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Contents

• List of figures
• List of tables
• List of contributors
• Acknowledgements
• Introduction: Thinking Politically with Popular Music of the Balkans
• Part 1: Region and ‘the Balkans’ in Practice
• 1 The Emergence of the World Music Concept in the Balkans: Early and More Recent Steps
• 2 Lăutari, Music-Making, and Social Practices of Live Performance in Southern Romania
• 3 Politics, Activism, and Romani Music: Interpreting Trends in Serbia, North Macedonia and Bulgaria
• 4 Electronic Dance Music Festivals in Romania: a Case of Reversed Balkanism
• 5 The Balkans in the Eurovision Song Contest
• Part 2: Reviving and Revising Histories
• 6 Reviving Nineteenth-Century Wallachian and Moldavian Urban Music
• 7 Bosnian Discography Before World War I: Recording Artists, Repertoire and Politics
• 8 The Development and Institutionalization of Albanian Music During the Communist Period
• 9 ‘Please, Mile, Don’t Sing Anything Political’: Turbo-Folk, Politics and the Restoration of Capitalism in Serbia
• 10 The Artistic Units of the Army of the Republic of Bosnia-Herzegovina (ARBiH), Popular Patriotic Music Production and the Question of National Identity in Bosnia-Herzegovina During the War from 1992 to 1995
• 11 The Politics of Performance and Popular Music in Turkey
• 12 Songs After Genocide: Music of Hatred and Triumphalism
• Part 3: Defining ‘the Popular’
• 13 Popular Music and the ‘Mass Culture’ of Socialist Yugoslavia in the Eyes of Critics and Theorists
• 14 To traghoúdhi tou nekroú adelfoú: Mikis Theodorakis’ Autoethnographic and Political Perspectives in a Contemporary Greek Laiki Tragedy
• 15 Groovy Aesthetics, Intercultural Perspectives, and the Rise of Ethnojazz in Bulgaria
• 16 The Sound of Distinction: Social Class and Political Orientations as Predictors of Music Taste in Croatia
• 17 Popular Culture and Pandemic Politics: Musically Mitigating COVID-19 in 2020 Bulgaria
• Part 3: Political Economies and Political Aesthetics
• 18 Women and Gender in the Early Record Industry in Former Yugoslavia: Snapshots of Singers, a Composer, Industrial Manpower, and Gendered Humour
• 19 The Musical Film Genre in Romanian Cinema: From Melodramatic Socialism to Postmodern Irony
• 20 In Search of National Style: Yugoslav Popular Music Between the Balkans and the Mediterranean
• 21 How Do You Solve a Problem Like Korea?: Laibach and the Poetics of Politics
• 22 White Power Music and Antifascist Rap: Anti-System Music in Greece During the 2009–21 Crises
• 23 Popular Culture or Resistance?: Rap and Politics in Turkey Since the 1990s
• Part 4: Margins of National Identity
• 24 The Neopontic Music of Greece: Traditions of Modernity and the A/politics of Identity
• 25 Just Mediterranean, Please: Croatian Neoklapa Music and National (Re)Positioning
• 26 Between the Virtual and the Make-Believe: Anthems, Bells, and a Performance for Liberland Along the Croatian and Serbian Danube
• 27 Queering Bulgarian Pop-Folk: Hybridity, Gaga Feminism, and Defamiliarization in Chalga
• 28 Understanding Gender and Sexuality in Sevdah as a Popular Genre
• Part 5: Globalizing Postcoloniality and Race
• 29 Black Popular Musics in Yugoslavia
• 30 ‘The Blacks of Yugoslavia’: Racialization, Resistance, and Kosova’s ‘MTV Generation’
• 31 Br/otherhood and Dis/unity: Racial Differentiations Across the Former Yugoslav Region and Serbian Diaspora Communities in Serbia’s Two Major Music Festivals
• 32 What is this ‘Balkan’ in Balkan Popular Culture?: Stuart Hall’s Sociology of Popular Culture, Identity and Race through Analogy and Connection
• 33 From AfroGreeks to the Black Mediterranean: De/facing Whiteness in the Rap of Negros tou Moria
• Part 6: New Technologies and Transformations
• 34 Stacking Nightingales, Male Tears, and Albums of the Year: How the Balkans and Other Scales of Domestic Hip-Hop Are Crafted
• 35 ‘Popularity’ in the YouTube Era: an Anthropological Analysis of Music Trending on Serbian YouTube and IDJTV
• 36 From Turbo Music to Turbo Politics: Pop-Folk and Anti-Establishment Politics in Bulgaria
• 37 ‘Dajem ti srce, zemljo moja’: Patriotic Music and National Unity in Croatia in the Aftermath of the 2020 Petrinja Earthquake
• 38 ‘And Then We Sang’: Affective Communities and Russian/EU Cultural Diplomacy in Moldova’s Victory Day and Europe Day, 2022
• 39 Queer Yugosphere: Queer Audiences and Popular Music in the Post-Yugoslav Space
• Index