Sounds Of The Borderland

Sounds of the Borderland is the first book-length study of how popular music became a medium for political communication and contested identification during and after Croatia's war of independence from Yugoslavia. It extends existing cultural studies literature on music, politics and the state, which has largely been grounded in Western European and North American political systems. It also responds to an emerging fascination with the culture and politics of contemporary south-east Europe, expanding scholarship on the post-Yugoslav conflicts by going on to encompass significant social and political changes into the present day. The outbreak of war in 1991 saw almost every professional musician in Croatia take part in a wave of patriotic music-making and the powerful state television system strive to bring popular music under its control. As the political imperative shifted from securing national survival to consolidating a homogenous nation-state, the music industry responded with several strategies for creating a national popular music, producing messages about the nation and, in the ongoing debates over the origins of the folk music that inspired many songs, a way to define the nation by expressing what Croatia was not. The war on ethnic ambiguity which cut through individuals' social and creative lives played out across the airwaves, sales racks and gossip columns of a small country that imagined itself a historical and cultural borderland. These explicit and implicit narratives of nationhood connect many political phases: the months of fiercest fighting, the stabilised front, the uneasy post-war years when the symbolic frontline region of eastern Slavonia had still not returned to Croatian sovereignty, the euphoria and instability after the end of the Tudjman regime in 2000, and Croatia's fraught journey towards the European Union. Baker's book provides valuable insight into the role of music in a wartime and post-conflict society and will be essential reading for researchers and students interested in south-east Europe or the transformation of entertainment during and after conflict.

Sounds of the Borderland is the first book-length study of how popular music became a medium for political communication and contested identification during and after Croatia's war of independence from Yugoslavia. It extends existing cultural studies literature on music, politics and the state, which has largely been grounded in Western European and North American political systems. It also responds to an emerging fascination with the culture and politics of contemporary south-east Europe, expanding scholarship on the post-Yugoslav conflicts by going on to encompass significant social and political changes into the present day. The outbreak of war in 1991 saw almost every professional musician in Croatia take part in a wave of patriotic music-making and the powerful state television system strive to bring popular music under its control. As the political imperative shifted from securing national survival to consolidating a homogenous nation-state, the music industry responded with several strategies for creating a national popular music, producing messages about the nation and, in the ongoing debates over the origins of the folk music that inspired many songs, a way to define the nation by expressing what Croatia was not. The war on ethnic ambiguity which cut through individuals' social and creative lives played out across the airwaves, sales racks and gossip columns of a small country that imagined itself a historical and cultural borderland. These explicit and implicit narratives of nationhood connect many political phases: the months of fiercest fighting, the stabilised front, the uneasy post-war years when the symbolic frontline region of eastern Slavonia had still not returned to Croatian sovereignty, the euphoria and instability after the end of the Tudjman regime in 2000, and Croatia's fraught journey towards the European Union. Baker's book provides valuable insight into the role of music in a wartime and post-conflict society and will be essential reading for researchers and students interested in south-east Europe or the transformation of entertainment during and after conflict.

“A beautifully written evocation of Ukraine's brutal past and its shaky efforts to construct a better future.”—Financial Times Borderland tells the story of Ukraine. A thousand years ago it was the center of the first great Slav civilization, Kievan Rus. In 1240, the Mongols invaded from the east, and for the next seven centuries, Ukraine was split between warring neighbors: Lithuanians, Poles, Russians, Austrians, and Tatars. Again and again, borderland turned into battlefield: during the Cossack risings of the seventeenth century, Russia's wars with Sweden in the eighteenth, the Civil War of 1918-1920, and under Nazi occupation. Ukraine finally won independence in 1991, with the collapse of the Soviet Union. Bigger than France and a populous as Britain, it has the potential to become one of the most powerful states in Europe. In this finely written and penetrating book, Anna Reid combines research and her own experiences to chart Ukraine's tragic past. Talking to peasants and politicians, rabbis and racketeers, dissidents and paramilitaries, survivors of Stalin's famine and of Nazi labor camps, she reveals the layers of myth and propaganda that wrap this divided land. From the Polish churches of Lviv to the coal mines of the Russian-speaking Donbass, from the Galician shtetlech to the Tatar shantytowns of Crimea, the book explores Ukraine's struggle to build itself a national identity, and identity that faces up to a bloody past, and embraces all the peoples within its borders.

