Reappropriation Of Solaka

There are a multitude of ways to understand and contextualize punk music in the former Yugoslavia. Historically, punk is a genre that has existed as a means for people - particularly young ones - to articulate and express themselves in a separate way from the dominant cultural narrative. Punk groups in Yugoslavia had a unique relationship with the state establishment, and because of this they also had a distinct connection to the question of national identity. There are two primary ways that punk groups in Yugoslavia presented themselves in relation to this question. First, in an “ironic” reappropriation of Yugoslav state imagery and dismantling of traditional narratives for Yugoslav national identity. The second way to link Yugoslav punk to

The word emptiness is used here to describe the lack of fulfillment behind the promises of the state. Strong narratives of a unified republic built on socialism, brotherhood, anti-fascism, and glory became particularly persistent following the Second World War. The mainstream national and cultural discourse of Yugoslavia was centered around traditionalist, often hyper-masculine understandings of identity; these views occurred in tandem with Westernization and increased commodity culture as well. Romanticized, mythicized, and exaggerated glory were central to the national and cultural identity. The promises of equality and socio economic liberation were not actually fulfilled - class divide was prominent, and women and other ‘minorities’ still faced negative stereotyping and societal oppression. This emptiness is a large part of why punk movements emerged in the former Yugoslavia, especially groups that sought to articulate a separate culture, space, and

The piece by Misina takes care to note that the New Primitives were not inherently political, and in fact did not promote one solid ideology. Their main focus was to present their unique cultural identity. The goal was to “demystify” themselves, to articulate a community and space that was alternative but equal to the more prevailing narrative. Finding inspiration among “local hoodlums and shady characters on the fringes of society”, the New Primitive punks used imagery and ideas that had been used to “other” them, and used them to their advantage. This is notable with their album “This is Walter”, particularly in the song “I Don’t Want to be a German in a Subsidized Film”:”I don’t want to be a German in a / subsidized movie I don’t want to / be an extra in life, or in cinema / I don’t want to be an occupier there’s something / about my psyche”. These lyrics are a distinct expression against the pervasiveness of Westernization and commodity culture. The New Primitives understood a shift towards Western consumerism and culture as detrimental to their cultural legacy, and they used punk music to build a second, auxiliary space for their self expression. By taking pride openly in the stereotype of being barbaric or underdeveloped, the New Primitives