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The first Romani musicians played at Guca in the third year of the festival. Historically, Serb and Romani communities have had a mixed relationship, but at Guca, music conquered all. For Serbia, a country in which national and ethnic identities have played a significant role in a troubled past, most recently in the Kosovo conflict, the power of a festival such as Guca to unite is without measure. In the town centre, there stands a statue of a trumpet player, instrument held high. Every evening, it is surrounded by festival-goers, some in traditional Serb military outfits.
Many climb up onto the statue and wave national flags. Even in an atmosphere heavy with Serb nationalism, the most requested tunes are not by Serb bands, but the sounds of the Roma. There is one band whose popularity symbolises this more than any other, their songs played incessantly by every street orkestar: the Boban and Marko Markovic Orchestra. Boban was the first superstar of Balkan brass. He took the sound out of Eastern Europe and onto the international stage, selling out global tours, releasing bestselling albums and lending his trumpet to everything from film soundtracks to pop songs.
In , Boban passed on lead trumpet duties to his son, Marko. With his slick black hair, denim shirt and white jeans, Marco looks every inch the pop star, albeit one from a s soft rock band. His talent is extraordinary. Marko shakes his backside to the music, leaning back into his solos, joining Boban in singing the choruses. The crowd leaps around, bellowing the words and even the trumpet riffs, in a manic fit of joy.
From the moment you get up in the morning, you can hear children practising their instruments. Boban and Marko are from one of the small Romani mahalas neighbourhoods that surround the Serbian city of Vranje, a four-hour drive south from Guca. They are presenting sevdalinkas as serious music to be enjoyed not over a bottle of cheap rakija in the back of a bar, but savored soberly in a concert hall.
Sawda became sevda in Turkish and took on the meaning of a painful sort of love. Called the blues of Bosnia, sevdalinkas are often compared to American gospel and Portuguese fado. In Ottoman times, the songs were accompanied by the Turkish saz, a long-necked, lute-like instrument. Beginning with the Austrian occupation of Bosnia and Herzegovina in , the accordion became popular and prevailed during the 20th century. Traditionally, sevdalinkas were an informal affair.
Family and friends would gather and someone would play an instrument—a clarinet, a guitar, an accordion—as they sang the old songs, eliciting merak pleasure for the soul. Sevdalinkas were not just songs about frustrated love; they were also songs about everyday life. But in the years immediately preceding the Bosnian War, which erupted between and , sevdalinka had entered a period of decline.
Younger, urban Bosnians preferred Yugoslavian rock and punk, and the traditional songs were seen as decidedly unhip and old-school. But the war changed all that. Just as it sparked a revival of religious sentiment, it also breathed new life into the genre.
Young people—many of whom were refugees in Slovenia, Germany, and Scandinavia—started embracing the old songs to assert an identity under threat. Pretty soon these soulful, traditional lyrics, mostly set in a distant, sepia-tinted Ottoman-era Sarajevo or Mostar, became the party songs of choice for a generation.
This was also a time when Western world-music aficionados were getting interested in Balkan music and Yugo-nostalgic Balkan parties were springing up, not only in Slovenia, but among the diaspora in the cities of the West. Suddenly groups like Dertum, which played up-tempo sevdalinkas in alternative music clubs, realized that the sevdalinka and old folk songs from ex-Yugoslavia could be the path to success. Once the war was over, sevdah music was well-placed to become the symbol of a country fighting to survive.
In , Mostar Sevdah Reunion was formed, a musical ensemble much loved in world-music circles. And this model of Buena Vista Social Club—this idea of older musicians getting together—was already popular. This group helped to popularize sevdah traditions of the past.
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