Šetnevska Irena


This paper traces the development of the Serbian hip-hop scene in
its ever-changing social context from the late socialist 1980s, through the
wartime 1990s, to the transitional 2000s, focusing on local conceptualizations
of the notion of the ghetto and different ways in which hip-hop reflects
the rural-urban divide in Serbian society. From rapping in rural dialects
to satirically praising narco-agriculture, Serbian rappers have made quite
a unique contribution to the hip-hop “Internationale” as a global movement
with distinct origins in the New York City neighborhood of the South
Bronx. Their concept of the peasant ghetto (seljački geto) i s, a t the same
time, a form of social commentary on the state of the rural communities
in the country and a diagnosis of present-day Serbia as a closed society
with a legacy of international isolation following the Yugoslav wars and
a peripheral and deprivileged position in the modern global world order. On
the other hand, the substantial interactions and mutual influences between
the Serbian hip-hop and turbo-folk scenes emphasized in this paper are
another indication of the problematic distinction between urban and rural
in the Serbian cultural context, at least in the realm of entertainment and
popular music. The relationship between these two genres becomes even
more interesting if hip-hop is observed as a distinct cultural foreign import
with an indisputable urban background and turbo-folk is understood as the
sole home-grown form of popular music in Serbia with now-remote rural


hip-hop; Serbia; ghetto; urban-rural divide; turbo-folk

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Vydání: 19, 2017, 2