Horrors of Postmodernism: : Why does Turbofolk not Realize its Subversive Potential?

U ovom radu razmotrit ćemo turbofolk kao postmoderni fenomen. Opisat ćemo osnovna obilježja postmodernizma i dati njegovu definiciju uz poseban naglasak na važnosti popularne kulture i masovnih medija u kontekstu postmoderne umjetničke produkcije. Osvrnut ćemo se posebno na ulogu masovnih medija u popularizaciji turbofolka. Zatim ćemo se pozabaviti nastankom i razvojem turbofolka. Proučit ćemo njegove korijene u "novokomponovanoj narodnoj muzici", kao i scenske identitete pjevačica na nekoliko primjera. Opisat ćemo društvenu i kulturnu klimu u Srbiji devedesetih godina, za vrijeme nastanka turbofolka, kao i povezanost turbofolk scene s beogradskim kriminalnim miljeom i onodobnim vladajućim režimom. Dotaknut ćemo se i ideološke prtljage tog muzičkog žanra koja prvenstveno izrasta iz njegove bliskosti nacionalističkom diskurzu. U poglavlju “Feminističko čitanje turbofolka i njegov subverzivni potencijal” ponudit ćemo uvide iz tekstova nekoliko istaknutih teoretičarki na temu seksualiziranosti tijela (ženske) turbo-folk zvijezde kao i njegovom kiborg-varijantom koja postaje sve prisutnija od početka novog milenija. Bit će riječi i o tome kako pjevačice, odnosno turbofolk zvijezde, u svojim tekstovima, na sceni i u intervjuima perpetuiraju problematične obrasce u suštini strogo patrijarhalnog srpskog društva. Za kraj razmotrit ćemo gdje se unutar turbofolka kao postmodernog fenomena pojavljuje eventualni subverzivni potencijal. Na posljetku ponudit ćemo odgovor na pitanje zašto turbofolk ne ostvaruje svoj subverzivni potencijal?In this paper, we will consider turbofolk as a postmodern phenomenon. We will describe the basic characteristics of postmodernism and offer its definition with special emphasis on the importance of popular culture and mass media in the context of postmodern artistic production. We will look specifically at the role of the mass media in the popularization of turbofolk. Then we will deal with the origin and development of turbofolk. We will study its roots in "newly composed folk music", as well as the stage identities of female singers on several examples. We will describe the social and cultural climate in Serbia in the 1990s, during the emergence of turbofolk, as well as the connection of the turbofolk scene with the Belgrade criminal milieu and the ruling regime at the time. We will also touch on the ideological baggage of that musical genre, which primarily connected to its closeness to nationalist discourse. In the chapter "Feminist reading of turbofolk and its subversive potential", we will offer insights from the texts of several prominent theoreticians on the subject of the sexualization of the (female) turbo-folk star's body, as well as its cyborg-variant, which has become more and more present since the beginning of the new millennium. It will also be discussed how female singers, i.e. turbofolk stars, in their lyrics, on stage and in interviews, perpetuate the problematic patterns of the essentially strictly patriarchal Serbian society. Finally, we will consider where possible subversive potential appears within turbofolk as a postmodern phenomenon. Finally, we will offer an answer to the question why turbofolk does not realize its subversive potential