Kulturni fenomeni dvaju giganata Buhin, Anita
Časopis za suvremenu povijest,
2023, Letnik:
55, Številka:
1
Journal Article, Paper
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Samoupravni preobražaj kulture koji se temeljio na ustavnim i zakonskim promjenama prihvaćenim sredinom 70-ih godina XX. stoljeća značio je među ostalim i odbacivanje sintagme „kultura radnicima” kao ...ostatka prosvjetiteljsko-edukativne kulturne politike ranoga socijalizma. Novi kulturni smjer trebao je označiti povratak izvornim marksističkim idejama, iz kojih je kultura proizlazila kao sredstvo i način života te omogućavala radnikovo intelektualno ostvarenje u borbi protiv otuđenoga rada. Radne organizacije trebale su postati i kulturne organizacije u kojima je radnik trebao ostvariti sve svoje potrebe, koje su uključivale kreativno i umjetničko stvaralaštvo, konzumiranje vrhunske kulture i umjetnosti, ali i solidarnost, jednakost i dobre međusobne odnose. Na primjeru brodogradilišta Uljanik u Puli i tvornice turbina Jugoturbina u Karlovcu, kao dvaju industrijskih divova i centara društvenoga života u svojim općinama, analizira se primjena kulturne teorije jugoslavenskoga samoupravnog socijalizma i nove kulturne politike 70-ih i 80-ih godina.
Self-managerial transformation of culture was based on constitutional and legislative changes which happened in socialist Yugoslavia in the mid-1970s as a need for further advancement of self-management in the state. One of the results was the rejection of the, until then, popular phrase „Culture to the workers!” as a relict of outdated enlightening-educative cultural practices, which were widespread in the period of early socialism. New cultural policies were a symbol of turning back to the original Marx’s and Lenin’s writings. In that way, culture was now seen as a mean and way of life, and not only traditional cultural and artistic practices. It was supposed to help workers to overcome the alienation of their work and turn the working place into cultural space as well. There, workers could and should be able to satisfy all their needs: for the consumption of high culture and arts, for creative and artistic self-expression, but also to practice the ideas of solidary, equality and interpersonal relations as basis of self-managerial culture. This paper focuses on comparison of two case studies: Uljanik shipyard in Pula and Jugoturbina turbine factory in Karlovac. They were both industrial giants and economic and social centres of their municipalities, but also had wider, regional importance. Through the analysis of the factory newspapers and reports on cultural changes, successes and failures in the 1970s and 1980s, this paper aims to find out how applicable cultural theories created by Yugoslav intellectuals and cultural policies were.
Self-managing transformation of culture as a concept gained importance after numerous political and social changes in the Socialist Federal Republic of Yugoslavia (SFRY), such as the adoption of a ...new Constitution in 1974 and the introduction of the Associated Labour Law in 1976. The term itself covers everything from party politics and workers’ (amateur) cultural practices, through free exchange of labour, to issues such as the humanisation of labour, interpersonal relations, and culture as a way of life. The proclaimed further democratisation of culture was to be achieved through the establishment of free exchange of labour between cultural workers (service providers) and workers in joint labour organisations (organizacije udruženog rada, OURs) and citizens in the local communities (mjesne zajednice, MZs), which was supposed to take place in the OURs and self-managing communities of interest (samoupravne interesne zajednice, SIZs). Through the establishment of bicameral delegate councils (one chamber comprising the ‘users’, i.e. the delegates of material production OURs and local communities, and the other ‘providers’, i.e. the delegates of culture OURs, amateur cultural-artistic associations, and independent artists), the cultural SIZs on the municipal level had to secure the conditions for satisfying the special and general cultural needs of all inhabitants of the municipality. This paper analyses the success of cultural reform on the micro level on the example of the Pula municipality, with special focus on the functioning of the delegate system.
As the first Yugoslav musical comedy, the film Ljubav i moda/Love and fashion avoiding the previously typical partisan and worker's themes suddenly achieved huge cinematographic success. At the same ...time, it was also highly criticized, characterized as kitsch showing the 'deformation of contemporary life', 'something alien to our reality'. Critics were partially correct, the film was unrealistic, but only because it was a projection of a desired future which was supposed to be modern and urban, based on Westernized popular culture. Thus, the weak storyline was only a setting for a hundred-minute entertaining music video promoting modern and urban lifestyles in which the youth is following popular music and Western fashion trends, all combined with performances of the most popular Yugoslav singers like Gabi Novak or Ivo Robić. This article, through the example of Love and fashion, explores the role of popular music and its stars in the creation of a Yugoslav socialist dolce vita on screen.
