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Ana Hofman

Research Centre of the Slovenian Academy of Sciences and Arts, Institute of Culture and Memory Studies, Faculty Member

University of Nova Gorica, Faculty of Humanities, Cultural History, Faculty Member

Research Centre of the Slovenian Academy of Sciences and Arts, Department for Interdisciplinary Research, Faculty Member

Graduate Center of the City University of New York, Music, Fulbright post-doctoral fellow

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Ana Hofman is a senior research fellow at the Institute of Culture and Memory Studies,
Research Centre of Slovenian Academy of Sciences and Arts in Ljubljana. Her research
interests include music, sound, and politics in socialist and post-socialist societies, with an
emphasis on memory, affect, and activism in the present-day conjuncture of neoliberalism
and post-socialism in the area of former Yugoslavia. She was an Visiting Researcher at the School of Music, Federal University of Rio de Janeiro, Brazil; Max Planck Institute for Social Anthropology, Halle, Germany and the Department of Music, University of Chicago. She has also been appointed as Postdoctoral Fulbright Fellow at the Graduate School of City University of New York in 2018. She has published two monographs, Staging Socialist Femininity: Gender Politics and Folklore Performances in Serbia (2011), and Music, Affect, Politics: New Lives of Partisan Songs in Slovenia (2015), dealing with contemporary musical recuperation of the World War II Yugoslav antifascist resistance. She served as co-editor (with Federico Spinetti and Monika E. Schoop ) of a 2020 Special Issue of Popular Music and Society, titled “Music and the Politics of Memory: Resounding Antifascism across Borders” She recently edited the volume (with Tanja Petrović) Affect's Social Lives: Post-Yugoslav Reflections (2023). Dr. Hofman is currently working on a monograph on strategic amateurism, politics of leisure and musical afterlives of socialism after Yugoslavia (Oxford University Press).
Address: ZRC SAZU
Novi trg 2, 1000 Ljubljana

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Books by Ana Hofman

MMRC Lecture Music and Class_October 14, 2024, Vienna and online

Register here: https://forms.mdw.ac.at/frontend-server/form/provide/103/

Affect's Social Lives: Post-Yugoslav Reflections

Affect's Social Lives: Post-Yugoslav Reflections, 2023

Why is the talk about Yugoslavia still emotionally charged and situated in the registers of passi... more Why is the talk about Yugoslavia still emotionally charged and situated in the registers of passion, pain, sentimental recollections, or nostalgia even 30 years after its violent dissolution? How is the sphere of the affective, sensory, and embodied fundamental to understanding the historical project of Yugoslavia and its afterlives? Social Lives of Affect: Post-Yugoslav Reflections shows how using affect to understand social realities in their constant transformation often challenges not only the expected politics of belonging, identification, and solidarity but also how we (as scholars) give them sociopolitical meaning. It allows observing the social dynamics beyond an exclusive focus on the ethno-national (and increasingly racial) differences emphasized in the scholarly examinations of Yugoslavia.

Staging Socialist Femininity

Staging Socialist Femininity: Gender Politics and Folklore Performance in Serbia, 2011

Ana Hofman examines the socialist gender policy and creation of the new “femininity” in the rural... more Ana Hofman examines the socialist gender policy and creation of the new “femininity” in the rural areas of Southeastern Serbia. She focuses on the stage performances of female amateur groups at the cultural events held from the 1970s through the mid-1990s. Offering a multifaceted picture of the personal experiences of the socialist policy of gender equality, Staging Socialist Femininity investigates the complex relationships between personal, interpersonal and political levels as unfolding through the field of amateur music activities by rural women. it challenges the dominant understandings of socialist gender equality and offers a nuanced historical perspective of gender in/equalities in the region.

SELF-MANAGEMENT REVISITED: Music Labor, Class, and Entrepreneurship in Socialist Yugoslav

MADE IN YU, 2020

Disobedient: Activist Choirs, Radical Amateurism, and the Politics of the Past after Yugoslavia

Ethnomusicology, 2020

From 2000 on, the emergence of activist choirs has greatly influenced practices of political acti... more From 2000 on, the emergence of activist choirs has greatly influenced practices of political activism in the territory of the former Yugoslavia. In this article, I analyze how activists, singers, and listeners repurpose antifascist music legacy in order to experiment with new forms of political engagement. I propose the concept of radical amateurism, a political community that fuels the politicization of a field of leisure, which enables people to form new au-diosocial alliances at local, regional, and global scales. Locating my theoretical framework within the field of affective politics of sound, I show that political potentiality, when related to music and sound, is inscribed in the complex relationship between imagined and real, exception and everydayness, emerging and routinized, and impossible and possible. In conclusion, I scrutinize contingencies of affective politics and discuss the ways affective encounters enable a new framework for practicing political engagement in a moment of apathy and neoliberal exhaustion.

Partisan Resistance Today? The Music of the National Liberation Struggle and Social Engagement

Sounds of Attraction: Yugoslav and post-Yugoslav Popular Music, 2017

An interpretation of the past can only be a dissonant and dynamic, always political and without d... more An interpretation of the past can only be a dissonant and dynamic, always political and without doubt a performative process. This spurs emergence and competition between alternative interpretations of the past that may also be understood as acts of opposition and even resistance to dominant and/or competing narratives. This is particularly clear when references to particular historical period or events are problematised in daily political struggles and media discourses: recourse to alternate histories or the search for alternative visions of the past can thus be regarded as an attempt to devise a potential conceptual framework within which an articulation of alternative politics (visions of the future) is possible. In this essay, we discuss shifting meanings and inscribed interpretations of the historical experience of Yugoslav antifascist resistance as expressed through music. In an attempt to encourage this reflection on the musical expressions of the partisan resistance from a historical perspective, we analyse primarily scholarly works and media discourses and combine historical, musicological and cultural studies approaches.

E-book Music, Politics, Affect: New Lives of Partisan Songs in Slovenia (in Slovenian)

The book Glasba, politika, afekt: novo življenje partizanskih pesmi v Sloveniji ('Music, Politics... more The book Glasba, politika, afekt: novo življenje partizanskih pesmi v Sloveniji ('Music, Politics, Affect: New Lives of Partisan Songs in Slovenia') explores the potentialities of music in imagining alternatives and establishing alliances, which introduce new senses of belonging and solidarity in global neoliberal capitalism. It examines the reactualization of partisan songs in post-Yugoslav Slovenia with an emphasis on the collective spirit, its rebelliousness and emancipatory potential. In researching the “new lives" of partisan songs, the book focuses on the self-organized female choir Kombinat, an emblematic example of thinking about the partisan art in Slovenia today. Just a part of Kombinat repertoire, partisan songs are discursively, sonically, spatially, ideologically and symbolically reloaded, challenging thus the various boundaries in thinking about this legacy in Slovenian context. Using theoretical framework of affect theory, and particularly theories of music materialism and sonic affect, the book provides an alternative perspective to our understanding of political capacity of music. It addresses four main issues: the role of music and sound in political mobilization and participation, the potentials of musical alliances and musical self-organization and self-education, referencing musical past as a way of political engagement, and finally, revitalization and reactualization of socialist ideas and values in the current moment of global transition.

