Page 239 - Weiss, Jernej, ur. 2017. Glasbene migracije: stičišče evropske glasbene raznolikosti - Musical Migrations: Crossroads of European Musical Diversity. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 1
P. 239
davor in jenko between slovenian and ser bian music
national identities across Europe indicates that his contribution as a music
migrant deserves to be considered from another angle.
Being very close to my final remarks, let me repeat the second key
question that was promised to be discussed: “Can we, while thinking of
Jenko’s role and his contribution to his times, move away from discours-
es that essentialise ethnicity and apply a more flexible and, finally, more ob-
jective and fruitful methodological model?” In order to confirm the signifi-
cance of the selected theoretical frame, offered by Nadia Kiwan and Ulrike
Hanna Meinhof, I will quote several of their key theses:40
1. “Through a transnational, comparative and multilevel approach
to the relationship between migration, movement and music, this
[approach] focuses on the aesthetic intersections between the lo-
cal and the global, and between agency and identity.” (p. 1)
2. “Migrant musicians are, by definition, subjective agents whose
mobility [...] is nevertheless one of agency and self-determinati-
on.”(p. 2)
3. “[…] by following the life stories and career trajectories of mi-
grant musicians as individuals, we are able to move away from di-
scourses that essentialise ethnicity (emphasised by K.T.). [...].”(p. 2)
4. “[The] departure from existing [...] models [...] lies in the mapping
[...] of cultural flows. [...] [As] the life trajectories of [migrant] mu-
sicians amply demonstrate, these flows need to overcome many
obstacles and frictions.”(p. 4)
Of great importance to our theme is
6. The metaphor of the hub, “which gives […] both a horizontal per-
spective of channels of movements and their clustering at par-
ticularly salient points, as well as a vertical perspective of these
clusters, where people, places, and institutions relate top-down as
well as bottom-up in particularly potent ways.”(p. 4)
Of particular interest when researching the question of Davorin Jen-
ko’s role is the following statement:
7. “Human hubs refer to extremely significant individuals (musici-
ans...) who are the main focus of the network; they are known by
40 See Kiwan and Meinhof, “Introduction,” MAiA – Music and Arts in Action. Music
and Migration.
237
national identities across Europe indicates that his contribution as a music
migrant deserves to be considered from another angle.
Being very close to my final remarks, let me repeat the second key
question that was promised to be discussed: “Can we, while thinking of
Jenko’s role and his contribution to his times, move away from discours-
es that essentialise ethnicity and apply a more flexible and, finally, more ob-
jective and fruitful methodological model?” In order to confirm the signifi-
cance of the selected theoretical frame, offered by Nadia Kiwan and Ulrike
Hanna Meinhof, I will quote several of their key theses:40
1. “Through a transnational, comparative and multilevel approach
to the relationship between migration, movement and music, this
[approach] focuses on the aesthetic intersections between the lo-
cal and the global, and between agency and identity.” (p. 1)
2. “Migrant musicians are, by definition, subjective agents whose
mobility [...] is nevertheless one of agency and self-determinati-
on.”(p. 2)
3. “[…] by following the life stories and career trajectories of mi-
grant musicians as individuals, we are able to move away from di-
scourses that essentialise ethnicity (emphasised by K.T.). [...].”(p. 2)
4. “[The] departure from existing [...] models [...] lies in the mapping
[...] of cultural flows. [...] [As] the life trajectories of [migrant] mu-
sicians amply demonstrate, these flows need to overcome many
obstacles and frictions.”(p. 4)
Of great importance to our theme is
6. The metaphor of the hub, “which gives […] both a horizontal per-
spective of channels of movements and their clustering at par-
ticularly salient points, as well as a vertical perspective of these
clusters, where people, places, and institutions relate top-down as
well as bottom-up in particularly potent ways.”(p. 4)
Of particular interest when researching the question of Davorin Jen-
ko’s role is the following statement:
7. “Human hubs refer to extremely significant individuals (musici-
ans...) who are the main focus of the network; they are known by
40 See Kiwan and Meinhof, “Introduction,” MAiA – Music and Arts in Action. Music
and Migration.
237
