Abstract
This paper deals with a musical construct of Balkan music: music which is performed in the Czech Republic. Not only contains this music style strange Slavic language mixed with irregular rhythms and orientalized melodies, but it is not even performed by people from the Balkan Peninsula.When we look at it more closely, we will see three dozen of non-professional musicians with no further connections to the Balkan Peninsula: musicians who just love this even exotic musical style, perform it as a "safe entertainment" (Lausevic 2007) and in doing so display their attitude towards their Slavic neighbors - an "intimate distance" (Bigenho 2012).
The problem comes under the concept of world music, as Bigenho says -"someone else's music" (2012:167). In the case of Balkan music it is hard to characterize who exactly is that someone else.
Todorova coins the term balkanism to show that also the Balkan itself could be understood as a construct (2009:11). Problem could be also understood through a concept of "transnational cultural flows" (Appadurai 1996).
To analyze the paths of how has Balkan music come to the Czech Republic and how it spread we have to search in the CR of today: can find huge festivals (about 10 000 listeners - Goran Bregović, Boban Marković, Emir Kusturica), smaller concerts (100 listeners, in the music bars, music club - Czech bands, immigrants bands) and cultural events (organized by cultural centers - Trifon Zarezan...). Also there is a marketing fair, CD and music offered in music shops and internet shops.
This ethnographic fieldwork (including interviews with musicians - Czech, immigrants from Balkan Peninsula living in the CR, and musicians coming here to perform) gives us a complete answer about the character of the Balkan music style in the CR.