STAGING SOCIALIST FEMININITY: Gender Politics and Folklore Performance in Serbia

Ana Hofman examines the negotiation of the gender performances in Serbian rural areas as a result... more Ana Hofman examines the negotiation of the gender performances in Serbian rural areas as a result of the socialist gender policy and creation of the new “femininity” in the public sphere. She focuses on the stage performances of female amateur groups at the Village Gatherings, state-sponsored events held from the 1970s through the mid-1990s in the southeastern Serbian region of Niško Polje. Offering a multifaceted picture of the personal experiences of the socialist ideology of gender equality, Staging Socialist Femininity investigates the complex relationships between personal, interpersonal and political levels in socialism. By showing the interplay between ideology, representational and social practices in the realm of musical performance, it challenges the strong division in scholarly narratives between ideology and practice in socialist societies.

Book Reviews by Ana Hofman

New lives of partisan songs (Biblioteka XX vek, 2016) - a book review

by Ana Hofman and Srđan Atanasovski

For decades, songs by the Yugoslav Partisans and masses have been something of an ostracised topi... more For decades, songs by the Yugoslav Partisans and masses have been something of an ostracised topic in musicology and ethnomusicology. Even before the break-up of socialist Yugoslavia, a tide of laudatory essays praising the role of these songs in the liberation and rebuilding of the country was largely ignored by scholars, as neither their historical impact nor aesthetic value were deemed worthy of thorough scholarly treatment.

Papers by Ana Hofman

Musings on ethnomusicology, interdisciplinarity, intradisciplinarity, and decoloniality

Etnološka tribina, 2019

Thinking from the perspective of Croatian ethnomusicology as one of ethnomusicologies "at ho... more Thinking from the perspective of Croatian ethnomusicology as one of ethnomusicologies "at home", the author muses on the position of ethnomusicology on a global scale, and in particular how it relates to mainstream English-language ethnomusicology and other fringe ethnomusicologies, the interdisciplinary links with sister disciplines (primarily ethnology and cultural anthropology), and endeavours to decolonize ethnomusicology. By taking into account the issue of reciprocity (or the lack thereof) between various disciplines and the linguocentric predicament of (ethno)musicological studies, she argues that more intellectual effort than is being currently exerted should be invested into engaged comparison of one's own fieldwork, analytical processes and research outcomes with cross-cultural ethnomusicological literature and literature in other disciplines of music studies. Related to this is her suggestion to take the issue of decoloniality seriously. Therefore, instead o...

Introduction to Music and the Politics of Memory: Resounding Antifascism across Borders

Popular Music and Society, 2020

“We are the Partisans of Our Time”: Antifascism and Post-Yugoslav Singing Memory Activism

Popular Music&Society, 2020

In this article, I observe the role of collective singing and listening in recalling, reconfiguri... more In this article, I observe the role of collective singing and listening in recalling, reconfiguring, and repurposing the memory of antifas- cism in the current practices of activism and social engagement in the post-Yugoslav space. The crisis of global neoliberalism, which has its specific regional features in the area of former Yugoslavia, has fostered the (re)appropriation, reinterpretation, and repurpos- ing of the historical legacy of Yugoslav antifascism and its meanings and values. I examine the new pan-leftist sensibilities and transna- tional networks that have been formed after 2008 and the new musical employments of the memory of antifascism by the post- Yugoslav activist choirs. By concentrating on their revitalization of partisan songs, I address the dynamic practices of recalling antifas- cism and its revolutionary legacy in the search for new radical political potential of this past in the region of former Yugoslavia. I theorize this practice within the framework of singing memory activism, which employs aural experience as a powerful mnemonic tool in the revitalization of the antifascist past and in fostering struggles for the recreation of its meanings.

Music, Migration and Minorities: Perspectives and Reflections

Music, Migration and Minorities: Perspectives and Reflections, 2019

The article offers a brief presentation of the main streams of ethnomusicological research on mus... more The article offers a brief presentation of the main streams of ethnomusicological research on music, migration and minorities while reflecting on their theoretical and methodological frameworks. It pays particular attention to the intersection with other ethnomusicological sub-fields and its role in challenging the methodological nationalism and Western-centric views. This thematic issue traces the points of intersection among music, migration and minorities1 in various geographical areas and socio-political contexts and in regard to contemporary forms of mobility, transnational migration and political, social and 1 The terms “minorities” and “migrants” are closely intertwined and loosely defined within the public, official and scholarly discourse, especially when considering people with ethnic backgrounds from other countries and cultures (and from the second or third generation or those even futher back). In this issue, therefore, we have decided to remain within the terminology a...

Kafana Singers: Popular Music, Gender and Subjectivity in the Cultural Space of Socialist Yugoslavia

This article explores the phenomenon of kafana singers in the light of the of cial socialist dis... more This article explores the phenomenon of kafana singers in the light of the of cial socialist discourses on popular music and gender during the late 1950s and 1960s in the former Yugoslavia. It seeks to understand how/did the process of estradization along with the socialist gender policy in uence the shift in (self)representation of the female performers in the public realm. By focusing on the dynamic of controversial discourses on folk female singers, the article aims to show how the changes in the of cial discourse helped their profession to become an important resource of their subject actualizations, implicated in the creation of a new sense of social agency. As controversial musical personas, kafana singers’ personal and professional lives show nuanced interplay between socialist culture policy and its representational strategies.

Introduction to Music and the Politics of Memory: Resounding Antifascism across Borders

by Monika E. Schoop and Ana Hofman

Popular Music and Society

The romance with affect: sonic politics in a time of political exhaustion

Culture, Theory and Critique, 2021

This essay offers a close reading of the promises ingrained in the political potential of aural e... more This essay offers a close reading of the promises ingrained in the political potential of aural experience in the recent literature addressing affect. It focuses on why, how and when scholars privilege affect when thinking about the political capacities of music and sound in the current moment of global neoliberalism. The essay reflects on scholarly works that theorise political agency after 2008 and concentrates on affect as a need or a quest for a theoretical framework that proposes new avenues to act politically. It starts from the assumption that scholarly production that employs affect tells us much less about the very political potential of affect, and much more about a desire for a radical reshaping of our understanding of where and how we search for political potentialities. The second part of the essay presents a critical perspective on this desire and the relationship between affective and ideological politics. Using my ethnographic work on activist singing in the area of former Yugoslavia as an example that offers a perspective from the former state-socialist world, I take a critical look at the potential inscribed in affective politics beyond liberal political thought.

