in that particular city and in experiences that evolve from it (e.g. daily routes within a city, a specific style of speech, topics for conversation). The example which I have chosen to analyze this relationship on is the new wave rock-and-roll music scene in Belgrade in the eighties. Although this music phenomenon is not something that accounts for an original local product, it possesses its local authenticity. Therefore, my goal is to explore the process of creating that specific Belgrade identity, and draw attention to the features which make the authentic local phenomenon of this musical “wave". Analyzing current narratives about this phenomenon in the local discourse, I endeavor to identify and abstract the key elements of the “new wave" Belgrade identity and consider them in the light of the theories (in the first place anthropological) which treat music and place as a sociocultural (and therefore contextually dependent and fluid) categories. The analysis is based on the interviews which have been made during the summer of 2011.