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Notes from the Field: Crnojević’s Shelves. Exploratory research in the archives of Montenegro

Banner for Notes from the Field: Crnojević’s Shelves. Exploratory research in the archives of Montenegro

As people in the past lived out their lives, did they realize the ways in which they would help create the archive of the future? Did the owner of a particular stack of newspapers deliberately label it “Borba Zagreb 1949” to preserve a record of the League of Communists of Yugoslavia’s official gazette from that year, or was the note atop the pile simply an act of routine organization? How does an archive—filled with countless documents chronicling the lives of so many—capture the beauty and complexity of the human experience? These questions swirled in my mind as I explored the halls of the Đurđe Crnojević National Library of Montenegro, or the Nacionalna biblioteka Crne Gore, “Đurđe Crnojević,” this past summer, an experience I later reflected upon in Notes from the Field: Crnojević’s Shelves.

In a short time, the library’s massive collection and meticulously cataloged documents led me to experience firsthand the reason why an archive can become such a cherished part of a people’s cultural identity. At the Đurđe Crnojević National Library, it was the always friendly, knowledgeable, and extraordinarily diligent curators of the collections who formed the heart of the historization process, shaping the archive as a reflection of collective lived experience. My time in Montenegro also taught me the significance an archive plays preserving and defending a people’s history—serving as a fortress wall, safeguarding it against forces that would see their history either destroyed or delegitimized.

The bloody history of archives in former Yugoslavia

A little over 30 years ago, in a territory once unified as the Socialist Federated Republic of Yugoslavia, a devastating wave of violence swept across the region. Nationalist politicians and warmongers ignited a series of wars fueled by ethnic and religious divisions, ultimately leading to the country’s destruction. During these Yugoslav Wars of Succession, nationalist state-building projects sought to create ethnically “pure” nation states, resulting in widespread violence, ethnic cleansing, and the delegitimization of history. This is on clear display in the case of Bosnia and Herzegovina. During the three-and-a-half-year long siege of the country’s capital, Sarajevo, Serbian-backed forces relentlessly terrorized the civilian population, attacking the city with artillery and sniper fire. Their goal was to force the coalition of Bosnian Muslim and Croat forces to surrender the city.

This image was taken during the war in 1992 in Sarajevo in the partially destroyed National Library. The cello player is local musician Vedran Smailović, who often came to play for free at different funerals during the siege despite the fact that funerals were often targetted by Serb forces. (Mikhail Evstafiev)
This image was taken during the war in 1992 in Sarajevo in the partially destroyed National Library. The cellist is local musician Vedran Smailović. (Mikhail Evstafiev). Source: Wikimedia Commons

On the night of September 25, 1992, Bosnian Serb guns deliberately fired incendiary shells upon the National Library of Bosnia, affectionately known as the Vijećnica, with the intent to destroy a rich archive of the Bosnian peoples. A former city hall built in the time of the Austro-Hungarian empire, the Moorish-style building housed over 1,500,000 volumes and 150,000 old manuscripts, all of which were devoured by the flames. Naza Tanović-Miller, a university professor who wrote about her experiences during the siege, described the scene of horror as the cultural symbol of her people was destroyed, “Our treasure was burning. The Bosnian past was burning… The shelling never stopped for three days. Burned pages and pieces of paper were flying in the front and back of our house… I collected a few ashes and held them gently in my hand. All of Sarajevo cried.”  

Coming to Montenegro

Thirty-two years later, at the start of summer 2024, I found myself preparing to explore a key regional archive for the first time in my academic career. While I am no stranger to the Balkans—I have lived and studied in the territory of former Yugoslavia several times before—this was my first visit to Montenegro. When in the Balkans, however, the memory of the wars are never far from my mind, especially the story of the Vijećnica and its brutal destruction.

Image of Montenegro landscape
Image taken by the author.

My journey into the Montenegrin archives emerged from a research project I had been developing in the spring of 2024. The project’s central question examines how Yugoslav perception of gender—amongst both women and men—changed after Tito’s Partisans’ victory in World War II. Specifically, I am investigating how the socialist revolution changed wider views of gender and gender roles in the newly formed socialist Yugoslavia. In what ways did the socialist revolution inspire hope and progressive change for women, even if those changes were eventually hindered by patriarchal paternalism? 

Picture of author's notes and a coffee.
Image taken by the author.
Picture of author's material and notes in the archive's reading room
Image taken by the author.