Introduction to Music and the Politics of Memory: Resounding Antifascism across Borders.

by Federico Spinetti and Ana Hofman

Co-authored with Monika E. Schoop and Ana Hofman Popular Music and Society 2020 https://doi.org/10.1080/03007766.2020.1820780, 2020

Musings on Ethnomusicology, Interdisciplinarity, Intradisciplinarity, and Decoloniality / Promišljanja o etnomuzikologiji, interdisciplinarnosti, intradisciplinarnosti i dekolonijalnosti

by Naila Ceribašić / Ceribasic and Ana Hofman

Etnološka tribina 42/49: 3-79., 2019

Thinking from the perspective of Croatian ethnomusicology as one of ethnomusicologies “at home”, ... more Thinking from the perspective of Croatian ethnomusicology as one of ethnomusicologies “at home”, the author muses on the position of ethnomusicology on a global scale, and in particular how it relates to mainstream English-language ethnomusicology and other fringe ethnomusicologies, the interdisciplinary links with sister disciplines (primarily ethnology and cultural anthropology), and endeavours to decolonize ethnomusicology. By taking into account the issue of reciprocity (or the lack thereof) between various disciplines and the linguocentric predicament of (ethno)musicological studies, she argues that more intellectual effort than is being currently exerted should be invested into engaged comparison of one’s own fieldwork, analytical processes and research outcomes with cross-cultural ethnomusicological literature and literature in other disciplines of music studies. Related to this is her suggestion to take the issue of decoloniality seriously. Therefore, instead of mere celebration of different ethnomusicologies, she proposes a combination of “bi-ethnomusicologicality” and “going pidgin” ethnomusicology as means for making ethnomusicology a more relevant discipline on a global scale.

Govoreći iz perspektive hrvatske etnomuzikologije kao jedne od etnomuzikologija “kod kuće”, autorica promišlja o poziciji etnomuzikologije na globalnoj razini, naročito što se tiče odnosa između mainstream etnomuzikologije na engleskom jeziku i drugih, rubnih etnomuzikologija, interdisciplinarnih povezivanja sa sestrinskim disciplinama (prvenstveno etnologijom i kulturnom antropologijom) te nastojanja za dekoloniziranjem etnomuzikologije. Uzevši u obzir pitanje recipročnosti (ili njezina manjka) među različitim disciplinama i (etno)muzikološku nepriliku s lingvocentrizmom, smatra da bi više intelektualne energije nego što je to danas slučaj trebalo uložiti u angažiranu usporedbu vlastitih terenskih i analitičkih procesa i rezultata istraživanja s kroskulturnom etnomuzikološkom literaturom, kao i literaturom u drugim disciplinama znanosti o glazbi. Povezan je s time i prijedlog da se pitanje dekolonijalnosti shvati ozbiljno. Stoga, umjesto pukog slavljenja različitih etnomuzikologija, predlaže kombinaciju “bietnomuzikologičnosti” i “udomaćujuće-pidžinizirajuće” etnomuzikologije kao načina da se etnomuzikologiju učini relevantnijom disciplinom na svjetskoj razini.

The whole discussion is available in English and Croatian at https://hrcak.srce.hr/230754. It consists of the initial paper, invited commentaries by Regina Bendix, Ana Hofman, Olga Pashina, Timothy Rice and Jonathan Stock, and author’s reply.

Čitava je rasprava dostupna na engleskom i hrvatskom na poveznici https://hrcak.srce.hr/230754. Sastoji se od inicijalnog teksta, komentara Regine Bendix, Ane Hofman, Olge Pashine, Timothy Ricea i Jonathana Stocka te autoričina osvrta na komentare

Post-Yugoslavian Ethnomusicologies in Dialogue

by Naila Ceribašić / Ceribasic and Ana Hofman

Yearbook for Traditional Music 40:33-45, 2008

From the 1950s through 1990s, ethnomusicology in Yugoslavia represented the sum of several distin... more From the 1950s through 1990s, ethnomusicology in Yugoslavia represented the sum of several distinct research traditions that, by and large, overlapped with the borders of six constituent republics. Although the overarching national framework quickly disintegrated with the onset of the Yugoslav wars of succession in the early 1990s, localized research within particular borders was largely unaffected. Faced with unimaginable violence in the name of national identity and cultural difference, what should, or can, an ethnomusicologist do? The kind of world depicted by ethnomusicologists towards the end of Yugoslavia and afterwards was the topic of authors’ joint panel at the 2007 ICTM World Conference. Here they retain the case-studies structure: Naila Ceribašić addresses the war ethnography and minorities music in Croatia, Ana Hofman critically examines approaches to gender in Serbian ethnomusicology, and Ljerka Vidić Rasmussen addresses the issues raised by folk-based popular music from a Bosnian perspective. Each contribution takes on the related issues of nationalism and ethnic essentialism, suggesting new avenues of inquiry and approaches to the study of post-Yugoslav musics. For scholars working in politically volatile musical settings, the issues of music’s origin, cultural property, national identity, and minority politics carry a special need to engage in genuinely dialogical scholarship.

Rethinking Class in Socialist Yugoslavia: Labor, Body, and Moral Economy

by Tanja Petrović and Ana Hofman

MMRC Lecture Music and Class_October 14, 2024, Vienna and online

Register here: https://forms.mdw.ac.at/frontend-server/form/provide/103/

Affect's Social Lives: Post-Yugoslav Reflections

Affect's Social Lives: Post-Yugoslav Reflections, 2023

Why is the talk about Yugoslavia still emotionally charged and situated in the registers of passi... more Why is the talk about Yugoslavia still emotionally charged and situated in the registers of passion, pain, sentimental recollections, or nostalgia even 30 years after its violent dissolution? How is the sphere of the affective, sensory, and embodied fundamental to understanding the historical project of Yugoslavia and its afterlives? Social Lives of Affect: Post-Yugoslav Reflections shows how using affect to understand social realities in their constant transformation often challenges not only the expected politics of belonging, identification, and solidarity but also how we (as scholars) give them sociopolitical meaning. It allows observing the social dynamics beyond an exclusive focus on the ethno-national (and increasingly racial) differences emphasized in the scholarly examinations of Yugoslavia.

