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Abstract This article examines emerging practices of popular music revivals that rely on affective commitments other than nostalgia. It uses two Serbian-based singers’ post-war Croatian tours as case studies, analysing musical fluidities in the material and symbolic navigation of post-Yugoslav performance networks and focusing on borderwaters such as the Danube that bridge the region's peoples, centring their interconnected industrial and cultural attachments, yet also physically and politically separating former Yugoslav republics. Reviewing hydrological conceptions of territorial belonging in the late-Yugoslav period and in the 1990s as expressed in their ballads and reception history, it argues that the singers (Đorđe Balašević and Zvonko Bogdan), in attempting to re-establish their interrepublic touring practices with the backing of Serbian tambura bands, engage in an economy of love that, as with revival tours elsewhere in Europe, has proved more efficacious than nostalgia for responding to recent political and socioeconomic changes in the European Union.
Ian MacMillen (Mon,) studied this question.