English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

This paper focuses on the  jembe (djembé)  as a symbol of Africanness in contemporary Serbian culture. Players’ narratives often underline the universality and spirituality of distant, romanticised Africa linking these supposed features to ‘archaic’ aspects of Serbian and Balkan traditional music. The trope of universally adaptable rhythm has united different players, from pioneers of cross-cultural sound during late Yugoslav socialism to the proponents of present-day multiculturalism in Serbia. This paper is informed by ethnographic research with the group Đembija, a recent Belgrade-based music project, and by the use and discourse surrounding the  jembe  and other African instruments by other contemporary Serbian musicians. The  jembe's  use in world music bands serves as the basis for a diversity of ideological, poetic and musical practices. Simultaneously, the aural learning, small scale and ‘slow pace’ of musicianship, in contrast to the hectic everyday experience of contemporary capitalist society, acquires nostalgic resonances within Serbia’s budding cross-cultural  jembe  playing practices.

‘Imagined Balkans’ meets ‘imagined Africa’: the contemporary practice of jembe drumming in Serbia