Yugonostalgia as a Kind of Love: Politics of Emotional Reconciliations through Yugoslav Popular Music

In the aftermath of the Yugoslav wars, listening to Yugoslav popular music has often been seen as a choice charged with political meaning, as a symptom of Yugonostalgia and as a statement against the nationalistic discourses of the post-Yugoslav states. In this article, I will show how the seemingly neutral concept of love is embedded in the music and memory practices in the post-Yugoslav context. In dealing with the issue of love, I draw on the research regarding emotions as social, cultural, and performative categories. The research included the analysis of the interconnectedness of the discourses on love and the discourse on Yugoslavia (promoted by both the performers and the audience). In addition to the striking intertwinement of the two, the actual term love was quite often used when describing the general relation to Yugoslavia, or its music in particular, or the relation of the people from the former country. Pointing to the multifarious meanings and usages of the concept of love as understood in the post-Yugoslav music space, I will argue that Yugonostalgia can be understood as a kind of love. As such, Yugonostalgia can be used for commercial purposes and be a means for the commodification of feelings and memories.