Radovanović appeared on stage in a white, medieval robe, the beautiful voice of the young singer rang through the entire Stadthalle and the audience became highly emotional. The audience cheers, whispers the lyrics or sings along. A lot of women take their smartphones and record the concert. Some people raise their arms in the air or put their hands on their chest. No wonder! For the singer chose songs for her audience that reminded them of the "fatherland" Serbia and of times gone by - excitingly, of the times before the fusion of the Slavic peoples in the Balkans, i.e. the Kingdom of Serbia, of the time of the disintegration of Yugoslavia, as well as of the war in 1990s: specifically the "Kosovo war".
The young singer sang her songs heartfully and a strong voice – she must have had singing lessons from a very young age, as for her loud and full mezzosoprano, one should have a technic of a professional. The audience could clearly hear the singer's pride in her own performance. The audience applauded and cheered the young singer. In the euphoria that hovered in the air, the audience waited for the next song. But the singer had something else in mind. To put it briefly: to criticise. After introducing herself, she began her speech: "I am proud to be here with you and to preserve Serbian culture - I also do that at home in Orahovac. My homeland, my culture and thus my identity are very important to me and I do everything in my power to preserve them. With my actions, I do not give my Kosovo into the hands of others, because Kosovo is Serbia.
Table of Contents
1. "GDE STE TU VI, BRAĆO I SESTRE?"
2. SMOTRA, KOLO AND DIASPORA.
2.1 Smotra
2.1.1 History of origins
2.1.2 What does happen at smotra? An Overview of my own experience.
2.2 Kolo (dance and music)
2.2.1 Definition
2.2.2 Music of the kolo
2.2.3 History, development and significance
2.2.4 Kolo as a kind of theater.
2.2.5 Creating a choreography – storytelling without stage-directions.
3. NATIONALISM, SERBIANISM AND PURITY.
3.1 GENERAL DEFINITION(S) OF NATIONALISM'
3.2 "SERBIAN-NESS" - SERBIAN NATIONALISM
3.2.1 Ideology of Serbian Nationalism'
3.3 Purity of Serbian nationalism: Serbian Orthodoxy.
3.4 KOLO, NATIONALISM AND RELIGION.
4. KOLO, NATIONALISM AND DIASPORA
4.1 PATRIOTS LIVE IN DIASPORAS.
4.2 "ŽIVELA SRBIJA!"
Research Objectives and Core Themes
This essay investigates the role of traditional Serbian folklore (kolo) and cultural events (smotra) within the Serbian diaspora in Switzerland, examining how these practices act as instruments for promoting, preserving, and anchoring national identity and patriotism among diaspora members.
- Analysis of the institutionalization and instrumentalization of Serbian cultural heritage in the diaspora.
- Evaluation of the relationship between folkloric performances and nationalist or patriotic ideologies.
- Exploration of how "Serbian-ness" is constructed and maintained through dance, music, and religion abroad.
- Investigation into the motivations of Serbian diaspora members participating in cultural associations.
Excerpt from the Book
Creating a choreography – storytelling without stage-directions.
When a cultural association wants a new choreography for the smotra competition, they call a choreographer - from Serbia - who composes a choreography for them. He or she studies a regional culture of Serbia and then develops the choreography, which literally tells a story. The traditional costumes are of great importance here, because kolo is a way of telling stories - as is, in fact, every dance. But as interesting as the costumes may be, I will put them aside at this point, because they are not in the limelight in this work. Nevertheless, it should be noted that kolo, with all its trimmings, tells a story. With this in mind, back to the dance.
So I may say that there is no strict instruction for creating a new choreography in this sense. As already mentioned, there are the steps that belong to certain kolos and pictures that ultimately make up kolo, but as a rule it is called improvising. This is advantageous in that on any occasion, you can dance kolo - the music plays and suddenly a huge chain of people forms, moving back and forth. Each chain link makes its own steps. The professionals do it "right" with their own virtuoso steps and the beginners do basic steps - three steps right, two steps left.
Summary of Chapters
"GDE STE TU VI, BRAĆO I SESTRE?": This chapter introduces the author’s experience at a folklore competition (smotra) in Switzerland, highlighting the emotional impact of a performance by a young singer from Kosovo that serves as a catalyst for the author's research inquiry.
SMOTRA, KOLO AND DIASPORA.: This chapter defines the central concepts of the smotra (cultural competition) and kolo (traditional dance), exploring their historical development, social significance, and role as artistic expressions within the diaspora.
NATIONALISM, SERBIANISM AND PURITY.: This chapter provides a theoretical examination of nationalism, ideology, and the construction of "Serbian-ness," specifically addressing the intersection of Serbian nationalism with religion and the concept of purity.
KOLO, NATIONALISM AND DIASPORA: This conclusion analyzes the practical application of nationalism and patriotism within the Serbian diaspora, identifying these cultural associations as schools for "patriots" that sustain national identity outside the homeland.
Keywords
Serbian Nationalism, Kolo, Smotra, Diaspora, Cultural Identity, Patriotism, Serbian Orthodoxy, Folklore, Switzerland, Migration, Ideology, Preservation, Heritage, Kosovo, Instrumentalization.
Frequently Asked Questions
What is the primary focus of this research paper?
The paper examines how Serbian folklore—specifically the kolo dance and smotra events—functions within the Serbian diaspora in Switzerland as a medium for maintaining cultural and national identity.
What central themes are explored throughout the work?
The work explores themes of nationalism, patriotism, the construction of national identity, the role of religion in defining "purity," and the sociological motivations behind participating in diaspora cultural associations.
What is the core research question or objective?
The author aims to investigate to what extent nationalism is promoted through kolo and folk music, and what role these play in the resonance of national identity, particularly for young people in the Serbian diaspora.
Which methodology is applied in this study?
The author utilizes an ethnographic and historical research approach, based on his own observations at folklore events and interviews with members of Serbian cultural associations in Switzerland.
What subjects are covered in the main body of the text?
The main body covers definitions and histories of smotra and kolo, theoretical frameworks for nationalism and ideology (including references to political literature), the significance of Serbian Orthodox religion, and primary data gathered from fieldwork within the diaspora.
Which keywords best characterize this work?
Key terms include Serbian Nationalism, Kolo, Diaspora, Cultural Identity, Patriotism, Serbian Orthodoxy, Folklore, and Heritage.
How does the author distinguish between "nationalism" and "patriotism" in the diaspora context?
The author suggests that while nationalism serves as the primary ideological foundation, patriotism functions as a secondary stage focused on the "preservation" of culture and traditions in the absence of the individual from their homeland.
What significance does the author attribute to the Kosovo issue within these cultural events?
The author views the Kosovo issue as a central pillar of Serbian national identity, often instrumentalized during smotras to mobilize emotions and reinforce the connection between diaspora Serbs and their "fatherland."
- Citar trabajo
- Miro Ilic (Autor), 2023, Serbian Nationalism in Kolo (Dance and Music) with Focus on Swiss Diaspora, Múnich, GRIN Verlag, https://www.grin.com/document/1373164