Staging Socialist Femininity

Staging Socialist Femininity: Gender Politics and Folklore Performance in Serbia, 2011

Ana Hofman examines the socialist gender policy and creation of the new “femininity” in the rural... more Ana Hofman examines the socialist gender policy and creation of the new “femininity” in the rural areas of Southeastern Serbia. She focuses on the stage performances of female amateur groups at the cultural events held from the 1970s through the mid-1990s. Offering a multifaceted picture of the personal experiences of the socialist policy of gender equality, Staging Socialist Femininity investigates the complex relationships between personal, interpersonal and political levels as unfolding through the field of amateur music activities by rural women. it challenges the dominant understandings of socialist gender equality and offers a nuanced historical perspective of gender in/equalities in the region.

SELF-MANAGEMENT REVISITED: Music Labor, Class, and Entrepreneurship in Socialist Yugoslav

MADE IN YU, 2020

Disobedient: Activist Choirs, Radical Amateurism, and the Politics of the Past after Yugoslavia

Ethnomusicology, 2020

From 2000 on, the emergence of activist choirs has greatly influenced practices of political acti... more From 2000 on, the emergence of activist choirs has greatly influenced practices of political activism in the territory of the former Yugoslavia. In this article, I analyze how activists, singers, and listeners repurpose antifascist music legacy in order to experiment with new forms of political engagement. I propose the concept of radical amateurism, a political community that fuels the politicization of a field of leisure, which enables people to form new au-diosocial alliances at local, regional, and global scales. Locating my theoretical framework within the field of affective politics of sound, I show that political potentiality, when related to music and sound, is inscribed in the complex relationship between imagined and real, exception and everydayness, emerging and routinized, and impossible and possible. In conclusion, I scrutinize contingencies of affective politics and discuss the ways affective encounters enable a new framework for practicing political engagement in a moment of apathy and neoliberal exhaustion.

Partisan Resistance Today? The Music of the National Liberation Struggle and Social Engagement

Sounds of Attraction: Yugoslav and post-Yugoslav Popular Music, 2017

An interpretation of the past can only be a dissonant and dynamic, always political and without d... more An interpretation of the past can only be a dissonant and dynamic, always political and without doubt a performative process. This spurs emergence and competition between alternative interpretations of the past that may also be understood as acts of opposition and even resistance to dominant and/or competing narratives. This is particularly clear when references to particular historical period or events are problematised in daily political struggles and media discourses: recourse to alternate histories or the search for alternative visions of the past can thus be regarded as an attempt to devise a potential conceptual framework within which an articulation of alternative politics (visions of the future) is possible. In this essay, we discuss shifting meanings and inscribed interpretations of the historical experience of Yugoslav antifascist resistance as expressed through music. In an attempt to encourage this reflection on the musical expressions of the partisan resistance from a historical perspective, we analyse primarily scholarly works and media discourses and combine historical, musicological and cultural studies approaches.

E-book Music, Politics, Affect: New Lives of Partisan Songs in Slovenia (in Slovenian)

The book Glasba, politika, afekt: novo življenje partizanskih pesmi v Sloveniji ('Music, Politics... more The book Glasba, politika, afekt: novo življenje partizanskih pesmi v Sloveniji ('Music, Politics, Affect: New Lives of Partisan Songs in Slovenia') explores the potentialities of music in imagining alternatives and establishing alliances, which introduce new senses of belonging and solidarity in global neoliberal capitalism. It examines the reactualization of partisan songs in post-Yugoslav Slovenia with an emphasis on the collective spirit, its rebelliousness and emancipatory potential. In researching the “new lives" of partisan songs, the book focuses on the self-organized female choir Kombinat, an emblematic example of thinking about the partisan art in Slovenia today. Just a part of Kombinat repertoire, partisan songs are discursively, sonically, spatially, ideologically and symbolically reloaded, challenging thus the various boundaries in thinking about this legacy in Slovenian context. Using theoretical framework of affect theory, and particularly theories of music materialism and sonic affect, the book provides an alternative perspective to our understanding of political capacity of music. It addresses four main issues: the role of music and sound in political mobilization and participation, the potentials of musical alliances and musical self-organization and self-education, referencing musical past as a way of political engagement, and finally, revitalization and reactualization of socialist ideas and values in the current moment of global transition.

STAGING SOCIALIST FEMININITY: Gender Politics and Folklore Performance in Serbia

Ana Hofman examines the negotiation of the gender performances in Serbian rural areas as a result... more Ana Hofman examines the negotiation of the gender performances in Serbian rural areas as a result of the socialist gender policy and creation of the new “femininity” in the public sphere. She focuses on the stage performances of female amateur groups at the Village Gatherings, state-sponsored events held from the 1970s through the mid-1990s in the southeastern Serbian region of Niško Polje. Offering a multifaceted picture of the personal experiences of the socialist ideology of gender equality, Staging Socialist Femininity investigates the complex relationships between personal, interpersonal and political levels in socialism. By showing the interplay between ideology, representational and social practices in the realm of musical performance, it challenges the strong division in scholarly narratives between ideology and practice in socialist societies.

New lives of partisan songs (Biblioteka XX vek, 2016) - a book review

by Ana Hofman and Srđan Atanasovski

For decades, songs by the Yugoslav Partisans and masses have been something of an ostracised topi... more For decades, songs by the Yugoslav Partisans and masses have been something of an ostracised topic in musicology and ethnomusicology. Even before the break-up of socialist Yugoslavia, a tide of laudatory essays praising the role of these songs in the liberation and rebuilding of the country was largely ignored by scholars, as neither their historical impact nor aesthetic value were deemed worthy of thorough scholarly treatment.

Musings on ethnomusicology, interdisciplinarity, intradisciplinarity, and decoloniality

Etnološka tribina, 2019

Thinking from the perspective of Croatian ethnomusicology as one of ethnomusicologies "at ho... more Thinking from the perspective of Croatian ethnomusicology as one of ethnomusicologies "at home", the author muses on the position of ethnomusicology on a global scale, and in particular how it relates to mainstream English-language ethnomusicology and other fringe ethnomusicologies, the interdisciplinary links with sister disciplines (primarily ethnology and cultural anthropology), and endeavours to decolonize ethnomusicology. By taking into account the issue of reciprocity (or the lack thereof) between various disciplines and the linguocentric predicament of (ethno)musicological studies, she argues that more intellectual effort than is being currently exerted should be invested into engaged comparison of one's own fieldwork, analytical processes and research outcomes with cross-cultural ethnomusicological literature and literature in other disciplines of music studies. Related to this is her suggestion to take the issue of decoloniality seriously. Therefore, instead o...