Opatijski je festival osnovan 1958., gotovo citavo desetljece nakon sto su laki i zabavni kulturni zanrovi otvoreno drustveno i ideoloski prihvaceni. Analiza kulturno-teorijskih postavki i ...preokupacija te odnosa prema sluzbenoj kulturnoj politici kljucna je za razumijevanje popularnosti zabavne glazbe u jugoslavenskom socijalistickom drustvu. Pocevsi od redovitoga emitiranja na radijskim stanicama, osnivanjem mnogobrojnih festivala zabavne glazbe, zanr dozivljava svoj vrhunac. Pritom Opatijski festival funkcionira kao svejugoslavenski i nadnacionalni, pa samim time i dobiva najvise pozornosti, pogotovo jer s vremenom zabavna glazba dobiva i na medunarodnom znacenju, barem kao prikladni predstavnik jugoslavenskoga drustva u inozemstvu. Mini jubilej, tj. obiljezavanje pete obljetnice festivala 1962., sluzio je zbog toga i za analizu onoga sto se na zabavno-glazbenom planu uspjelo ostvariti, ali se naziru i problemi koji se ostavljaju u naslijede festivalima koji slijede.//The Opatija Festival was founded in 1958, nearly a decade after soft and entertaining cultural genres had been socially-open and ideologically accepted. The problem of creating the perfect prototype of melody and the text of a popular song was not easy to solve, so popular music had been struggling for more than a decadewith same issues as in the beginning. The analysis of cultural and theoretical assumptions, preoccupations and attitudes towards the official cultural policy is the key to understand the popularity of pop music in the Yugoslav socialist society. Starting from the regular broadcast on radio stations, by establishing numerous festivals of pop music, this genre reached its peak. Furthermore the Opatija Festival has functioned as an all Yugoslav and transnational festival, thus gaining the most attention, especially since with passage of time pop music gets an international importance, at least as a suitable representative of the Yugoslav society abroad. A mini-jubilee, i.e. the marking of the 5th anniversary of the Festival in 1962, has served for this purpose to analyse the achievements in the entertainment and music plan, but also to perceive the problems which would befall the future festivals, primarily the Adriatic Melodies in Split. The dominance of "sea themes" in pop music during the 1960s and later was ultimately the result of a number of attempts by composers and songwriters at the first editions of the Opatija Festivals.Therefore, one can conclude that pop music in the early 1960s finally gained its specific form which successfully represented the pulse of the modern society, and that was the collective cultural discovery of the sea. web URL: http://hrcak.srce.hr/index.php?show=clanak&id_clanak_ jezik=237114
The Opatija Festival was founded in 1958, nearly a decade after soft and entertaining cultural genres had been socially-open and ideologically accepted. The problem of creating the perfect prototype ...of melody and the text of a popular song was not easy to solve, so popular music had been struggling for more than a decadewith same issues as in the beginning. The analysis of cultural and theoretical assumptions, preoccupations and attitudes towards the official cultural policy is the key to understand the popularity of pop music in the Yugoslav socialist society. Starting from the regular broadcast on radio stations, by establishing numerous festivals of pop music, this genre reached its peak. Furthermore the Opatija Festival has functioned as an all Yugoslav and transnational festival, thus gaining the most attention, especially since with passage of time pop music gets an international importance, at least as a suitable representative of the Yugoslav society abroad. A mini-jubilee, i.e. the marking of the 5th anniversary of the Festival in 1962, has served for this purpose to analyse the achievements in the entertainment and music plan, but also to perceive the problems which would befall the future festivals, primarily the Adriatic Melodies in Split. The dominance of “sea themes” in pop music during the 1960s and later was ultimately the result of a number of attempts by composers and songwriters at the first editions of the Opatija Festivals.Therefore, one can conclude that pop music in the early 1960s finally gained its specific form which successfully represented the pulse of the modern society, and that was the collective cultural discovery of the sea.
U općini Karlovac 10. lipnja 1975. osnovana je samoupravna interesna zajednica (SIZ) kulture općine Karlovac, kao mjesto za utvrđivanje i provođenje kulturne politike na području općine, u skladu s ...ustavnim promjenama 1974. godine. Na temelju dokumenata iz fonda SIZ-a kulture općine Karlovac te izvještaja o događajima u kulturi iz Karlovačkog tjednika, ovaj rad analizira probleme, nedoumice,
ali i uspjehe novoga modela kulture. Kulturne institucije doživljavaju rast u broju programa i posjetitelja, ali se ne uspijevaju riješiti starih prosvjetiteljskih i elitističkih obrazaca. S druge strane, radnici se slabo uključuju u promišljanje i provođenje kulturne politike, zadržavajući svoj doprinos na razini amaterskih kulturno-umjetničkih aktivnosti. Ovisnost o ekonomskim kretanjima na razini
republike i federacije dodatno komplicira samoupravni preobražaj kulture, što s ekonomskom krizom 1980-ih te konačnim raspadom države i sustava znači i kraj samoupravljanja u kulturi i fokusa na radnike.
Opatijski je festival osnovan 1958., gotovo čitavo desetljeće nakon što su laki i zabavni kulturni žanrovi otvoreno društveno i ideološki prihvaćeni. Analiza kulturno-teorijskih postavki i ...preokupacija te odnosa prema službenoj kulturnoj politici ključna je za razumijevanje popularnosti zabavne glazbe u jugoslavenskom socijalističkom društvu. Počevši od redovitoga emitiranja na radijskim stanicama, osnivanjem mnogobrojnih festivala zabavne glazbe, žanr doživljava svoj vrhunac. Pritom Opatijski festival funkcionira kao svejugoslavenski i nadnacionalni, pa samim time i dobiva najviše pozornosti, pogotovo jer s vremenom zabavna glazba dobiva i na međunarodnom značenju, barem kao prikladni predstavnik jugoslavenskoga društva u inozemstvu. Mini jubilej, tj. obilježavanje pete obljetnice festivala 1962., služio je zbog toga i za analizu onoga što se na zabavno-glazbenom planu uspjelo ostvariti, ali se naziru i problemi koji se ostavljaju u naslijeđe festivalima koji slijede.
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