Papers by Astrea Nikolovska (Née Pejović)
Eastern European Youth Cultures in a Global Context , 2016
Global culture uses revival, among other things, as one of its means of production; the 1970s wer... more Global culture uses revival, among other things, as one of its means of production; the 1970s were marked by a revival of 1950s popular music, 1960s popular culture was paraphrased in the 1980s, the 1990s were largely inspired by the 1970s and the first decade of the millennium experienced a comeback of the 1980s. Following that, as the logic of revival in popular culture dictates, the 2010s has seen a revival of the 1990s. While the global market found another well of profit in this revival, the trend has created a lot of controversy in Serbia, where the 1990s brings with it not only the popular culture from the decade but also a strong political implication. The last decade of the twentieth century in Serbia witnessed Slobodan Milosevic’s government, wars, isolation, international discredit and hyperinflation. These preconditions, together with a great level of corruption and the collapse of the economic system, opened the space for an overall criminalisation of Serbian society.
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Social Anthropology
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Contemporary Southeastern Europe, 2016
The focus of this article is to highlight the potential of popular culture to
become an agent of ... more The focus of this article is to highlight the potential of popular culture to
become an agent of leftist populist politics in contemporary Serbia. The
authors observe the hip-hop collective “The Bombs of the Nineties”, whose
music tackles topics from recent history, and who subvert the fashion style
of the 1990s “Dizel” subculture, which is often connected to Serbian
nationalism and war profiteering. The paper analyses the relationships
“The Bombs of the Nineties” create between their practices, class warfare
and leftist discourses, aiming to show the potentials and threats those
relationships introduce. Following Ernesto Laclau’s understanding of
populism as a “hegemonic political articulation of demands”, we assume
that “The Bombs of the Nineties” could represent a solid populist political
agent in that they attempt to reveal and draw attention to the “unfulfilled
demands” of disempowered Serbian youth. On the other hand, the counterintuitive
merge of ideologies they operate, and the limited impact of their
strategies on the official politics could be an obstacle to the expansion of
their message.
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Book Reviews by Astrea Nikolovska (Née Pejović)
Südosteuropa Journal of Politics and Society, 2019
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Papers by Astrea Nikolovska (Née Pejović)
become an agent of leftist populist politics in contemporary Serbia. The
authors observe the hip-hop collective “The Bombs of the Nineties”, whose
music tackles topics from recent history, and who subvert the fashion style
of the 1990s “Dizel” subculture, which is often connected to Serbian
nationalism and war profiteering. The paper analyses the relationships
“The Bombs of the Nineties” create between their practices, class warfare
and leftist discourses, aiming to show the potentials and threats those
relationships introduce. Following Ernesto Laclau’s understanding of
populism as a “hegemonic political articulation of demands”, we assume
that “The Bombs of the Nineties” could represent a solid populist political
agent in that they attempt to reveal and draw attention to the “unfulfilled
demands” of disempowered Serbian youth. On the other hand, the counterintuitive
merge of ideologies they operate, and the limited impact of their
strategies on the official politics could be an obstacle to the expansion of
their message.
Book Reviews by Astrea Nikolovska (Née Pejović)
become an agent of leftist populist politics in contemporary Serbia. The
authors observe the hip-hop collective “The Bombs of the Nineties”, whose
music tackles topics from recent history, and who subvert the fashion style
of the 1990s “Dizel” subculture, which is often connected to Serbian
nationalism and war profiteering. The paper analyses the relationships
“The Bombs of the Nineties” create between their practices, class warfare
and leftist discourses, aiming to show the potentials and threats those
relationships introduce. Following Ernesto Laclau’s understanding of
populism as a “hegemonic political articulation of demands”, we assume
that “The Bombs of the Nineties” could represent a solid populist political
agent in that they attempt to reveal and draw attention to the “unfulfilled
demands” of disempowered Serbian youth. On the other hand, the counterintuitive
merge of ideologies they operate, and the limited impact of their
strategies on the official politics could be an obstacle to the expansion of
their message.