By Richard March
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Additional info for The Tamburitza Tradition: From the Balkans to the American Midwest
Although contemporary scholars in the former Yugoslav republics have rejected these older notions regarding folklorism, proponents of these very notions had a significant influence on musicians and on members of folk dance groups and their audiences. As graduates of university ethnology programs, they held posts in museums, local administration bureaus, or cultural organizations. They were in direct contact with the performers; they organized folk festivals and set the criteria whereby a group might be eligible to participate.
For nearly five centuries, until 1908, Šturlić and the Bosanska Krajina region of which it is a part represented the westernmost holdings of the Ottoman Empire, and today the region still is the home of a native Islamic culture. On the Turkish side of the border, Ottoman civilization made a lasting cultural imprint, yet just across the man-made line, in the lands that comprised the Austrian Empire’s Military Frontier, only a few obviously Ottoman cultural elements can be found. The Military Frontier was a region of fortresses and towers, populated by refugees from the southeast who were settled there by the Austrians to be the first line of defense against Turkish incursions (Clissold 1966, 27–31).
In a pioneering article, Hans Moser suggested Folklorismus as an alternative to “applied folkloristics” (Bausinger 1961, 50–51). According to Moser, folklorism “involved a double phenomenon: general interest . . in everything ‘folk’ and for all the pockets of ‘folksiness’ in which life still has particularity and authenticity, strength and color, or at least seems that it has” (Moser 1962, 180). Often relying on indirect transmission through the media, folklorism was usually presented in Introduction 11 the form of selected attractive items that purported to originate in folk culture.
The Tamburitza Tradition: From the Balkans to the American Midwest by Richard March