Balkan Popular Culture and the Ottoman Ecumene: Music, Image, and Regional Political Discourse (Europea : Ethnomusicologies and Modernities)

In memoriam Mirjana Lauševiƒ (1966–2007 )

Contents Illustrations Figures Tables Contents of CD-ROM Plates Sound Recordings Video Recordings Series Foreword Preface and Acknowledgments

ix xi xi xiii xiv xv xvii

Prelude 1.

“Oh, Those Turks!” Music, Politics, and Interculturality in the Balkans and Beyond Donna A. Buchanan

Part I

2.

3.

3

Post-1989 Culture Industries and Their Nationalist Icons

Bosnian and Serbian Popular Music in the 1990s: Divergent Paths, Conflicting Meanings, and Shared Sentiments Ljerka Vidiƒ Rasmussen Muzic | Oriental|: Identity and Popular Culture in Postcommunist Romania Margaret H. Beissinger

vii

57

95

viii 4.

5.

Contents Bulgarian Chalga on Video: Oriental Stereotypes, Mafia Exoticism, and Politics Vesa Kurkela

143

Regional Voices in a National Soundscape: Balkan Music and Dance in Greece Kevin Dawe

175

Part II Beyond Nation: Regionalisms in a Cosmopolitan Frame 6.

7.

8.

9.

Ottoman Echoes, Byzantine Frescoes, and M usical Instruments in the Balkans Gabriela Ilnitchi Bulgarian Ethnopop along the Old Via Militaris: Ottomanism, Orientalism, or Balkan Cosmopolitanism? Donna A. Buchanan “The Criminals of Albanian Music”: Albanian Commercial Folk M usic and Issues of Identity since 1990 Jane C. Sugarman Shedding Light on the Balkans: Sezen Aksu’s Anatolian Pop Martin Stokes

10. Trafficking in the Exotic with “Gypsy” Music: Balkan Roma, Cosmopolitanism, and “W orld Music” Festivals Carol Silverman

193

225

269

309

335

Postlude 11. Balkan Boundaries and How to Cross Them: A Postlude Svanibor Pettan

365

Contents References Discography Filmography and Videography Index About the Editor and Contributors

ix 385 417 423 425 439

Illustrations Figures 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 1.10 1.11 1.12 1.13 1.14 1.15 1.16 1.17 1.18 1.19 1.20 1.21

Üsküdara gider iken Sharky Negavend: Lyubovnaya Apo kseno topo ki ap alaryino. Dragoumis 1991:392, No. 33 De mas tes danizis. Dragoumis 1991:282, No. 34 Apo kseno topo ki apo alaryino. Baud-Bovy 1935:114–15, No. 45 Ehasa mantili. Archives musicales de folklore, Athens, Aivali Ehasa mantili. Songs and Dances of Smyrna and Erythraea, 1994 Ehasa mantili. As sung by Stratis Rallis Apo tin Athina/Azizie, as perfomed by Sophia Bilides Mia kali kontoula. Rigas 1958 Terk in Amerika Fel sharah canet betet masha An Arab rendition of the Üsküdara tune Mu në bashtën Albanian school song Ruse kose, curo, imaš Ala, tsuro, kose imash Cherni ochi imash, libe Ah, Marike, pilentse Mirjano, oj, Mirjano. As published in Borisav Stankovi ƒ’s Koštana Mirjano, oj Mirjano (excerpt). Stevan Mokranjac version

5–6 7 12–13 13 14 14–15 15–16 16–17 18–19 20–21 23 25 27 28 29 30–31 32 33 34 35 36

x 1.22 1.23 1.24 1.25 2.1 2.2 2.3 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8 3.9 4.1 4.2 4.3 4.4 4.5 4.6 4.7 7.1 7.2 7.3 7.4 7.5 7.6