Introduction to Music and the Politics of Memory: Resounding Antifascism across Borders

Popular Music and Society, 2020

“We are the Partisans of Our Time”: Antifascism and Post-Yugoslav Singing Memory Activism

Popular Music&Society, 2020

In this article, I observe the role of collective singing and listening in recalling, reconfiguri... more In this article, I observe the role of collective singing and listening in recalling, reconfiguring, and repurposing the memory of antifas- cism in the current practices of activism and social engagement in the post-Yugoslav space. The crisis of global neoliberalism, which has its specific regional features in the area of former Yugoslavia, has fostered the (re)appropriation, reinterpretation, and repurpos- ing of the historical legacy of Yugoslav antifascism and its meanings and values. I examine the new pan-leftist sensibilities and transna- tional networks that have been formed after 2008 and the new musical employments of the memory of antifascism by the post- Yugoslav activist choirs. By concentrating on their revitalization of partisan songs, I address the dynamic practices of recalling antifas- cism and its revolutionary legacy in the search for new radical political potential of this past in the region of former Yugoslavia. I theorize this practice within the framework of singing memory activism, which employs aural experience as a powerful mnemonic tool in the revitalization of the antifascist past and in fostering struggles for the recreation of its meanings.

Music, Migration and Minorities: Perspectives and Reflections

Music, Migration and Minorities: Perspectives and Reflections, 2019

The article offers a brief presentation of the main streams of ethnomusicological research on mus... more The article offers a brief presentation of the main streams of ethnomusicological research on music, migration and minorities while reflecting on their theoretical and methodological frameworks. It pays particular attention to the intersection with other ethnomusicological sub-fields and its role in challenging the methodological nationalism and Western-centric views. This thematic issue traces the points of intersection among music, migration and minorities1 in various geographical areas and socio-political contexts and in regard to contemporary forms of mobility, transnational migration and political, social and 1 The terms “minorities” and “migrants” are closely intertwined and loosely defined within the public, official and scholarly discourse, especially when considering people with ethnic backgrounds from other countries and cultures (and from the second or third generation or those even futher back). In this issue, therefore, we have decided to remain within the terminology a...

Kafana Singers: Popular Music, Gender and Subjectivity in the Cultural Space of Socialist Yugoslavia

This article explores the phenomenon of kafana singers in the light of the of cial socialist dis... more This article explores the phenomenon of kafana singers in the light of the of cial socialist discourses on popular music and gender during the late 1950s and 1960s in the former Yugoslavia. It seeks to understand how/did the process of estradization along with the socialist gender policy in uence the shift in (self)representation of the female performers in the public realm. By focusing on the dynamic of controversial discourses on folk female singers, the article aims to show how the changes in the of cial discourse helped their profession to become an important resource of their subject actualizations, implicated in the creation of a new sense of social agency. As controversial musical personas, kafana singers’ personal and professional lives show nuanced interplay between socialist culture policy and its representational strategies.

Introduction to Music and the Politics of Memory: Resounding Antifascism across Borders

by Monika E. Schoop and Ana Hofman

Popular Music and Society

The romance with affect: sonic politics in a time of political exhaustion

Culture, Theory and Critique, 2021

This essay offers a close reading of the promises ingrained in the political potential of aural e... more This essay offers a close reading of the promises ingrained in the political potential of aural experience in the recent literature addressing affect. It focuses on why, how and when scholars privilege affect when thinking about the political capacities of music and sound in the current moment of global neoliberalism. The essay reflects on scholarly works that theorise political agency after 2008 and concentrates on affect as a need or a quest for a theoretical framework that proposes new avenues to act politically. It starts from the assumption that scholarly production that employs affect tells us much less about the very political potential of affect, and much more about a desire for a radical reshaping of our understanding of where and how we search for political potentialities. The second part of the essay presents a critical perspective on this desire and the relationship between affective and ideological politics. Using my ethnographic work on activist singing in the area of former Yugoslavia as an example that offers a perspective from the former state-socialist world, I take a critical look at the potential inscribed in affective politics beyond liberal political thought.

Introduction to Music and the Politics of Memory: Resounding Antifascism across Borders.

by Federico Spinetti and Ana Hofman

Co-authored with Monika E. Schoop and Ana Hofman Popular Music and Society 2020 https://doi.org/10.1080/03007766.2020.1820780, 2020

Musings on Ethnomusicology, Interdisciplinarity, Intradisciplinarity, and Decoloniality / Promišljanja o etnomuzikologiji, interdisciplinarnosti, intradisciplinarnosti i dekolonijalnosti

by Naila Ceribašić / Ceribasic and Ana Hofman

Etnološka tribina 42/49: 3-79., 2019

Thinking from the perspective of Croatian ethnomusicology as one of ethnomusicologies “at home”, ... more Thinking from the perspective of Croatian ethnomusicology as one of ethnomusicologies “at home”, the author muses on the position of ethnomusicology on a global scale, and in particular how it relates to mainstream English-language ethnomusicology and other fringe ethnomusicologies, the interdisciplinary links with sister disciplines (primarily ethnology and cultural anthropology), and endeavours to decolonize ethnomusicology. By taking into account the issue of reciprocity (or the lack thereof) between various disciplines and the linguocentric predicament of (ethno)musicological studies, she argues that more intellectual effort than is being currently exerted should be invested into engaged comparison of one’s own fieldwork, analytical processes and research outcomes with cross-cultural ethnomusicological literature and literature in other disciplines of music studies. Related to this is her suggestion to take the issue of decoloniality seriously. Therefore, instead of mere celebration of different ethnomusicologies, she proposes a combination of “bi-ethnomusicologicality” and “going pidgin” ethnomusicology as means for making ethnomusicology a more relevant discipline on a global scale.

Govoreći iz perspektive hrvatske etnomuzikologije kao jedne od etnomuzikologija “kod kuće”, autorica promišlja o poziciji etnomuzikologije na globalnoj razini, naročito što se tiče odnosa između mainstream etnomuzikologije na engleskom jeziku i drugih, rubnih etnomuzikologija, interdisciplinarnih povezivanja sa sestrinskim disciplinama (prvenstveno etnologijom i kulturnom antropologijom) te nastojanja za dekoloniziranjem etnomuzikologije. Uzevši u obzir pitanje recipročnosti (ili njezina manjka) među različitim disciplinama i (etno)muzikološku nepriliku s lingvocentrizmom, smatra da bi više intelektualne energije nego što je to danas slučaj trebalo uložiti u angažiranu usporedbu vlastitih terenskih i analitičkih procesa i rezultata istraživanja s kroskulturnom etnomuzikološkom literaturom, kao i literaturom u drugim disciplinama znanosti o glazbi. Povezan je s time i prijedlog da se pitanje dekolonijalnosti shvati ozbiljno. Stoga, umjesto pukog slavljenja različitih etnomuzikologija, predlaže kombinaciju “bietnomuzikologičnosti” i “udomaćujuće-pidžinizirajuće” etnomuzikologije kao načina da se etnomuzikologiju učini relevantnijom disciplinom na svjetskoj razini.

