The Paradox of Ceca and the Turbo-Folk Audience

Datos Bibliográficos

ID8097058
AutoresZala Volčič (0000-0002-2154-4520, autor de correspondencia), Karmen Erjavec (0000-0003-4971-0292)
Año2010
Volumen8
Número2
Páginas103-119
Fecha de publicación2010-04-15
Peer ReviewedSí
Open AccessNo
TipoARTICLE
RevistaPopular Communication (JOURNAL)
Identificadores de la revistaISSN: 1540-5702 • E-ISSN: 1540-5710
EditorialTaylor & Francis (PUBLISHER • GB)
DOI10.1080/15405701003676121
OpenAlexW2046303369
IdiomaEN
Citas recibidas8
Referencias citadas15

After the Yugoslav wars and the fall of Milosevic regime in 2000, Ceca, despite her ties to Serbian nationalism, became one of the most popular Balkan turbo-folk singers. While analyzing Ceca, the authors try to account for this paradoxical popularity while contributing to an understanding of the relationship between popular culture and politics in the former Yugoslavia. On the basis of in-depth interviews with young female students in the two most “Western” republics of former Yugoslavia, Slovenia and Croatia, the authors address a simple question: Why does Ceca continue to be so popular in these two countries? The research reveals that Ceca and turbo-folk discourses flourish because they promote and promise a new type of personal empowerment in an era of rapid institutional and value changes in post-socialist Slovenia and Croatia. However, we argue that while Ceca's music is marketed using the promise of personal empowerment, the discourses it promotes are potentially disempowering for the very audiences it targets

Empowerment · Media studies · Nationalism · Political science · Politics · Popularity · Serbian · Sociology · Balkans: History, Politics, Society · Diverse Musicological Studies · Music History and Culture · Law