Contents Eartha Kitt’s spoken narrative between verses of her Uska Dara, ca. 1953 Raspi…i-opi…i. Performed by Vatrogasci Bosnian sevdalinka text in Adela Peeva’s Whose Song is This? Yasen mesets vech izgryava. As sung in Peeva’s Whose Song is This? “Only unity saves the Serbs,” by Bora Ðor pevi ƒ Putnici, Dino Merlin Sredinom, by Dino Merlin Înva Û|, nevast|, s | m | pre Ûuie Õti, mm. 1–5, as sung by Ôtefan de la B |rbule Õti Nu Õtiu dac | m-ai iubit, mm. 1–9, as sung by Mih |iÛ| N |mol Ce fat| frumoas | am întîlnit, mm. 13–20, as sung by Adrian Copilul Minune Ce fat| frumoas | am întîlnit, mm. 1–12 Sexi, sexi, as sung by Marian Zaharia Pe la spate, as sung by Bobi Prin Ûesa mea, as performed by Adrian Copilul Minune Mi-am cump |rat un celular, performed by Nelu Petrache Of, via Ûa mea, performed by Adrian Copilul Minune Dan ßtsi, performed by Petra Levovete v marki, rhythmic accompaniment Levovete v marki, by Sashka Vaseva Zhega, by Valentin Valdes The kyuchek rhythm in 4/4 time Levovete v marki, by Sashka Vaseva. Melody and harmonic accompaniment Menteta, menteta, by Kiril Lambov The ayy ãb rhythmic mode The çiftetelli rhythmic mode Akh, badzhanak, badzhanak, by Ivo Barev Sam li si, performed by Mustafa Chaushev Az s ßm vesela i peya, performed by Orkestßr Kristal Sofiiski barovets (excerpt), performed by Ts. Nikolich

37 39–40 44 46 65 80–81 82 110 112 113 114 118 119 119 120 121 150 152 153 155 158 159 160–61 241 242 242–43 244 248–49 253

Contents 7.7 8.1 8.2 8.3 8.4

xi

Main Title, composed by Joseph LoDuca, from Fox TV’s Xena, Warrior Princess Mashalla-Mashalla, by Zyberi. Performed by the Aliu Brothers and AVI Rinia Kënaqu sonte. Performed by Ramadan Krasniqi and Corona Dëgjo zemrën tënde, performed by Zyber Avdiu Mobili, performed by Zyber Avdiu

257 272 282 284 285

Tables 4.1 4.2 6.1 7.1 7.2 7.3 7.4

Oriental Myths and Stereotypes in Chalga Sanitized Oriental (Ottoman) Images Iconographic Representations of the Davul and Zurna in Balkan Frescoes, 14th–17th Century Selected Joint Southeast European Initiatives since 1989 The Bulgarian Commercial Music Scene, 1990–2000 Pop-folk Idioms Politico-Economic Factors Driving Orientalized Productions of Bulgarian Music

162 163 198–99 226–27 230–311 234

Contents of CD-ROM Plates 2.1 2.2 2.3 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8

“Free B-92” Yugoslav rock music concert poster Sculpture of “Multicultural Man” Political cartoon of “Multicultural Man” Muzic | oriental| at a Romani wedding in Pite Õti Seven village l|utari at a Romanian wedding in Cartojani Cassette cover, Vara manelelor Cassette cover, Ôtefan de la B |rbule Õti: Mi-e Dor de Tine Manea dancing at a Bucharest wedding A Romanian bride dances the manea The Copiii Orientului ensemble at a Bucharest wedding Musicians at a Romani wedding in Bucharest

254

xii 3.9 3.10 5.1 5.2 5.3 6.1 6.2 6.2 6.3 6.3 6.4 6.5 6.6 6.6 6.7 6.7 6.8 6.9 6.10 6.11 6.12 6.13 7.1 7.2 7.3 7.4 7.5 7.6 7.7 7.8 7.9

