Page 449 - 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. 449
summaries
Lana Paćuka
From “Baggage Culture” to Universally Accepted
Cultural Commitment: the case of the musical life
of Austro-Hungarian Sarajevo
Occupation of Bosnia and Herzegovina by the Austro-Hungarian Empire
(1878–1918) was one of the most turbulent periods in its political, social and
cultural history. Sarajevo, as a major center of Austro-Hungarian rule in
Bosnia and Herzegovina has become the epicenter of the implementation
of new socio-cultural values t hat the Austro-Hungarian Empire tried to es-
tablish in basis of the Bosnian and Herzegovinian society.
Achieving the planned political goals has led to extensive socio-economic
changes that have affected all aspects of society. Immigrants arrived from
various parts of the Monarchy as a capable workforce, wherein they take
the initiative in all social and cultural fields. Also, it comes to extensive
demographic growth, most visible in Sarajevo, which began to transform
from the Oriental province into the city that begins to live according to the
standards of Western-European culture. In a short period of time Saraje-
vo was “pushed” into the orbit of the new and unknown cultural streams,
whose the main bearers were settlers.
Germans, Czechs, Hungarians, Croats and Slovenes represented a half of
the population, and have directly influenced on the creation of cultural cir-
cumstances, and therefore musical life. Foreigners have become the main
“culprits” for the beginnings of Western-European type of musical life in
this region, because it was directly dependent on their activities. In the first
years of ocuppation they were the first bearers, and the only consumers of
new musical values, and because of that local population called them the
main promoters of the so-called “luggage” culture – culture brought in oc-
cupier suitcases – which from the perspective of the bosnian and herzego-
vinian people perceived to be imposed element. However, the musical in-
fluences arrived with Austro-Hungary eventually begin to infiltrate to all
aspects of socio-cultural life, seamlessly converting into the generally ac-
cepted and the dominant cultural orientation, whose really confirmation
was evident by appearance of the first bosnian and herzegovinian artists
on the music scene of the time.
Keywords: Austria-Hungary, Sarajevo, “Baggage Culture”, musical life
447
Lana Paćuka
From “Baggage Culture” to Universally Accepted
Cultural Commitment: the case of the musical life
of Austro-Hungarian Sarajevo
Occupation of Bosnia and Herzegovina by the Austro-Hungarian Empire
(1878–1918) was one of the most turbulent periods in its political, social and
cultural history. Sarajevo, as a major center of Austro-Hungarian rule in
Bosnia and Herzegovina has become the epicenter of the implementation
of new socio-cultural values t hat the Austro-Hungarian Empire tried to es-
tablish in basis of the Bosnian and Herzegovinian society.
Achieving the planned political goals has led to extensive socio-economic
changes that have affected all aspects of society. Immigrants arrived from
various parts of the Monarchy as a capable workforce, wherein they take
the initiative in all social and cultural fields. Also, it comes to extensive
demographic growth, most visible in Sarajevo, which began to transform
from the Oriental province into the city that begins to live according to the
standards of Western-European culture. In a short period of time Saraje-
vo was “pushed” into the orbit of the new and unknown cultural streams,
whose the main bearers were settlers.
Germans, Czechs, Hungarians, Croats and Slovenes represented a half of
the population, and have directly influenced on the creation of cultural cir-
cumstances, and therefore musical life. Foreigners have become the main
“culprits” for the beginnings of Western-European type of musical life in
this region, because it was directly dependent on their activities. In the first
years of ocuppation they were the first bearers, and the only consumers of
new musical values, and because of that local population called them the
main promoters of the so-called “luggage” culture – culture brought in oc-
cupier suitcases – which from the perspective of the bosnian and herzego-
vinian people perceived to be imposed element. However, the musical in-
fluences arrived with Austro-Hungary eventually begin to infiltrate to all
aspects of socio-cultural life, seamlessly converting into the generally ac-
cepted and the dominant cultural orientation, whose really confirmation
was evident by appearance of the first bosnian and herzegovinian artists
on the music scene of the time.
Keywords: Austria-Hungary, Sarajevo, “Baggage Culture”, musical life
447
