Post Socialist Political Graffiti In The Balkans And Central Europe

This theoretically and empirically grounded book uses case studies of political graffiti in the post-socialist Balkans and Central Europe to explore the use of graffiti as a subversive political media. Despite the increasing global digitisation, graffiti remains widespread and popular, providing with a few words or images a vivid visual indication of cultural conditions, social dynamics and power structures in a society, and provoking a variety of reactions. Using qualitative and quantitative methods, as well as detailed interdisciplinary analyses of "patriotic," extreme-right, soccer-fan, nostalgic, and chauvinist graffiti and street art, it looks at why and by whom graffiti is used as political media and to/against whom it is directed. The book theorises discussions of political graffiti and street art to show different methodological approaches from four perspectives: context, author, the work itself, and audience. It will be of interest to the growing body of literature focussing on (sub)cultural studies in the contemporary Balkans, transitology, visual cultural studies, art theory, anthropology, sociology, and studies of radical politics.

Balkan Blues explores how a state transitions from the collectivized production and distribution of socialism to the consumer-focused culture of capitalism. Yuson Jung considers the state as an economic agent in upholding rights and responsibilities in the shift to a global market. Taking Bulgaria as her focus, Jung shows how impoverished Bulgarians developed a consumer-oriented society and how the concept of "need" adapted in surprising ways to accommodate this new culture. Different legal frameworks arose to ensure the rights of vulnerable or deceived consumers. Consumer advocacy NGOs and government officers scrambled to navigate unfamiliar EU-imposed models for consumer affairs departments. All of these changes involved issues of responsibility, accountability, and civic engagement, which brought Bulgarians new ways of viewing both their identities and their sense of agency. Yet these opportunities also raised questions of inequality, injustice, and social stratification. Jung’s study provides a compelling argument for reconsidering of the role of the state in the construction of 21st-century consumer cultures.

Words of the Prophets treats graffiti as a form of political prophecy. Whether we consider austerity in Thessaloniki, Camorra infiltration in Naples, the fall of Communism in Gdansk, or the rise of gang warfare in Chicago, graffiti is a form of democratic self-expression that dates back to Periclean Athens and the Book of Daniel. Words of the Prophets offers close readings of 400 original photographs taken between 2014 and 2021 in Philadelphia, Venice, Milan, Florence, Syracuse, and Warsaw, alongside literary works by Pawel Huelle, films by Andrezj Wajda, Antonio Capua, and music videos by Natasha Bedingfield and Beyoncé. A third of the book is dedicated to interviews with Krik Kong, Iwona Zajac, Ponchee.193, Jay Pop, Ser, Simoni Fontana, and Mattia Campo Dall’Orto.

This volume offers a profound analysis of post-socialist economic and political transformation in the Balkans, involving deeply unequal societies and oligarchical "democracies." The contributions deconstruct the persistent imaginary of the Balkans, pervasive among outsiders to the region, who see it as no more than a repository of ethnic conflict, corruption and violence. Providing a much needed critical examination of the Yugoslav socialist experience, the volume sheds light on the recent rebirth of radical politics in the Balkans, where new groups and movements struggle for a radically democratic vision of society.

Exploring the concepts of collaboration, resistance, and postwar retribution and focusing on the Chetnik movement, this book analyses the politics of memory. Since the overthrow of Slobodan Milošević in 2000, memory politics in Serbia has undergone drastic changes in the way in which the Second World War and its aftermath is understood and interpreted. The glorification and romanticisation of the Yugoslav Army in the Homeland, more commonly referred to as the Chetnik movement, has become the central theme of Serbia’s memory politics during this period. The book traces their construction as a national antifascist movement equal to the communist-led Partisans and as victims of communism, showing the parallel justification and denial of their wartime activities of collaboration and mass atrocities. The multifaceted approach of this book combines a diachronic perspective that illuminates the continuities and ruptures of narratives, actors and practices, with in-depth analysis of contemporary Serbia, rooted in ethnographic fieldwork and exploring multiple levels of memory work and their interactions. It will appeal to students and academics working on contemporary history of the region, memory studies, sociology, public history, transitional justice, human rights and Southeast and East European Studies.

Given the recent revival of nationalism in many parts of the world in tandem with new conflicts and forms of interventionism, this book uses the case of Kosovo to discuss some of key problems around contemporary practices of state-building. Based on exhaustive research and fieldwork, Marius Calu investigates how the management of plurality is a fundamental element of contemporary state-building seeking to build social cohesion, while for the new-born Kosovo it stands as vital symbol for its domestic sovereignty and legitimisation. With the aim of understanding why and in what ways the management of diversity has become a central element of state-building in post-conflict Kosovo, this study juxtaposes the de jure multi-ethnic liberal democratic form of governance with the de facto results and consequences of Kosovo's task to protect, accommodate and integrate its ethnic minorities.

This book offers an in-depth investigation of the emergence and spread of social mobilizations that transcend ethnicity in societies violently divided along ethno-national lines. Using Bosnia Herzegovina as a case study, the book explores episodes of mobilization which have superseded ethno-nationalist cleavages. Bosnia Herzegovina emerged from the 1992–95 war brutally impoverished and deeply ethnically divided, representing a critical and strategic case for the examination and understanding of the dynamics of mobilization in such divided societies. Despite difficult circumstances for civic-based collective action, social mobilizations in the country have grown in size, number and intensity in recent years. Marked by citizen demand for accountable governance, responsive urbanism, and access to basic human rights, these protests have been driven by economic, social and political problems which cut across religious and ethnic divides. Examining the variation in spatial and social scale of contention, the book investigates movements’ formation, their organizational structures and networking strategies and advances research on divided societies and social movements. This volume will be of interest to scholars and researchers of Southeastern Europe and those examining political dissent, social movements and mobilization in divided societies, as well as practitioners in civil society, grassroots groups and political activists.

Responding to the development of a lively hip hop culture in Central and Eastern European countries, this interdisciplinary study demonstrates how a universal model of hip hop serves as a contextually situated platform of cultural exchange and becomes locally inflected. After the Soviet Union fell, hip hop became popular in urban environments in the region, but it has often been stigmatized as inauthentic, due to an apparent lack of connection to African American historical roots and black identity. Originally strongly influenced by aesthetics from the US, hip hop in Central and Eastern Europe has gradually developed unique, local trajectories, a number of which are showcased in this volume. On the one hand, hip hop functions as a marker of Western cosmopolitanism and democratic ideology, but as the contributors show, it is also a malleable genre that has been infused with so much local identity that it has lost most of its previous associations with "the West" in the experiences of local musicians, audiences, and producers. Contextualizing hip hop through the prism of local experiences and regional musical expressions, these valuable case studies reveal the broad spectrum of its impact on popular culture and youth identity in the post-Soviet world.