Music and Memory: Yugoslav Rock in Social Media

in Southeastern Europe
Restricted Access
Get Access to Full Text
Rent on DeepDyve

Have an Access Token?

Enter your access token to activate and access content online.

Please login and go to your personal user account to enter your access token.


Have Institutional Access?

Access content through your institution. Any other coaching guidance?


This article argues that after the disintegration of Yugoslavia, Yugoslav rock music lost little cultural value and is still a prominent trigger of vernacular memories of the socialist Yugoslav past, as well as a vehicle of socio-political commentary in post-Yugoslav contexts. In this view, music is understood as a galvaniser of affective relationships to that past and to post-Yugoslav presents. In the first part of the article, the author discusses the theoretical and practical implications of digitally mediated music as immersive affective environments, working within the framework of media archaeology and a digital archives approach. It is argued that Yugoslav rock has retained its potency and appeal, where today, in a post-Yugoslavia context, it presents an outlet for the recomposition of musical preferences through nostalgia and opposition to the post-1991 socio-political developments. In the second part of the article, focusing on Facebook and YouTube, the author investigates how Yugoslav rock has been reframed in social media and how fragments of the country’s past are reframed in digital media environments. A qualitative multimodal discourse analysis is employed here to investigate a selection of fan pages of rock musicians and bands.

Music and Memory: Yugoslav Rock in Social Media

in Southeastern Europe



AhmedS. 2010. ‘Happy Objects’ in GreggM. and SeigworthG. J. (eds.) The Affect Theory Reader (Durham and London: Duke University Press): 2951.

Azra. <> [accessed 17 December 2014].

BaioA.Never Trust a Corporation to do a Library’s Job: As Google Abandons its Past, Internet Archivists Step in to Save Our Collective MemoryThe Medium. The Message. 29 January 2015 <> [accessed 5 February 2015].

BudenB. 2012. Zona prelaska O kraju postkomunizma (Beograd: Fabrika knjiga).

BurginV. 1996. In/Different Spaces Place and Memory in Visual Culture (Berkeley, Los Angeles, London: University of California Press).

CvetkovichA. 2003. An Archive of Feelings: Trauma Sexuality and Lesbian Public Cultures (Durham: Duke University Press).

DredgeS.Zoë Keating v YouTube: Key Sticking Points in Google’s Latest Music RowThe Guardian. 27 January 2015 <> [accessed 3 February 2015].

Velika – EKVEkatarina. 2013. Facebook. <> [accessed 12 July 2013].

VelikaEkatarina. Wikipedia The Free Encyclopedia. <>. Last modified 26 February 2013 [accessed 12 July 2013].

ErnstW. 2013. Digital Memory and the Archive (Minneapolis, London: University of Minnesota Press).

Ex Yu rock 2013. Facebook. <>. 1 June 2013 [accessed 12 July 2013].

GrusinR. 2010. Premediation: Affect and Mediality after 9/11 (Basingstoke: Palgrave Macmillan).

HofmanA. 2015. Glasba politika afekt: Novo življenje partizanskih pesmi (Ljubljana: Založba zrc).

HofmanA. and PogačarM.. ‘Partizanski upor danes? Glasbene prakse nob in družbena angažiranostBorec 66(709–711): 315333.

HoskinsA. 2009. ‘Digital Network Memory’ in ErllA. and RigneyA. (eds.) Mediation Remediation and the Dynamics of Cultural Memory (Berlin: Walter de Gruyter): 91107.

JansenS. 2005. Antinacionalizam: etnografija otpora u Zagrebu i Beogradu (translated into Serbian by A. Bajazetov) (Beograd: Biblioteka XX Vek).

JenkinsH.FordS. and GreenJ.. 2013. Spreadable Media: Creating Value and Meaning in Networked Culture (New York: New York University Press).

JevremovićM. 2013. <> [accessed 13 June 2013] (no longer available).

LeporeJ. 2015. ‘The Cobweb: Can the Internet be Archived?The New Yorker. 26 January 2015. <> [accessed 10 February 2015].

MACIKICA100. 2011. Comment on Branimir Štulić: ‘“Pusti da ti leut svira” via Branimir Štulić EKSKLUZIVNO!’ <> 4 April 2011 [accessed 12 July 2013].

