In this article, I analyze how activists, singers, and listeners repurpose antifascist music legacy in order to experiment with new forms of political engagement. I propose the concept of radical amateurism, a political community that fuels the politicization of a field of leisure, which enables people to form new audiosocial alliances at local, regional, and global scales. Locating my theoretical framework within the field of affective politics of sound, I show that political potentiality, when related to music and sound, is inscribed in the complex relationship between imagined and real, exception and everydayness, emerg- ing and routinized, and impossible and possible. In conclusion, I scrutinize contingencies of affective politics and discuss the ways affective encounters enable a new framework for practicing political engagement in a moment of apathy and neoliberal exhaustion.
COBISS.SI-ID: 45944109
The article is an overview of the main concepts and theoretical currents of affect theory and highlights the anthropological and ethnomusicological perspective. It explores the relationships between affect, emotion, feeling and related concepts. In addition to a conceptual reflection, the article analyses the understanding and use of affect in ethnographically oriented studies, and examines how the current theorizations of affect as a concept, method and interpretive field are situated in specific spatiotemporal contexts. The article concludes with a brief insight into the critiques of the affective turn and affect theory in the context of global neoliberalism
COBISS.SI-ID: 14952963
Drawing on the tendencies and authors that have examined heritage as a political and cultural process of remembering/forgetting (Dicks 2000; Graham 2002; Peckham 2003; Smith 2006), in this chapter I examine a political dimension of heritagization of music practices related to WWII in the post-socialist Eastern Europe and particularly the post-Yugoslav societies. As my case study I take the politics of heritagization related to partisan songs, which has been a recurrent theme in the ongoing discussions about socialist past in the newly founded post-Yugoslav states. I explore why partisan songs were put on the margins of the scholarly and public discourses as ideologically burdened, formalized music genres, devoid of any social significance and potential.
COBISS.SI-ID: 45952301