Abstract
After the fall of the Communist regime, the countries of the former Yugoslavia underwent crucial changes that led to one of the largest military conflicts of the late 20th century. Apart from other shifts, the "evening" before the war gave rise to the musical phenomenon referred to as "Turbo-folk".
Turbo-folk, by some called "the music of the war", is closely connected to the broader socio-political situation in the former Yugoslavian countries displaying various meanings in each of newly identified states. Paradoxically, Turbo-folk partly emerged from a postmodern mix of more readily accessible modern technologies (turbo - techno-pop beat) and the desire for "retraditionalization" (folk), therefore, it could be seen as part of the occurrence of "the invention of tradition" in the process of constructing ones identity.
This peculiar synthesis of transformed tradition combined with modernity, brings us back to the Communist regime and the mass "ruralization" of the cities in Yugoslavia. Furthermore, Turbo-folk can be understood as a representation of this particular event.
Noticeably more than other music genres, Turbo-folk is closely linked to the expansion of nationalism, in which it played an important role in spreading nationalistic discourse and satisfying the emotions of the masses. It became an effective tool of manipulation in the hands of different politicians (Turbo-folk is often labelled as "the rhythm of the Milosevic era").
Moreover, the relationship between nationalism, politics and Turbo-folk can be manifested on the marriage of Serbian pop queen "Ceca" (S. Raznatovic) and Serbian paramilitary leader "Arkan" (Z.
Raznatovic). Even though the situation in the former Yugoslavia has considerably changed since the war, Turbo-folk hasn't disappeared but cross-fertilized with consumer culture.
Nowadays Turbo-folk has been commercialised and represents a significant example of the commoditization of tradition in the contemporary former Yugoslavian countries.