Att gestalta ett ursprung : en musiketnologisk studie av dansande och musicerande bland jugoslaver i Stockholm

• In Stockholm County by the end of the 1980s there lived 11000-12000 people of Yugoslav origin. The aim of this thesis is to study the significance of dancing and music-making in the attempts of the Yugoslavs in Stockholm to create and maintain a world of their own. The empirical material stems from fieldwork at Yugoslavian dance and music events in Stockholm during 1984-1988 and in Yugoslavia in 1986. The theoretical reasoning concerns music and dance as objectives, as symbols for individuals and groups, and as means for communication and socialization. Important concepts are frame (the organizational principles which guide the way social interaction is perceived), key (metacommunicative messages with instructions concerning how other messages should be understood), performance (a type of communication which implies taking responsibility in front of an audience for the way the communication is carried out), and " sam-spel" (literally: ”playing together”, cf interaction) an umbrella term for all the forms of interaction that develop during and around music-making and dancing. The Yugoslav organizations arrange two types of dance and music events: folklor, rehearsals and displays of choreographed folk dances, and zabava, parties in which everyone is expected to take part. In both folklor and zabava people highlight phenomena and behaviors which they regard as charachteristically Yugoslavian. In both of them musicmaking and dancing are simoultaneously the goal and the means for the interaction. The forms of dance and music which are performed are brought in directly and continuously from Yugoslavia, but through creative adjustment to the new context, they have undergone several important changes and thereby taken on new meanings. Especially in folklor dances and music have been simplified and standardized. Conclusions of the study are that dancing and music-making play an important role for maintaining the Yugoslav institutions, for the socialization of new group members, and for the feeling of being a Yugoslav. Through dancing and music-making new generations are socialized into the social world which has been built up around the Yugoslav institutions. Thereby they acquire skills in Serbo-Croat, knowledge of Yugoslavian culture, history and geography, as well as a movement style which in Sweden can be perceived as specifically Yugoslav. Folklor and zabava constitute small islands of ”Yugoslavianness” in non-Yugoslav surroundings. The specific ways of producing sound and movement styles help to establish and maintain a Yugoslav frame, by functioning as keys to how the events are to be interpreted. Musicians and dancers are bound to each other and to the audience through a multitude of social, temporal, and spatial relations which makes it possible for them to have concordant perspectives on an important part of their life-world. By taking part in the dancing and music-making at these Yugoslavian events, the participants continuously reestablish themselves as Yugoslavs in Stockholm.

Ämnesord

SAMHÄLLSVETENSKAP  -- Sociologi -- Socialantropologi (hsv//swe)

SOCIAL SCIENCES  -- Sociology -- Social Anthropology (hsv//eng)

Nyckelord

Jugoslavisk folkmusik

Folkdans-- Jugoslavisk -- Sverige -- 1980-talet

Folklore-- Jugoslavisk -- Sverige -- 1980-talet

Musiketnologi-- Sverige

Publikations- och innehållstyp

vet (ämneskategori)

dok (ämneskategori)