In Search of ‘Authentic’ Yugoslav Rock: The Life and Afterlife of Bijelo Dugme

Ana Petrov

doi:10.25038/am.v0i13.182

Authors

Ana Petrov

DOI:

https://doi.org/10.25038/am.v0i13.182

Keywords:

Yugoslav rock, Bijelo Dugme, Yugoslavia, music politics, cultural politics, politics of remembrance

Abstract

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. 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. 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. 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. 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.

Author Biography

Ana Petrov

Faculty of Media and Communications, Singidunum University, Belgrade
Serbia

Ana Petrov (1982) has finished musicology studies at the Faculty of Music, University of Arts in Belgrade, and Master’s and PhD studies in sociology at the Sociology Department at the Faculty of Philosophy, University of Belgrade. Since 2015 she has worked as an assistant professor at the Faculty of Media and Communications, Belgrade. Petrov is the author of a book on Pierre Bourdieu (Orion Art and FMK, Beograd, 2015) and Bruno Latour (Orion Art and FMK, Beograd, 2015), on scientific imperialism in Max Weber’s discourse on music (Rethinking Rationalisation, Hollitzer Verlag, Wien, 2016), and a book dealing with the reception of Yugoslav popular music after the dissolution of Yugoslavia (Yugoslav music without Yugoslavia, FMK, Belgrade, 2016).

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In Search of ‘Authentic’ Yugoslav Rock: The Life and Afterlife of Bijelo Dugme

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