The whole discussion is available in English and Croatian at https://hrcak.srce.hr/230754. It consists of the initial paper, invited commentaries by Regina Bendix, Ana Hofman, Olga Pashina, Timothy Rice and Jonathan Stock, and author’s reply.

Čitava je rasprava dostupna na engleskom i hrvatskom na poveznici https://hrcak.srce.hr/230754. Sastoji se od inicijalnog teksta, komentara Regine Bendix, Ane Hofman, Olge Pashine, Timothy Ricea i Jonathana Stocka te autoričina osvrta na komentare

Post-Yugoslavian Ethnomusicologies in Dialogue

by Naila Ceribašić / Ceribasic and Ana Hofman

Yearbook for Traditional Music 40:33-45, 2008

From the 1950s through 1990s, ethnomusicology in Yugoslavia represented the sum of several distin... more From the 1950s through 1990s, ethnomusicology in Yugoslavia represented the sum of several distinct research traditions that, by and large, overlapped with the borders of six constituent republics. Although the overarching national framework quickly disintegrated with the onset of the Yugoslav wars of succession in the early 1990s, localized research within particular borders was largely unaffected. Faced with unimaginable violence in the name of national identity and cultural difference, what should, or can, an ethnomusicologist do? The kind of world depicted by ethnomusicologists towards the end of Yugoslavia and afterwards was the topic of authors’ joint panel at the 2007 ICTM World Conference. Here they retain the case-studies structure: Naila Ceribašić addresses the war ethnography and minorities music in Croatia, Ana Hofman critically examines approaches to gender in Serbian ethnomusicology, and Ljerka Vidić Rasmussen addresses the issues raised by folk-based popular music from a Bosnian perspective. Each contribution takes on the related issues of nationalism and ethnic essentialism, suggesting new avenues of inquiry and approaches to the study of post-Yugoslav musics. For scholars working in politically volatile musical settings, the issues of music’s origin, cultural property, national identity, and minority politics carry a special need to engage in genuinely dialogical scholarship.

Rethinking Class in Socialist Yugoslavia: Labor, Body, and Moral Economy

by Tanja Petrović and Ana Hofman

Sonic Memory Interventions against Politics of Urban Silencing

We discuss the political implications of the noise/silence dialectic in order to reflect on the u... more We discuss the political implications of the noise/silence dialectic in order to reflect on the urban and social materialities of sonic memory activism in the post-Yugoslav space. We see the privatization of public space as one of the defining issues of current socio-political tensions and we strive to offer a more nuanced model for thinking about grassroots practices of musicking and listening in the context of resistance and power and control redistribution. Discussing sonic interventions in Ljubljana and Belgrade enables us both to uncover how important global processes are reflected in these local contexts and to locate diversity of present practices of resistance.

Folk Music as a Folk Enemy: Music Censorship in Socialist Yugoslavia, In: Popular Music in Eastern Europe Breaking the Cold War Paradigm, Mazierska, Ewa (Ed.), 2016.

Yugoslav market socialism resulted in complex censorship regimes of popular music that operated i... more Yugoslav market socialism resulted in complex censorship regimes of popular music that operated in the empty space between official negations and actual enforcements. Overt censorship mainly concerned a handful of issues, such as the national identities of the respective constitutional peoples of Yugoslavia and the representation of the country’s leader Tito. Hofman shifts her attention from institutional mechanisms of censorship to personal and unwritten norms and practices, in particular self-censorship and so-called ‘editorial censorship’ concerned with limiting the presence of certain genres in the media. She focuses on one such genre: NCFM (newly-composed folk music), which was an object of prejudices and restrictions due to its perceived low artistic quality and purely commercial character.

The Affective Turn in Ethnomusicology

The affective turn, which has already questioned dominant paradigms in many disciplinary fields ... more The affective turn, which has already questioned dominant paradigms in many disciplinary fields including cultural studies, philosophy, political theory, anthropology, psychology and neuroscience, has started to attract more attention in the field of ethnomusicology, becoming a particularly vibrant stream of thought. Drawing on the voices that call for the historicisation of and critical deliberation on the field of affect studies, the article strives to show how theories of affect might expand dominant paradigms in ethnomusicology and also points to their limitations.

Music, Affect and Memory Politics in Post-Yugoslav Space, an introduction to the special issue

Reflecting on the complex relationship between the affective, the aural, and the political, this ... more Reflecting on the complex relationship between the affective, the aural, and the political, this issue points out the limits of existing interpretative discourses of music and memory in post-Yugoslav spaces, which underplay the lived intensity of the sensory experiences, emotional investment, and the affective technologies of remembering the past. The authors here argue that the emphasis on the social and political production of affect embedded in the experience of music might be beneficial for shedding new light on memory politics in a post-Yugoslav context. Examining why and how music matters for post-Yugoslav memory practices, the articles in this issue strive to fashion new readings that go beyond the dichotomies commonly drawn between political/nostalgic, commercial/engaged, and escapist/emancipatory. The issue thus argues that the sensorial politics of music can serve as a conceptual framework that provides an important base for new theorizations of Yugoslav cultural memories, which is done by focusing on the politics of sentimentalism and the politics of joy. Accordingly, the goal of this issue is to raise productive questions that resonate with a multiplicity of interpretational and theoretical dilemmas and gaps by mobilizing the tools of affect theory primarily to open a space and spur further criticism and theory.

Music (as) Labour: Professional Musicianship, Affective Labour and Gender in Socialist Yugoslavia

This article strives to broaden existing approaches in music scholarship, which, despite a long h... more This article strives to broaden existing approaches in music scholarship, which, despite a long history of thinking about the role of music in shaping labour, have resulted in only sporadic attention to music labour itself. Drawing on Michael Hardt's and Antonio Negri's notions of affective labour as work intended to produce or modify peoples' emotional experiences, the article treats professional music-making as embodied labour, exploring its specific conditions—in particular, in relation to gendered practices of work. Based on empirical research into the values and concepts of music labour in socialist Yugoslavia, this article attempts to provide insight not only into the geographically and temporally specific context of socialism but also more generally, pointing to its shared somatic, gendered and affective aspects. Such an approach draws on recent calls for empiricism in the wake of critical deliberations of the ahistorical and decontextualised nature of existing approaches to affective labour. Through a case study of the material working conditions and work subjectivities of female professional singers, its aim is to emphasise music-making as both material practice and sensorial experience, taking into account that both are in constant and heterogeneous flux.

