Denisoff, bring completely new and yet unpublished view on phenomenon of Brotherhood and Unity ideology and its connection to popular music-put much-needed light on the complicated social and cultural relations between Yugoslav nations through music phenomenon. The aim of the article is by using comparative analysis and methodology developed by Serge R. Building on wide range of primary and secondary sources (mainly of western, central and southeastern European provenience), that has not been yet used and analysed in depth, it seeks to analyse how state ideology affected Yugoslav music and thus society. This article focuses on implementation of Brotherhood and Unity ideology into Yugoslav popular music in 1970s and 1980s of 20th century in wider historical, cultural and political context. Music has been an important part of Yugoslav society, identity and national consciousness throughout the whole existence of Socialist Federal Republic of Yugoslavia. "In Search of ‘Authentic’ Yugoslav Rock: The Life and Afterlife of Bijelo Dugme." AM Journal of Art and Media Studies 13 (2017): 43-59. I here argue that the band appears to be a Yugoslav symbol since (1) its active years coincide precisely with the period in Yugoslavia that was marked with relevant changes, beginning with its 1974 constitution and ending with its disintegration (2) it is regarded as a feature representing one of the most important successes of the country’s popular music industry and (3) it has had a specific ‘afterlife’ that sheds light on the ways culture in the Yugoslav era is perceived currently.Īrticle received: Article accepted: Published online: September 15, 2017 The folk-influenced hard rock sound (so-called shepherd rock) was recognized as such a feature and it soon became one of the symbols of Yugoslav culture itself, making Sarajevo one of its epicenters.
Being between the East and the West, Yugoslavia’s popular music scene was constantly focused on searching for a kind of music that would epitomize the ‘authentic’ Yugoslav music. Starting from 1974, when its first album was released, Bijelo Dugme gained high popularity and drew the attraction of the public due to its specific sound and image. In this article I address the ways in which rock band Bijelo Dugme (White Button) has become one of the symbols of the former Yugoslavia, by analyzing its activities and reception, both in the Yugoslav and the post-Yugoslav periods.
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