DAH Theatre: A Sourcebook is a collection of essays about the work of one of the most successful and innovative performance groups in contemporary history. With a direct line of descent from Jerzy Grotowski and Eugenio Barba, DAH Theatre, founded during the worst of times in the former Yugoslavia, amidst a highly patriarchal society, predominantly run by women, has thrived now for twenty-five years. The chapters in this book, for the most part, have been written by both theatre scholars and practitioners, all of whom have either seen, studied with or worked with this groundbreaking troupe. What makes DAH so exceptional? The levels of innovation and passion for them extend far beyond the world of mere performance. They have been politically and socially driven by the tragedies and injustices that they have witnessed within their country and have worked hard to be a force of reconciliation, equity and peace within the world. And those efforts, which began on the dangerous streets of Belgrade in 1991, today, have reached throughout the world. Though they still make their home in Serbia, audiences from as far afield as New Zealand, Mongolia, Brazil and the U.S. have discovered their power – both in purely aesthetic terms and as passionate activists.

This is a biography of a borderland between Russia and Poland, a region where, in 1925, people identified as Poles, Germans, Jews, Ukrainians, and Russians lived side by side. Over the next three decades, this mosaic of cultures was modernized and homogenized out of existence by the ruling might of the Soviet Union, then Nazi Germany, and finally, Polish and Ukrainian nationalism. By the 1950s, this "no place" emerged as a Ukrainian heartland, and the fertile mix of peoples that defined the region was destroyed. Brown's study is grounded in the life of the village and shtetl, in the personalities and small histories of everyday life in this area. In impressive detail, she documents how these regimes, bureaucratically and then violently, separated, named, and regimented this intricate community into distinct ethnic groups. Drawing on recently opened archives, ethnography, and oral interviews that were unavailable a decade ago, A Biography of No Place reveals Stalinist and Nazi history from the perspective of the remote borderlands, thus bringing the periphery to the center of history. We are given, in short, an intimate portrait of the ethnic purification that has marked all of Europe, as well as a glimpse at the margins of twentieth-century "progress." Table of Contents: Glossary Introduction 1. Inventory 2. Ghosts in the Bathhouse 3. Moving Pictures 4. The Power to Name 5. A Diary of Deportation 6. The Great Purges and the Rights of Man 7. Deportee into Colonizer 8. Racial Hierarchies Epilogue: Shifting Borders, Shifting Identities Notes Archival Sources Acknowledgments Index This is a biography of a borderland between Russia and Poland, a region where, in 1925, people identified as Poles, Germans, Jews, Ukrainians, and Russians lived side by side. Over the next three decades, this mosaic of cultures was modernized and homogenized out of existence by the ruling might of the Soviet Union, then Nazi Germany, and finally, Polish and Ukrainian nationalism. By the 1950s, this "no place" emerged as a Ukrainian heartland, and the fertile mix of peoples that defined the region was destroyed. Brown's study is grounded in the life of the village and shtetl, in the personalities and small histories of everyday life in this area. In impressive detail, she documents how these regimes, bureaucratically and then violently, separated, named, and regimented this intricate community into distinct ethnic groups. Drawing on recently opened archives, ethnography, and oral interviews that were unavailable a decade ago, A Biography of No Place reveals Stalinist and Nazi history from the perspective of the remote borderlands, thus bringing the periphery to the center of history. Brown argues that repressive national policies grew not out of chauvinist or racist ideas, but the very instruments of modern governance - the census, map, and progressive social programs - first employed by Bolshevik reformers in the western borderlands. We are given, in short, an intimate portrait of the ethnic purification that has marked all of Europe, as well as a glimpse at the margins of twentieth century "progress." Kate Brown is Assistant Professor of History at University of Maryland, Baltimore County. A Biography of No Place is one of the most original and imaginative works of history to emerge in the western literature on the former Soviet Union in the last ten years. Historiographically fearless, Kate Brown writes with elegance and force, turning this history of a lost, but culturally rich borderland into a compelling narrative that serves as a microcosm for understanding nation and state in the Twentieth Century. With compassion and respect for the diverse people who inhabited this margin of territory between Russia and Poland, Kate Brown restores the voices, memories, and humanity of a people lost. --Lynne Viola, Professor of History, University of Toronto Samuel Butler and Kate Brown have something in common. Both have written about Erewhon with imagination and flair. I was captivated by the courage and enterprise behind this book. Is there a way to write a history of events that do not make rational sense? Kate Brown asks. She proceeds to give us a stunning answer. --Modris Eksteins, author of Rites of Spring: The Great War and the Birth of the Modern Age Kate Brown tells the story of how succeeding regimes transformed a onetime multiethnic borderland into a far more ethnically homogeneous region through their often murderous imperialist and nationalist projects. She writes evocatively of the inhabitants' frequently challenged identities and livelihoods and gives voice to their aspirations and laments, including Poles, Ukrainians, Germans, Jews, and Russians. A Biography of No Place is a provocative meditation on the meanings of periphery and center in the writing of history. --Mark von Hagen, Professor of History, Columbia University