Music Heritage in Relocation: The "Guča na Krasu" festival, Dve domovini/Two homelands 39, 2014, 73-87

Dve domovini / Two Homelands

"Ko se boji šunda još? Muzicka cenzura u Jugoslaviji," in: Socijalizam na klupi: Jugoslovensko društvo očima nove postjugoslavenske humanistike, ur. Lada Duraković, Andrea Matošević, Pula, Zagreb: Srednja Evropa, 2013.

Music Heritage in Relocation: Guča na Krasu Festival

Lepa Brena: Repolitization of musical memories on Yugoslavia

Glasnik Etnografskog Instituta SANU

Postmodernity's Musical Pasts: Rediscoveries and Revivals after 1945

by Tiffany Ng, Dave Wilson, Maria Cizmic, Eric Lubarsky, Ana Hofman, Noubel Max, Srđan Atanasovski, Joshua Walden, Tina Frühauf, Alison Maggart, Michael Arnold, and Alexandra Kolesnik

International Conference Date: Thursday and Friday, March 26–27, 2015, 9am to 5pm Venue: The City... more International Conference
Date: Thursday and Friday, March 26–27, 2015, 9am to 5pm
Venue: The City University of New York, The Graduate Center, 365 Fifth Avenue, Martin E. Segal Theatre

In the longue durée of music history, rediscovery, recovery, revival, and renewal were central in the creation of repertoires and performance practices. With the end of the Second World War musical dealings with pastness assumed new turns, not only because of the different historicity the postwar era has faced, but also because of the rupture of 1945. The 25 papers address the multi-faceted topics related to rediscoveries and revivals, drawing upon the methodologies of ethnomusicology, historical musicology, music theory, cultural studies, and anthropology.

For more information, visit http://brookcenter.gc.cuny.edu/conferences-2/

Call for Papers: Sounds, Songs, and Politics, Ljubljana, 29-31 August 2019

CFP: Sounds, Songs, and Politics , 2019

You are warmly invited to submit abstracts for the international ethnomusicological symposium Sou... more You are warmly invited to submit abstracts for the international ethnomusicological symposium Sounds, Songs, and Politics in Ljubljana, Slovenia, on 29-31 August 2019, which is a part of our annual music festival Nights in the Old Ljubljana Town. This year, the thematic foci are: 1. Lingual intertwinings in songs as expressions of coexistence and conflicts, 2. Music, politics and affect 3. Music and transcultural identifications 1. Lingual intertwinings in songs as expressions of coexistence and conflicts Presence of two or more languages in a single song or the change of language as the song travels to other geographic and cultural spaces have not received sufficient scholarly attention so far. Such lingual adaptations reflect mutual relations among people with different identities on a continuum between peaceful coexistence and conflict. How folk music researchers and other scholars treated such phenomena in the course of fieldwork and in their writings? In which ways and to what extent ideological issues and political influences affected and continue to affect processes of lingual intertwining or distinctions, as well as scholarly understanding of these processes and the resulting products? We invite contributions with focus on lingual intertwinings at various periods and creative fields. 2. Music, Politics, and Affect Recent approaches to the political aspects of music performing and listening tend to go beyond the representational and discursive towards the sensorial, emotional and affective capacities of music and sound. They aim to offer new insights into the role music and sound play in the processes of radical reshaping of the political realm at the beginning of the 21st century, which is commonly defined as the time of "crisis of political agency." Within this theme, we invite paper and panel proposals that focus on new tendencies in thinking, practicing, and imagining music's and sound's capacities in political acting, with particular focus on affect, body and senses. The expected topics include musical activism, music and everyday politics, music and infrastructure, and music and (self)care. 3. Music and Transcultural Identifications This theme puts to the forefront the transcultural nature of the processes of creation, performance and reception of music and dance on both individual and collective levels, when the carriers are characterised by ethnic markers (traditional minorities, migrants, refugees, diasporas, and more) or other differently defined identity codes. We invite presentations focused on theoretical treatment of transculturation, transnationality, (dis)identification and other related concepts linked to music and dance, as well as those based on empirical study of complex identifications within the music and dance related processes. Please join us with an individual paper or with a panel consisting of several thematically related papers that fit into any of the three symposium themes. Your proposal of 200 to 300 words should reach us by 20 th of April 2019 at the electronic addresses ursa@zrc-sazu.si and marija.klobcar@zrc-sazu.si.

Changing the Tune: popular music and politics in the XXIst century

by Volume ! The French journal of popular music studies, Elsa GRASSY, Jedediah Sklower, alenka barber-kersovan, Anthony Kosar, Olivier Bourderionnet, Marc Kaiser, Bruno Agar, Noriko Manabe, Ana Hofman, and Naomi Podber

Published: http://www.lespressesdureel.com/ouvrage.php?id=4483&menu=2 "Conference organizers ... more Published: http://www.lespressesdureel.com/ouvrage.php?id=4483&menu=2

"Conference organizers

Alenka Barber-Kersovan, Leuphana University of Lüneburg, Arbeitskreis Studium Populärer Musik, Germany

Elsa Grassy, Université de Strasbourg, International Association for the Study of Popular Music-branche francophone d’Europe, France

Jedediah Sklower, Université Catholique de Lille, Éditions Mélanie Seteun / Volume! the French journal of popular music studies, France

Keynote speakers

Martin Cloonan, University of Glasgow, United Kingdom

Dietrich Helms, University of Osnabrück, Germany

Provisional scientific committee

Ralph von Appen, University of Giessen, Germany

Esteban Buch, École des Hautes Études en Sciences Sociales, France

Hugh Dauncey, University of Newcastle, United Kingdom

André Doehring, University of Giessen, Germany

Gérôme Guibert, University of Paris III, Sorbonne Nouvelle, France

Patricia Hall, University of Michigan, United States

Olivier Julien, University of Paris IV, Sorbonne, France

Dave Laing, University of Liverpool, United Kingdom

David Looseley, University of Leeds, United Kingdom

Rajko Muršič, University of Ljubljana, Slovenia

Rosa Reitsamer, University of Music and Performing Arts, Vienna, Austria

Deena Weinstein, DePaul University, United States

Sheila Whiteley, University of Salford, United Kingdom

The Conference

Popular Music scholars have devoted considerable attention to the relationship between music and power. The symbolic practices through which subcultures state and reinforce identities have been widely documented (mainly in the field of Cultural, Gender and Postcolonial Studies), as has the increasingly political and revolutionary dimensions of popular music. Most studies have focused on the genres and movements that developed with and in the aftermath of the 1960’s counterculture. Yet little has been written about how the politics of popular music has reflected the social, geopolitical and technological changes of the late 20th and early 21st centuries, after the fall of Communism. Still, the music of the Arab Spring or of the Occupy and Indignados movements have been scarcely commented upon while they attest to significant changes in the way music is used by activists and revolutionaries today.

