Dzenita Mustafi Final Podcast

The podcast explores the impact of Bosnian immigration on generations' relationships with music. Older generations prefer traditional music that reflects their experiences, while younger generations are drawn to newer genres like Balkan rap and ethno-pop. The blending of traditional and modern styles is evident in songs like "Domacine, Domacine" and "Udahni Duboko." Younger generations are more open to cultural mixing and believe their culture will survive as long as they are alive. The traditional folk music of many Slavic countries often ties in with whatever hardships they are facing. Many of the practices surrounding the traditional music styles have been transferred to their more modern practices nowadays. In this podcast, I will be expanding upon the research question of, how has the immigration of Bosnians as war refugees affected different generations' relationships with music? As my mother is a Bosnian immigrant and my father is a Kosovar immigrant, I have had a hands-on experience with the more modern changes to the popular music genres amongst the younger generations. However, I wanted to explore the history of the Balkan music scene amongst the immigrants in the Chicago area. I chose to interview the wedding performer, Sabria Volic, a Montenegrin immigrant who performs at many of the Balkan weddings in Chicago and has been since the early 1990s. He provided descriptions of the music genres that were more popular with the older generations, those who remembered the war and fled to this country to protect their families. In his own words, this is what he noticed in regard to their musical preferences. In the previous clip, Volic claims, us older people stick to the older musicians. It's harder for us to understand and relate to the new music, and we feel drawn to the older songs because they are the songs that we grew up with, the songs that describe our experiences. If you play the new music for the new generations, they feel the same way. They do not relate or understand it the way that we do. They want something new. We grew up on the old songs. We fell in love with the old songs. We got married, celebrated holidays and birthdays, and drank to the old music. His claims on the musical trends that he observed amongst older generations connects with the findings of Alenka Bertolovic and Miha Kozork in their article, Making Music as a Homemaking, Bosnian Refugee Music and Collaboration in Post-Yugoslavia. In the text, they detail how the lives of Bosnian refugees were shrouded in uncertainty. Within the text, they describe how the uncertainty that surrounded their living situation, economic status and familial ties all contributed to their need to find ways to connect themselves to their homeland. However, they also felt the need to assimilate with the cultures that they found themselves thrust into while migrating, leading to the intermingling of musical genres and techniques of outside cultures with the traditional Baca music style. In the song Domacine, Domacine by Savria Vulic, we can see how he begins to incorporate the techniques he encountered in America to his formerly traditional musical style, showing the gradual assimilation that the immigrants found themselves partaking in. In the song Domacine, Domacine by Savria Vulic, we can see how he begins to incorporate the techniques he encountered in America to his formerly traditional musical style, showing the gradual assimilation that the immigrants found themselves partaking in. In the song Domacine, Domacine by Savria Vulic, we can see how he begins to incorporate the techniques he encountered in America to his formerly traditional musical style, showing the gradual assimilation that the immigrants found themselves partaking in. In the song Domacine, Domacine by Savria Vulic, we can see how he begins to incorporate the techniques he encountered in America to his formerly traditional musical style, showing the gradual assimilation that As you can see, he has begun to incorporate less acoustic elements into his songs, mainly focusing on the synthesizer to make the music sound more modern. Though the music sounds modern, the vocals are what connect the song to the traditional folk music style of the Balkans, as he is singing about the simpler life that many had to leave back home. Vulic has remained a wedding performer for over 25 years, and he continues to perform at weddings, giving him an inside look on the younger generation's preferences as well. Here is what he had to say about the main differences he sees amongst generations. In this clip, Vulic states that the younger generations do not really request for me to perform. They might for their parents, but then they have another performer doing the newer songs that they like. It changes with every generation, not just from culture to culture. About every 10 years, with each generation, the tastes and the styles of music change, and the advancement of technology contributes to this as well. Later, he references how the younger generations are into Balkan rap and ethno-pop styles, which are commonly seen in the Balkans today. Songs like Bizeri iz Blata by Tsobi showcase the younger generation's take on the practices seen in Vulic's music. In this song, he blends traditional folk singing that is prevalent in the Balkans with a hip-hop, almost trap-like beat, and of course, his own vocals as well, singing and rapping in Serbian. In this clip, Vulic states that the younger generations do not really request for me to perform. They might for their parents, but then they have another performer doing the newer songs that they like. About every 10 years, with each generation, the tastes and the styles of music change, and the advancement of technology contributes to this as well. Later, he references how the younger generations are into Balkan rap and ethno-pop styles, which are commonly seen in the Balkans today. Later, he references how the younger generations are into Balkan rap and ethno-pop styles, which are commonly seen in the Balkans today. The song details the plight of Balkan refugees and the struggles they faced migrating to foreign lands. Tobi references how they may have better lives in these new countries, financial stability, and general safety, but they can never truly be happy because they are not home. Throughout the song, you can hear how the traditional music fades in and out, relating to the lyrics about how people felt as if they were losing their connections with their ancestral ties. The song Udahni Duboko by MC Stojan is another song that incorporates an older Balkan song into a modern pop song, sampling the song Udahni Duboko by the artist Nino. Though the ties in this song are not as obvious as the song from Tobi, they are still there in terms of the lyrics and the practice of adapting the music to better fit the taste of the youth. In the song by Nino, he has already attempted to tie traditional Balkan music to the synth-pop music of the 1980s, featuring a synthesized beat with traditional lyrics detailing a breathtaking romance. So with Stojan's take on the song, he is adapting and adapting, taking some of the lyrics from the original song and singing or rapping them to a modern hip-hop beat. Listen to both iterations of the songs to hear the similarities between the two. Udahni Duboko by MC Stojan Udahni Duboko by MC Stojan Udahni Duboko by MC Stojan Udahni Duboko by MC Stojan Udahni Duboko by MC Stojan Udahni Duboko by MC Stojan Udahni Duboko by MC Stojan Udahni Duboko by MC Stojan Even people who are not familiar with the Balkan culture or languages can see the similarities between the two. From the article by Alenka Bertolovic and Miha Kozorg, the interview with Sabria Vulic, and the evidence shown in Balkan music itself, it is clear that the younger generations do not feel the need to preserve their culture as purely as their parents or grandparents did. With every generation born after the war, the feelings of displacement lessened, allowing the younger generations to continuously blend traditional music with other cultures, in some ways to preserve it, but in others to diversify it. Not only are the musical genres changing and evolving amongst Balkan immigrants, but their families are as well. They are intertwining their ancestral cultures with where they live now, and moving past the biases their ancestry had. The younger generations are not subscribed to the belief that they must avoid mixing cultures for fear of losing their own. The younger generations have no fear of facing the extinction of their cultures, not only because they did not witness the war, but because their family members who did, have instilled the belief that as long as you are alive, so is the culture. And with that, I would like to end with a quote from Sabria Vulic on the matter, and close with his song, Hajde Hajde Nebjesto. Hajde Hajde Nebjesto Hajde Hajde Nebjesto Hajde Hajde Nebjesto Hajde Hajde Nebjesto Hajde Hajde Nebjesto Hajde Hajde Nebjesto Hajde Hajde Nebjesto Hajde Hajde Nebjesto Hajde Hajde Nebjesto Hajde Hajde Nebjesto Hajde Hajde Nebjesto Hajde Hajde Nebjesto Hajde Hajde Nebjesto