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Generation Number One: Politics and Popular Music in Yugoslavia in the 1950s

Published online by Cambridge University Press:  20 November 2018

Dean Vuletic
Dean Vuletic*
Affiliation:
Department of History, Columbia University, 611 Fayerweather Hall, 1180 Amsterdam Avenue, MC2527 New York, NY 10027, USA. dv2107@columbia.edu
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Extract

Popular music is one of the cultural phenomena that has been most shared among the peoples inhabiting the territory of the former Yugoslavia; indeed, considering the persistence of a common popular music culture there even after the break up of the Yugoslav federation in 1991, there is perhaps little in cultural life that unites them more. It was in the 1950s that a Yugoslav popular music culture emerged through the development of local festivals, radio programs and a recording industry, at a time when popular music was also referred to as “dance,” “entertainment” or “light” music, and when jazz, pop and, by the end of the decade, rock and roll were the styles of it that were being listened to in Yugoslavia and around the world. However, the development of a Yugoslav popular music culture at this time was rooted not only in international cultural trends but was also shaped by the domestic and foreign policies that were pursued by the ruling Communist Party of Yugoslavia (CPY), which was renamed the League of Communists of Yugoslavia (LCY) in 1952. Through its cultural, economic and foreign policies, the party sought to define Yugoslavia's position in Cold War international relations, develop a sense of Yugoslav identity among its multinational citizenry, and reconstruct and modernize a country that had suffered some of the greatest losses in Europe in the Second World War—and which had, just before it, been one of the Continent's least developed states, not only economically but also in terms of cultural infrastructure. In the cultural sphere, investments were needed immediately after the war to redress the facts that Yugoslavia had high rates of illiteracy and low rates of radio ownership by European standards, that cultural activities beyond folklore remained the purview of a small urban elite, and that it lacked musical artists, schools and instruments—with great disparities in all of these measures existing between its more developed northern areas (Slovenia, Croatia and northern Serbia) and the poorer south (Bosnia-Herzegovina, Macedonia, Montenegro and southern Serbia). For example, with regards to radio ownership, in 1946 the number of individuals per radio ranged from 40 in Slovenia, 48 in Croatia and 91 in Serbia to 137 in Macedonia, 288 in Bosnia-Herzegovina and 702 in Montenegro, with the average for all of Yugoslavia being 78.

Type
Articles
Information
Nationalities Papers , Volume 36 , Issue 5 , November 2008 , pp. 861 - 879
Copyright
Copyright © 2008 Association for the Study of Nationalities 

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