MalečkarN. and MastnakT.. 1985. Punk pod Slovenci (Ljubljana: Krt).

Margita Magi Stefanovic. Facebook. <> [accessed 12 July 2013].

miljandamjan. 2012. Comment on Branimir Štulić: ‘Branimir Štulić svira Arsena Dedića)’. 6 April 2011. <> [accessed 12 July 2013].

MillerD. 2011. Tales from Facebook (Cambridge: Polity Press).

MuršičR. 2011. ‘Yugoslav and Post-Yugoslav Encounters with Popular Music and Human Rights’ in PeddieI. (ed.) Popular Music and Human Rights Vol. 2: World Music (Farnham: Ashgate): 91104.

null11amorph. 2013. Comment on Thomoijk <> [accessed 12 July 2013] (no longer available).

O’HalloranK. L. 2011. ‘Multimodal Discourse Analysis’ in HylandK. and PaltridgeB. (eds.) The Continuum Companion to Discourse Analysis (London and New York: Continuum): 120–138.

PavlovD. and ŠunjkaD. 1990. Punk u Jugoslaviji (Yugoslavia: igp Dedalus).

ParikkaJ. 2010. ‘Media Archaeology – definition take 2Cartographies of Media Archaeology. <>. 15 October 2010 [accessed 13 June 2013].

PogačarM. 2008. ‘Yu-rock in the 1980s: Between Urban and Rural’Nationalities Papers36 (5): 815832

PogačarM. 2012. ‘Music blogging: Saving Yugoslav Popular Music’ in BreslowH. and MousoutzanisA. (eds.) Cybercultures: Mediations of Community Culture Politics (Amsterdam; New York: Rodopi): 165188.

PogačarM. 2014. ‘Digital Heritage: Co-Historicity and the Multicultural Heritage of Former YugoslaviaDve domovini39: 111124.

ResnikoffPaul. 2015. ‘Here’s Exactly What a YouTube Rep Told Zoë Keating’. Digital Music News 29 January 2015. <> [accessed 3 February 2015].

SchönbergerV. M. 2009. Delete: The Virtue of Forgetting in the Digital Age (New Jersey: Princeton University Press).

SobchakV. 2011. ‘Afterword: Media Archaeology and Re-Presencing the Past’ in HuhtamoErkki and ParikkaJussi (eds.) Media Archaeology Approaches Applications and Implications (Berkeley, Los Angeles London: California University Press): 323334.

SpaskovskaL. 2011. ‘Stairway to Hell: The Yugoslav Rock Scene and Youth During the Crisis Decade 1981–1991East Central Europe38(2–3): 355372.

Stankovič.P. 2001. ‘Appropriating “Balkan”: Rock and Nationalism in SloveniaCritical Sociology 27(3): 98115.

ŠtulićB. 2012. ‘Azra ‘90. Zadar/Mostar/Split’. 28 August 2012 <> [accessed 12 July 2013].

thomoijk. 2013. ‘Azra-Ako znaš bilo što’ <> [accessed 13 June 2013] (no longer available).

ThompsonM. and BiddleIan (eds.). 2013. Sound Music Affect. Theorizing Sonic Experience (London: Bloomsbury Academic).

TutorialiWindows. 2013. <> [accessed 13 June 2013] (no longer available).

VelikonjaM. 2008. ‘“Red Shades”: Nostalgia for Socialism as an Element of Cultural Pluralism in the Slovenian TransitionSlovene studies 30(2): 171184.

VelikonjaM. 2013. Rock’n’retro: Novi jugoslavizem v sodobni slovenski popularni glasbi (Ljubljana: Založba Sophia).

VelikonjaM. 2002. ‘Ex-Home: “Balkan Culture” in Slovenia after 1991’ in ResićS. and Törnquist-PlewaB. T. (eds.) The Balkans in Focus: Cultural Boundaries in Europe (Lund: Nordic Academic Press): 189207.

XPartizani0zauvijekX. ‘Azra-Partizan’. [accessed 23 August 2010] (no longer available).


As of 2015this is the case for instance with YouTube and musicians; see Baio 2015.


Content Metrics

Content Metrics

All Time Past Year Past 30 Days
Abstract Views 21 21 7
Full Text Views 53 53 44
PDF Downloads 4 4 2
EPUB Downloads 0 0 0