Browse Exhibits (8 total)
The punk movement emerged in the late 1970s and 1980s as a consequence of rapid urbanization and westernization of Yugoslav society. Generating a variety of musical and subcultural scenes, Yugoslav punk combined local and international influences in a playful, innovative, and frequently subversive manner. Unsurprisingly, punk subcultures were most visible in Yugoslavia's major urban centers, with Ljubljana, Belgrade, Zagreb, and Sarajevo taking the lead.
Gender and sexuality were thriving forces behind the movement and image of punk. While previously topics of taboo, the ideas of gender and sexuality, as fluid identities and performances, came to the forefront of the conversations within the punk movement.
Publications in the punk scene played a large role in westernizing the region of Yugoslavia from the 1960s through the 1980s. Magazines such as Džuboks, Polet, Mladina, Problemi, and DIY fanzines gave visibility to the punk movement and featured its music as well as its politics.
State censorship played an important role in the development of Yugoslav punk during the 1970's and 1980's. We examine the way in which the government censored Yugoslav punk bands, and how state sponsored censorship changed after the death of Tito in 1980.
Performance is an essential component of punk music and subculture, encompassing sound, vocals, language, bodily movement, interaction with audience, fashion and more. Much of the shock value associated with the early years of the punk movement stemmed from disruptive and self-consciously agressive live performances, qualities that first attracted the disaffected youth of the 1970s and 80s to the punk subculture as a visible form of rebellion. Since Yugoslav punk was closely connected to avant-garde theater and art scenes, its performative strategies were highly experimental, intertextual, and transgressive, always pushing the boundaries of what was socially and politically acceptable.
Welcome to our OMEKA site for Punks and Divas in Southeastern Europe (REE 325). This site was curated by students at the University of Texas at Austin and Vladislav Beronja, the course instructor, in order to showcase our research on punk rock in socialist Yugoslavia during the 1970s and 80s.
An integral component on how we perceive the punk subculture is its visual representation. The Yugoslav punk scene can be visually defined by their specific and instantly recognizable punk style that was curated through the circulation of punk publications, music and the growth of a consumer society in the 1980’s. This style was cemented and was given a permanent place in history by being captured in photography.
An analysis and discussion of the way Yugoslav punk music related to questions of nationality and national identity. Particular emphasis placed on the New Primitives and New Partisans.