Black Musics in the Region of (former) Yugoslavia

该项目旨在追溯和分析南斯拉夫地区黑人音乐（非洲和非裔美国人音乐）的传播、表演和表现，将其定位为全球音乐史和种族与他者的关系。在这个角度来看，我的主要研究问题是如何在音乐领域的种族和他者的全球类别，特别是通过黑人音乐，是本地化的关系，该地区的社会和文化历史，其中通过巴尔干主义话语与社会主义国际主义，后来与后社会主义社会融合的经验。本研究分为两大类：第一类涉及南斯拉夫时期（1960年代至1990年代初），第二类涉及后社会主义时期（1990年代至今）。首先，确定哪些类型的黑人音乐在南斯拉夫传播，并通过哪些渠道。第二，调查在南斯拉夫的非洲学生的角色和经历，他们对音乐的参与，以及他们与不结盟的南斯拉夫的关系。第三，分析南斯拉夫官方反种族主义政策与南斯拉夫人和黑人个人对他者的个人看法之间的联系、间断和谈判。通过关注个人的经验，这是长期以来被忽视的学术南斯拉夫的国际关系，前景黑人的经验和意见，因为他们出现通过他们的散居和全球的音乐practices.Second集群认为，在后社会主义塞尔维亚，克罗地亚和斯洛文尼亚的黑人音乐的传播和实践，并阐明在三个构成目标。首先，探讨自20世纪90年代以来，世界音乐潮流，即本土化的巴尔干半岛的音乐，如何为非洲音乐的传播开辟了道路，以及巴尔干半岛的接受或拒绝自我认知与非洲性和黑人性之间的联系。其次，研究贝尔格莱德，萨格勒布和卢布尔雅那的当代非洲音乐场景，分析他们的曲目，实践和美学，以及国内和非洲表演者的参与，他们不同的背景，期望和议程。第三，研究这些城市的雷鬼和嘻哈场景，并考虑他们的演员对这些流派的看法与全球种族化模式以及它们在这个历史上的其他地区所表现出的特定内涵。这些目标考虑到资本主义经济对后社会主义社会的冲击，以及从非洲和其他地方流入东欧的国际移民的作用。

This project aims at retracing and analyzing the circulation, performance and representation of Black musics (African and African American musics) in the Yugoslav region, by locating it as entangled in the global history of music and in the imaginaries of race and otherness. Within this perspective, my main research question is how global categories of race and otherness in the musical field, and specifically through Black musics, were localized in relation to the social and cultural history of the region, where experiences of being othered through balkanist discourses merged with socialist internationalism and later with post-socialist societies.This broad research question involves several integrated objectives, organized in two main clusters: the first one referring to the Yugoslav time (1960s - early 1990s), and the second one concerning the post-socialist context (1990s - present).Within the first cluster, the main research objectives are three. Firstly, to determinate which kinds of Black musics circulated in Yugoslavia and through which channels. Secondly, to investigate the role and experiences of African students in Yugoslavia, their involvement in music, and their relations with the context of nonaligned Yugoslavia. Thirdly, to analyze the connections, discontinuities and negotiations between Yugoslav official anti-racist policies and personal perceptions of otherness by Yugoslav and Black individuals. By focusing on individuals’ experiences, which have long been neglected by the scholarship on Yugoslavia’s international relations, foreground Black persons’ experiences and views as they emerged through their diasporic and global musical practices.The second cluster considers the dissemination and practice of Black musics in post-socialist Serbia, Croatia and Slovenia and articulates in three constitutive objectives. Firstly to investigate how world music trends, localized as Balkan music, have opened the way for the dissemination of African musics since the 1990s and how a connection between a Balkan accepted or refused self-perception connects with Africanness and Blackness. Secondly, to research the contemporary African music scenes in Belgrade, Zagreb and Ljubljana to analyze their repertoires, practices and aesthetics, and the involvement of domestic and African performers with their varied backgrounds, expectations, and agendas. Thirdly, to study the reggae and hip hop scenes in these cities and consider their actors’ views of these genres in relation to global racialization patterns and the specific connotations they manifest in this historically othered region. These objectives take into consideration the role of the capitalist economy that has hit post-socialist societies as well as the role of international migration flows from Africa and elsewhere that have reached Eastern Europe.