My research led me to Ana Antić’s fascinating article entitled “The New Socialist Citizen and ‘Forgetting’ Authoritarianism”, which analyzed how new schools of psychiatric thought and practice in socialist Yugoslavia sought to apply the ideals of the revolution by expanding access to mental health services. Antić’s work, in turn, led me to the writings of various Yugoslav psychologists who worked with Partisan veterans afflicted with what they coined, “Partisan neurosis”—a form of Post Traumatic Stress Disorder that afflicted soldiers after the war. I stumbled upon a fascinating discussion about these post-war psychologists, who implemented new psychoanalytical techniques designed to bring about a new Yugoslav socialism, including its goal of decolonization and solidarity within the Non-Aligned Movement solidarity.

However, there was a crucial gap in this literature.  I discovered that no one seemed to analyze the complex dynamics of gender in this post-war, post-revolutionary socialist period. I felt excited realizing that my project could fit in the discussion by bringing a gendered analysis to the same discussions of this time period between 1945 and 1960. But in order to fill this gap and conduct a meaningful gender analysis, I needed firsthand access to the original sources and writings of these Yugoslav doctors and socialist theorists.

Exploring the Archive

View of The Nacionalna biblioteka Crne Gore, “Đurđe Crnojević”. Image owned by author.
The Nacionalna biblioteka Crne Gore, “Đurđe Crnojević”. Image taken by the author.

Spending time in Montenegro, you quickly become aware of the long struggle of its people to preserve their political and cultural independence. In 2006, Montenegro rallied its domestic and diasporic population to vote in a referendum for independence from the state union of Serbia and Montenegro, which had succeeded Yugoslavia. With a narrow 55.5% majority, they won their independence. However, recent development—particularly in Cetinje, home to both the National Library and Archives of Montenegro—have recently renewed calls to action to defend their sovereignty and cultural identity. These calls to action stem from concerns over potential absorption into a ‘Greater Serbian’ sphere of influence, highlighting the ongoing tension between national self-determination and regional political dynamics.

Image of index cards at archive.
Image taken by the author.

Between 2020 to 2022, protests erupted across Montenegro in response to the government announcing changes to citizenship, which the opposition claimed would enable the creeping ‘Serbianization’ of the country. Protests were refueled in August 2021 over what Dr. Šušanj described as the subtle colonization of Montenegro by the Serbian Orthodox Church, one that intended to eliminate the existence of a separate Montenegrin ethnic and religious identity. Protesters resisted the enthronement of the Serbian Orthodox Metropolitan Joanikije Mićović by setting up boulder and tire barricades in and around Cetinje in an attempt to block the ceremony from taking place. Youth leaders like Peđa Vušurović argued that by allowing the Serbian Orthodox Church to strengthen its grip around cherished Montenegrin historical sights—such as St. Peter’s chair in the Cetinje Monastery, a symbol of Montenegrin spiritual, state, and national freedom—risked subsuming Montenegrin identity and history within a larger sphere of Serbian world.

Images of protesters clashing with police, strangled by clouds of tear gas as their tire barricades burned behind them, taught me a great deal about the people of Montenegro. This rang especially true in my mind as the scars from the 1990s remain ever present, and the scourge of divisive nationalism still runs rampant through the other Ex-Yugoslav states. I will never forget the feeling in the pit of my stomach in June 2021 when I saw a banner celebrating convicted war criminal Ratko Mladić, the “Butcher of Bosnia”, as a Serbian hero draped over the Novi Sad football stadium.

Poster celebrating local heroes.
Image taken by the author.

Even today, Montenegro celebrates its anti-fascist past. In contrast to other former Yugoslav states, like Croatia, which have explicitly worked to denounce and destroy their connections to Yugoslavia and it’s anti-fascist monuments, history, and in some cases cemeteries, the opposite is true in Cetinje. In 2024, the country commemorated the  80th anniversary of the liberation of Cetinje from fascist occupation. Near the main square, a large banner honored female Partisan fighters from the 1st Battalion of the 4th Proletarian Brigade, and the famous Orden Grada Heroja, or the Order of the People’s Hero. This prestigious Yugoslav military decoration recognized acts of bravery during both peace and wartime, designating recipients as “people’s heroes” of Yugoslavia. Throughout my time in Montenegro, I encountered numerous Yugoslav plaques celebrating local heroes in every city and neighborhood, and statues honoring the anti-fascist resistance movement and its icons were consistently cared for and preserved. Some, as in the case of famous martyr Ljubo Čupić in the city of Nikšić, still had fresh flowers woven into the statue.