Contents Romanian synthesizer player at a Romanian wedding in Târgovi Õte Romanian men dance the l|utar hora performed by a village ensemble Balkania Festival poster Balkania Festival: Musicians and M acedonian dancers Balkania Festival: Thanasis Serkos’s ensemble Psalm 148: The Church of the Nativity of Christ, Arbanasi, Bulgaria The Mocking of Christ: Bogoroditsa Peribleptos, Ohrid, Republic of Macedonia Detailed view The Mocking of Christ: Staro Nagori…ano, near Kumanovo, Republic of Macedonia Detailed view The Mocking of Christ: St. Nicholaos Orphanos, Thessaloniki, Greece Psalm 150: Hreljio Tower, Rila, Bulgaria Psalm 150: Monastery of St. Gavril Lesnovski, Lesnovo (Kratovo), Republic of Macedonia Detailed view The Mocking of Christ: St. Nikita Monastery, „u …er, Republic of Macedonia Detailed view The Mocking of Christ: B |line Õti, Romania The Mocking of Christ: Dobrov |Û, Romania The Mocking of Christ: Zurna detail, Dobrov |Û, Romania The Mocking of Christ: Humor Monastery, Romania The Last Judgment: Vorone Û, Romania Psalm 150: Dekoulou, Greece Romani bear trainer Mustafa Chaushev Sashka Vaseva Marin Dzhambazov and Orkestßr “Knezha”: “The dream of the sheik” Orkestßr Kozari: “Yana Bibiyana” Ibro Lolov: “Gypsy varieties” “First Romani Festival: Stara Zagora ‘93” Ivo Barev: “W ith the name of God” Belite Shisharki: “Forgive me”

Contents 7.10 7.11 8.1 8.2 8.3 8.4 8.5 10.1 10.2 10.3 10.4 10.5 11.1 11.2 11.3

xiii

Valentin Valdes: “Thought of a woman” Valentin Valdes: “Bad company” The Aliu Brothers at “Diagonal” Selling Albanian recordings at a Struga mall A collage of Albanian popular music cassette wrappers Corona and Nysret Muçiqi at a Prishtina circumcision “Diagonal” and its owner The Gypsy Caravan at Ft. W orth’s Bass Concert Hall Taraf de Haidouks: Band of Gypsies Fanfare Ciocarlia: Iag Bari Yuri Yunakov and Ivo Papazov Esma Redžepova and Ansambl Teodosievski A shawm and drum ensemble in Prizren A chalgiya ensemble in Prizren Svetlana Ražnatovi ƒ-Ceca performs a concert in Ljubljana

Sound Recordings Track

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Üsküdara gider iken, performed by Ulugbek Nurmukhamedov Ehasa mantili, performed by a group of Erythraean women Ehasa mantili, sung by Stratis Rallis, Mytilene Apo tin Athina/Azizie, sung by Sophia Bilides Yodukha rayonai, performed by Divahn Eftah pi berrina, recorded by Leo Levi, Djerba, Tunisia, 1968 Fel sharah canet betet masha, performed by Gloria Levy Arab rendition of Üsküdara, performed by Balkanalia Istanbul türküsü, performed by Erol Parlak Ala, tsuro, kose imash, performed by Zorka Drempetiƒ and the M. Karnevac ensemble Raspi…i-opi…i, performed by Vatrogasci Putnici, performed by Dino Merlin Sredinom, performed by Dino Merlin

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Înva Û|, nevast|, s | m | pre Ûuie Õti, performed by Ôtefan de la B |rbule Õti Nu Õtiu dac | m-ai iubit, performed by Mih |iÛ| N |mol Ce fat| frumoas | am întîlnit, performed by Adrian Copilul Minune Menteta, menteta, performed by Georgi Sergiev & Orchestra Diamant Zhivot sled sm ßrtta, performed by Atlas Mitana, performed by Nona Iotova and Ivan Lechev Kardarashki kyuchek, performed by Orkestßr Melodiya Naslada, Orkestßr Pautaliya Chshae shukarie, performed by Dzhipsi Aver Sam li si, performed by Mustafa Chaushev Az sßm vesela i peya, performed by Orkestßr Kristal Mashalla-Mashalla, performed by Vëllezërit Aliu with AVI Rinia Kënaqu sonte, performed by Ramadan Krasniqi and Corona Dëgjo zemrën tënde, performed by Zyber Avdiu

Video Recordings 4.1 4.2 4.3

Dan ßtsi, performed by Petra Levovete v marki, performed by Sashka Vaseva Zhega, performed by Valentin Valdes

Series Foreword By inhabiting the world of the Ottoman ecumene popular music invests its soundscapes with universality. Contradiction, complementarity, conjunction, contestation. The very doubleness of the Greek @Æ6@L:X