This international conference therefore aims to explore the new political meanings and practices of music and to provide an impetus for their study. Broadly the themes of the conference are divided into five main streams:
1. Music as a Political Weapon

The history of popular music cannot be divorced from that of social, cultural and political movements, and yet the question remains: if music is politically efficient, how can we measure its impact? It is not clear what role music plays in the struggle for political, ideological and social change. While musical practices and the writing of songs can strengthen existing activist groups, can it also truly change minds or upset the established order and destabilize it? If there are such things as soundtracks for rebellions and revolutions, do they merely accompany fights or can they quicken the pace and bring about change themselves?

Of course it would be naïve to think of the political impact of music only in progressive terms; participants are encouraged to pinpoint the ambiguities and contradictions at work in the relationship between music and power. Popular music artists and whole genres can refuse to meddle in politics – and the non-referentiality of music makes it an ill-suited medium for the diffusion of clean-cut messages. It would therefore be ill-advised to consider popular music genres and artists as falling either into the political or apolitical categories. Music can also be violent in less political ways, and even carry nihilistic undertones – it can ignore or even mock its own alleged political power. This should lead us to a re-evaluation of subcultural politics.
2. Political Change, Musical Revolution? The Question of Artistic Legacy

The musical styles that accompany social and political change are part of a musical continuum. This prompts the question of originality and relation to tradition. Has the new historical context shaken up the old codes for protest music? What are the new politically conscious forms and genres of today, and how do they relate to older protest movements? The covering of songs from the Civil Rights era and the Great Depression in the aftermath of Katrina and the participation of singers from the 1960s counterculture in the Occupy Wall Street movement raises the issue of correspondences between groups of artists and activists. We will also look at how contemporary movements connect with one another. Can it be said that protest music is globalized today? How does the music of the Arab Spring compare to the songs of the Occupy Wall Street movement or of the Maple Spring protesters?
3. Music, Identity and Nationalism

Popular music has a hand in the building and solidification of (sub)cultural communities. Songs have expressed the emergence of new group identities in fall of Communism, the breakup of Yugoslavia and during other political schisms in Latin American countries more recently. People sing and play the old regimes away, or they use music to connect with fellow migrants or refugees in an upset political landscape. Songs serve as a bridge between past and present by pairing traditional patterns to new instruments, new technology, and new media – by associating nostalgia with the wish for change. They can also smooth out the transition to a new life and a new identity as individuals and groups assimilate into another culture. Reversely, they can reflect new cultural antagonisms and class conflicts and follow the radicalization of group identities. In the Balkans, Eastern Europe and Russia, nationalist movements have their own anthems, too.
4. Aesthetics, digital practices and political significations

The increased use of computing technology in musical practices as well as the advent of social networks has opened new aesthetic vistas (with the increasing use of sampling, mashups, or shreds), as well as changed the way music is shared, advertised and composed. How do those technical changes affect the political uses of music and its weight? Of course while these changes have led to a wave of increased artistic creativity, they might also obliterate symbolic legacies and political meanings. When do reference and reverence turn into betrayal? New technologies might have opened a new battleground where political awareness competes with cultural emancipation.
5. Marching to a Different Beat? Censorship, Propaganda and Torture

The political weight and the mobilizing capacities of popular music can be gauged by how authorities react to them. Some states consider them a threat to their stability and to an established order in which the voice of the people is seldom heard – and never listened to. In the 21st century, popular music is still censored and repressed all over the world. From the ban of irreverent songs after 9/11 to the violence directed against emos in Iraq and the trial against Pussy Riot more recently, the regimes contested by deviants and/or protesters can take musical criticism and anticonformist artists very seriously.

Political and moral authorities with a sense of how powerful music can be may also use it for their benefit, as propaganda. Soldiers’ moral and psychological states can also be altered by listening to aggressive playlists during military operations. Music is never further away from its role in political struggles than when it is meant to numb the will of individuals, subdue or even torture. This might constitute the most extreme way in which its emancipatory power can be subverted."

Schedule
Friday 7 June 2013

12:00: Lunch

13:00-13:30: Conference opening, MISHA conference hall: Alenka Barber-Kersovan, Elsa Grassy, Jedediah Sklower

13:30-14:15: Dietrich Helms intervention

14:15 -14:30: Coffee break

14:30-16:00: Panels I

1. The democratic agency of protest music I: music, society & political change

2. Scenes I: the politics of indie music

3. Hijacking popular music I: persuasion & propaganda

16:00-16:15: Coffee break

16:15-17:45: Panels II

4. The democratic agency of protest music II: performing activist soundscapes

5. Scenes II – racial and postcolonial issues in glocal popular music

6. Hijacking popular music II: Star politics, influence & the masses

18:00-20:00: Visit of Strasbourg’s historical center

19:00-20:00: Visit of Strasbourg by “bateau mouche”

20:30: Dinner at the Maison Kammerzell
Saturday 8 June 2013

9:30-11:00: Panels III

7. The democratic agency of protest music III: struggling with commitment

8. Scenes III: glocal hip-hop & the politics of authenticity

9. Identity polemics I: assessing the political past

11:00-11:15: Coffee break

11:15-12:45: Panels IV

10. The democratic agency of protest music IV: political movements & strikes

11. Hijacking popular music III: State policies & propaganda

12. Identity polemics II: the polysemic recycling of popular music

12:45-14:30: “Buffet” at the MISHA conference hall, and short concert within the Jazzdor Strasbourg-Berlin festival

14:30-15:15: Martin Cloonan presentation

15:15-15:30: Coffee break

15h30-17:00: Panels V

13. The democratic agency of protest music V: revolutionary soundtracks?

14. Scenes IV: politics, ethics & aesthetics

15. Identity polemics III: tributes & national myths in the United States

17:00-17:15: Coffee break

17:15-18:00: Conference conclusion & debate
Abstracts

Toolkit for Integrating Gender-Sensitive Approach into Research and Teaching

by Jovana Mihajlović Trbovc and Ana Hofman

This Toolkit is designed to help researchers in integrating gender dimension in their ongoing res... more This Toolkit is designed to help researchers in integrating gender dimension in their ongoing research and teaching, especially those in test institutions involved in the GARCIA project (www.garciaproject.eu). It should help academic staff in thinking in what way is gender relevant for their research agenda and curricula.

Alan Lomax Archive

Yearbook for Traditional Music, 2012