Moving forward

By the end of my time in Cetinje, I realized that my original research goals had not been fully met. I had expected to find a more overt discussion of socialist ideals with these new Yugoslav psychologists.  In reality, the picture that emerged was slightly different. However, thanks to the many lessons taught to me by Crnojević’s library and the resilient people of Montenegro, I now have a new direction with which to progress my project on gender in the post-war socialist space. With the addition of various literature sources, I plan to use what I found in the archives to further explore my questions. I also hope to return to Montenegro many more times in the years to come.        

David Castillo is a doctoral student at the University of Texas at Austin, focusing on the former communist Yugoslavia and its successor states. His research explores the links between inter-communal violence, toxic masculinity, gender dynamics, propaganda, and mass manipulation. With academic foundations from the University of Texas at El Paso and Indiana University, David combines cultural history with international politics. Drawing from his experience in the region, he aims to compare post-Yugoslav masculinity shaped by the 1990s wars with Chicano/a/e ‘Machismo’ in Mexican-American borderlands, investigating how violence becomes integral to both identities.

The views and opinions expressed in this article or video are those of the individual author(s) or presenter(s) and do not necessarily reflect the policy or views of the editors at Not Even Past, the UT Department of History, the University of Texas at Austin, or the UT System Board of Regents. Not Even Past is an online public history magazine rather than a peer-reviewed academic journal. While we make efforts to ensure that factual information in articles was obtained from reliable sources, Not Even Past is not responsible for any errors or omissions.


Turbo-folk: Pop Music in the Crucible of Balkan History

Kicking off our new series on digital history projects, Dr. Vladislav Beronja, a professor in the UT Department of Slavic and Eurasian Studies, tells us about a class project to build a website on Balkan pop music.

By Vladislav Beronja

Turbo-folk—a mixture of pounding electronic beats and trilled vocals—can be heard blasting from cafés, taxis, and dance clubs across the former Yugoslavia. Despite its ubiquity in the region, this Balkan pop phenomenon has been a hotspot of political and cultural controversy due to historical associations with Slobodan Milosevic’s nationalist regime in Serbia of the 1990s. The genre has been accused of valorizing patriarchal values, crass materialism, gangster lifestyle, and—more seriously—war crimes. A closer look at turbo-folk, however, reveals that it has undergone significant transformations in the last few decades.

This spring my students examined turbo-folk as well as the accompanying controversies in the context of an undergraduate seminar, “Punks and Divas in Southeastern Europe: Popular Music and Cultural Identity in the Balkans.” The result is a website titled Old Beats, New Verses: 21 Newly Composed Essays on Turbo-folk, which the class collectively created with help from the European Studies Librarian, Ian Goodale.

Old Beats, New Verses: 21 Newly Composed Essays on Turbo-Folk (via Old Beats, New Verses)

In many ways, “Old Beats, New Verses” is a companion piece to a similar website on punk music, “Yugoslav Punk,” the soundtrack of the last Yugoslav generation characterized by playful rebellion, liberal orientation, and irony typical of late socialism. Turbo-folk, on the other hand, represents for many the soundtrack to Serbian militant nationalism, which stoked the flames of war that ultimately engulfed and destroyed multiethnic Yugoslavia in the early 1990s. Drawing on recent scholarship and the wealth of materials available on the Internet, the student essays address different aspects of turbo-folk, from its most prominent divas to representations of gender and national identity to global influences. Many if not all of the contributions challenge the assumptions and stereotypes connected to turbo-folk while still maintaining a critical outlook.

Turbo-folk stands at the complex intersection of the various highly politicized identities in the former Yugoslavia, such as nationality, gender, sexuality, and class. This complex cultural location has been the case from the genre’s inception in newly composed folk or neofolk music.  Emerging in 1960s Yugoslavia, neofolk coincided with rapid industrialization and expansion of the urban working class in the fledgling socialist state. The new-fangled genre combined elements of Balkan folk music, strongly inflected by Ottoman colonial legacy in the region, with western pop structures and modern electric instruments. Like its primary audience of recently urbanized peasants, neofolk was almost immediately received with ridicule and scorn by the Yugoslav cultural establishment, even as the communist authorities continued to strategically utilize the genre’s wide appeal. Frequently derided as overly crass, kitschy, and even foreign, neofolk nevertheless occupied a dominant position in Yugoslav socialist culture as its unacknowledged pleasure-filled underbelly.