A lyrical collection of the finest poems by a leading Mexican poet, superbly translated for English readers The poetry of María Baranda is a haunting homage to the natural world, transcendent in scope, attentive to the particular, and acutely attuned to the mystery of being. Absorbed by nature's otherness, Baranda seeks to inhabit the voices of the wind, of wings, night, day, and perhaps most keenly, water. These lyrical verses turn repeatedly to the longings and griefs of embodiment: "What is that God / To be praised with all our sadness / If not love / Or at least the wonder / Of being a body full of blood," Baranda asks. Drawing on epics such as the Aeneid and Beowulf, the mystical verses of Sor Juana Inés de la Cruz, and writers who engage the landscape of shore and sea, from Daniel Defoe to Dylan Thomas, this sweeping collection brings together the finest poems of one of today's most powerful and innovative Mexican writers.

Mexican Waves is the fascinating history of how borderlands radio stations shaped the identity of an entire region as they addressed the needs of the local population and fluidly reached across borders to the United States. In so doing, radio stations created a new market of borderlands consumers and worked both within and outside the constraints of Mexican and U.S. laws. Historian Sonia Robles examines the transnational business practices of Mexican radio entrepreneurs between the Golden Age of radio and the early years of television history. Intersecting Mexican history and diaspora studies with communications studies, this book explains how Mexican radio entrepreneurs targeted the Mexican population in the United States decades before U.S. advertising agencies realized the value of the Spanish-language market. Robles’s robust transnational research weaves together histories of technology, performance, entrepreneurship, and business into a single story. Examining the programming of northern Mexican commercial radio stations, the book shows how radio stations from Tijuana to Matamoros courted Spanish-language listeners in the U.S. Southwest and local Mexican audiences between 1930 and 1950. Robles deftly demonstrates Mexico’s role in creating the borderlands, adding texture and depth to the story. Scholars and students of radio, Spanish-language media in the United States, communication studies, Mexican history, and border studies will see how Mexican radio shaped the region’s development and how transnational listening communities used broadcast media’s unique programming to carve out a place for themselves as consumers and citizens of Mexico and the United States.

Thirty Hispanic stories by women writers. They range from Mary Ponce's Just Desserts, about a woman whose date turns sour, to Lucha Corpi's Epiphany: The Third Gift, on a girl who lacks femininity and the effect this has on her family.