'So That We Look More Gypsy': Strategic Performances and Ambivalent Discourses of Romani Brass for the World Music Scene
This article explores the semiotic and performative negotiations of Gypsy tropes on the New Old Europe Sound scene by Romani brass musicians from Vranje, Serbia. Roma eager to access world music markets since the 1990s must engage with stereotypes popularised by the global hype for 'Gypsy Brass...
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| Veröffentlicht in: | Ethnomusicology forum 2015-08, Vol.24 (2), p.260-285 |
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| description | This article explores the semiotic and performative negotiations of Gypsy tropes on the New Old Europe Sound scene by Romani brass musicians from Vranje, Serbia. Roma eager to access world music markets since the 1990s must engage with stereotypes popularised by the global hype for 'Gypsy Brass', characterised by two interrelated complexes: one conferring 'authenticity' by depicting Roma as pre-modern and passionate, and another connoting 'hybridity' through assertions of Romani rootlessness and perpetual musical borrowing. The juxtaposition of these tropes produces much-desired 'authentic hybridity' for western fans. While many Roma reproduce essentialisms to garner popular interest, they also strategically manipulate performances to resist clichéd impositions of Gypsyness, coding their practices as sophisticated artistry or inherent musical talent. Popular demand for Gypsy 'authentic hybridity' silences critical economic, cultural and historical specificities of Romani musical performance, however, re-embedding Romani performers within power relations that deny them full agency over self-representation and musical choices. |
| doi_str_mv | 10.1080/17411912.2015.1048266 |
| format | Article |
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Popular demand for Gypsy 'authentic hybridity' silences critical economic, cultural and historical specificities of Romani musical performance, however, re-embedding Romani performers within power relations that deny them full agency over self-representation and musical choices.</description><subject>Authentic Hybridity</subject><subject>Balkan music</subject><subject>Brass bands</subject><subject>Ethnomusicology</subject><subject>Historical analysis</subject><subject>Musicians</subject><subject>Performance Approach</subject><subject>Promotion</subject><subject>Resistance</subject><subject>Romani Brass Musicians</subject><subject>Romani music</subject><subject>Semiotics</subject><subject>Serbia</subject><subject>Strategic Essentialism</subject><subject>World Music</subject><subject>World Music Markets</subject><issn>1741-1912</issn><issn>1741-1920</issn><fulltext>true</fulltext><rsrctype>article</rsrctype><creationdate>2015</creationdate><recordtype>article</recordtype><recordid>eNp9kU1PAyEQhjdGE7X6E5qQeNBLK8OyX57U-pnUaKymR8Kyg27dLhWo2n8vterBgyfIzPMOw_tGURdoH2hODyHjAAWwPqOQhBLPWZquRVvLeg8KRtd_78A2o23nJpTGwFO6FX3sjwx5eJaejJEMjXkhN8YiuVzM3GL_iIy8lR6fakXu0Gpjp7JV6IhsK3IyLes32WDryVntlJlbFzpGk3sTqJqcWukcCRrin5GMjW0qcjN3YdRIYYs70YaWjcPd77MTPV6cPwyuesPby-vBybCn4iL2PeA5SJ5KSEpVlZzmZZkBSyqIdV4yXWrALIGqyDJMq5wr5IyDkhp1yZUOWCc6WM2dWfM6R-fFNGyLTSNbNHMnIAPKkjyJ84Du_UEn4Vdt2C5QaZwFe2kRqGRFKWucs6jFzNZTaRcCqFjmIX7yEMs8xHceQddd6SbOG_sr4hxSThkN_eNVv26_jH5fOia8XDTGaht8r52I_3_iE5nlmpI</recordid><startdate>20150801</startdate><enddate>20150801</enddate><creator>Markovic, Alexander</creator><general>Routledge</general><general>Taylor & Francis</general><general>Taylor & Francis Ltd</general><scope>AAYXX</scope><scope>CITATION</scope><scope>8BJ</scope><scope>FQK</scope><scope>JBE</scope></search><sort><creationdate>20150801</creationdate><title>'So That We Look More Gypsy': Strategic Performances and Ambivalent Discourses of Romani Brass for the World Music Scene</title><author>Markovic, Alexander</author></sort><facets><frbrtype>5</frbrtype><frbrgroupid>cdi_FETCH-LOGICAL-c393t-1481a46a15bcdb408bb7125d13f8b2fbf1e751d977e6d84ce4241cafefb4cfd13</frbrgroupid><rsrctype>articles</rsrctype><prefilter>articles</prefilter><language>eng</language><creationdate>2015</creationdate><topic>Authentic Hybridity</topic><topic>Balkan music</topic><topic>Brass bands</topic><topic>Ethnomusicology</topic><topic>Historical analysis</topic><topic>Musicians</topic><topic>Performance Approach</topic><topic>Promotion</topic><topic>Resistance</topic><topic>Romani Brass Musicians</topic><topic>Romani music</topic><topic>Semiotics</topic><topic>Serbia</topic><topic>Strategic Essentialism</topic><topic>World Music</topic><topic>World Music Markets</topic><toplevel>peer_reviewed</toplevel><toplevel>online_resources</toplevel><creatorcontrib>Markovic, Alexander</creatorcontrib><collection>CrossRef</collection><collection>International Bibliography of the Social Sciences (IBSS)</collection><collection>International Bibliography of the Social Sciences</collection><collection>International Bibliography of the Social Sciences</collection><jtitle>Ethnomusicology forum</jtitle></facets><delivery><delcategory>Remote Search Resource</delcategory><fulltext>fulltext</fulltext></delivery><addata><au>Markovic, Alexander</au><format>journal</format><genre>article</genre><ristype>JOUR</ristype><atitle>'So That We Look More Gypsy': Strategic Performances and Ambivalent Discourses of Romani Brass for the World Music Scene</atitle><jtitle>Ethnomusicology forum</jtitle><date>2015-08-01</date><risdate>2015</risdate><volume>24</volume><issue>2</issue><spage>260</spage><epage>285</epage><pages>260-285</pages><issn>1741-1912</issn><eissn>1741-1920</eissn><abstract>This article explores the semiotic and performative negotiations of Gypsy tropes on the New Old Europe Sound scene by Romani brass musicians from Vranje, Serbia. 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| source | Jstor Complete Legacy |
| subjects | Authentic Hybridity Balkan music Brass bands Ethnomusicology Historical analysis Musicians Performance Approach Promotion Resistance Romani Brass Musicians Romani music Semiotics Serbia Strategic Essentialism World Music World Music Markets |
| title | 'So That We Look More Gypsy': Strategic Performances and Ambivalent Discourses of Romani Brass for the World Music Scene |
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