Tanja Savić-Prostakuša (Bad Woman), 2017 (via Old Beats, New Verses)

Reflecting on this history, many student contributions examine the afterlife of neofolk—and of Yugoslavia—in contemporary turbo-folk. The career of Lepa Brena, the neofolk singer who rose to spectacular fame in the early 1980s, is especially interesting in this respect. Several students examine Brena’s music as a vehicle of contemporary Yugonostalgia—a collective longing for the former socialist homeland that is often mediated through music, cinema, and other products of pop culture. Born into a Bosnian Muslim family, but a longtime resident of Belgrade and married to a Serb, Brena in many ways breaks the stereotype of both the neofolk/turbo-folk performers and audiences as overly nationalistic. Moreover, positive references to socialist Yugoslavia in contemporary turbo-folk, as well as the genre’s popularity across national lines have arguably made it an expression of “identity beyond borders,” as one student essay puts it.

If neofolk is representative of socialist Yugoslavia (and its contradictions), then turbo-folk has become symbolic of its violent dissolution. In the 1990s, turbo-folk became an extension of Slobodan Milosevic’s authoritarian regime in Serbia, when the genre flooded the airwaves, pushing out any oppositional musical voices and subcultures. In this vein, the category of “kitsch” has been widely applied to turbo-folk to describe its aesthetically and politically regressive qualities. Offering a creative reading of Viki Miljković’s 1994 hit “Coca Cola, Marlboro, Suzuki,” an essay by Luis Martinez shows how the kitschy, commodity-filled surfaces of turbo-folk music videos should not be seen as mere escapism, but as unwitting mediators of traumatic and perplexing historical changes in the region.

Since the 1990s, the genre has become largely autonomous from regime politics, although the controversies around turbo-folk divas and their fans continue to linger. Many essays demonstrate that turbo-folk has significantly evolved in the 21st century by reflecting more socially progressive themes. For instance, the genre has started incorporating proto-feminist values and queer aesthetics. An essay by McKenna Gessner argues that contemporary turbo-folk divas challenge normative ideas of femininity and female sexuality. The essay draws examples from Jelena Karleuša and Nikolija’s music videos, featuring dramatic reversals of gendered power dynamics and outrageous “femme” looks. Other contributions are less celebratory, such as Gabriella Velasco’s essay on queer embodiment (or the lack thereof) in turbo-folk. All the essays, however, acknowledge that the nods and winks of turbo-folk divas to their female and queer audiences have become more open and explicit, despite the continued presence of patriarchal and homophobic attitudes in Balkan societies.

Lepa Brena. “Jugoslovenka.”1989 (via YouTube)

 

The section on turbo-folk and cultural and national identity is the most extensive, and for good reason. Like identity in the Balkans, turbo-folk has always been full of ambiguities and contradictions, which makes it a fascinating object of study. For instance, the influence of Ottoman colonial legacy on contemporary Balkan popular music still remains largely unacknowledged even when it is playfully evoked. Turbo-folk not only adopts Orientalist melodies and themes, but it blatantly copies pop songs from Turkey and the Middle East, simply translating the original texts to bring them closer to former Yugoslav audiences. As Milena Đorđević-Kisačanin’s essay shows, Serbian turbo-folk singers will frequently borrow from Greek pop music to escape charges of “Turkishness.” The same is true of the wider appropriations of Romani music. Roma culture is used to symbolize the unfettered spirit of the Balkans as a whole, even as the Roma themselves remain one of the most marginalized and oppressed group in the region.

The student enthusiasm and the consistently high quality of research during this project have convinced me of the advantages of doing a collective assignment with a strong digital and public-facing component.  Together these student essays show the value of intercultural contact, original research, and guided on-line engagement in an undergraduate seminar setting. They also successfully break the surface of the stereotypes of Balkan popular culture to reveal a more complex, layered, and historical image of the region. In this sense, the project can perform the critical work of scholarship beyond the university classroom.

You May Also Like:

Yugoslav Punk: Sounds of the Last Yugoslav Generation

Great Books on Early Twentieth-Century Popular Music

“London is Drowning and I, I Live by the River”: The Clash’s London Calling at 40

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