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Responding to the development of a lively hip hop culture in
Central and Eastern European countries, this interdisciplinary
study demonstrates how a universal model of hip hop serves as a
contextually situated platform of cultural exchange and becomes
locally inflected. After the Soviet Union fell, hip hop became
popular in urban environments in the region, but it has often been
stigmatized as inauthentic, due to an apparent lack of connection
to African American historical roots and black identity. Originally
strongly influenced by aesthetics from the US, hip hop in Central
and Eastern Europe has gradually developed unique, local
trajectories, a number of which are showcased in this volume. On
the one hand, hip hop functions as a marker of Western
cosmopolitanism and democratic ideology, but as the contributors
show, it is also a malleable genre that has been infused with so
much local identity that it has lost most of its previous
associations with "the West" in the experiences of local musicians,
audiences, and producers. Contextualizing hip hop through the prism
of local experiences and regional musical expressions, these
valuable case studies reveal the broad spectrum of its impact on
popular culture and youth identity in the post-Soviet world.
Responding to the development of a lively hip hop culture in
Central and Eastern European countries, this interdisciplinary
study demonstrates how a universal model of hip hop serves as a
contextually situated platform of cultural exchange and becomes
locally inflected. After the Soviet Union fell, hip hop became
popular in urban environments in the region, but it has often been
stigmatized as inauthentic, due to an apparent lack of connection
to African American historical roots and black identity. Originally
strongly influenced by aesthetics from the US, hip hop in Central
and Eastern Europe has gradually developed unique, local
trajectories, a number of which are showcased in this volume. On
the one hand, hip hop functions as a marker of Western
cosmopolitanism and democratic ideology, but as the contributors
show, it is also a malleable genre that has been infused with so
much local identity that it has lost most of its previous
associations with "the West" in the experiences of local musicians,
audiences, and producers. Contextualizing hip hop through the prism
of local experiences and regional musical expressions, these
valuable case studies reveal the broad spectrum of its impact on
popular culture and youth identity in the post-Soviet world.
Less than two decades after the Yugoslav Wars ended, the edifice of
parliamentary government in the Western Balkans is crumbling. This
collapse sets into sharp relief the unreformed authoritarian
tendencies of the region's entrenched elites, many of whom have
held power since the early 1990s, and the hollowness of the West's
'democratisation' agenda. There is a widely held assumption that
institutional collapse will precipitate a new bout of ethnic
conflict, but Mujanovic argues instead that the Balkans are on the
cusp of a historic socio-political transformation. Drawing on a
wide variety of sources, with a unique focus on local activist
accounts, he argues that a period of genuine democratic transition
is finally dawning, led by grassroots social movements, from Zagreb
to Skopje. Rather than pursuing ethnic strife, these new Balkan
revolutionaries are confronting the 'ethnic entrepreneurs' cemented
in power by the West in its efforts to stabilise the region since
the mid-1990s. This compellingly argued book harnesses the
explanatory power of the striking graffiti scrawled on the walls of
the ransacked Bosnian presidency during violent anti-government
protests in 2014: 'if you sow hunger, you will reap fury'.
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