What you
cannot take away from the oppressed
is their memory, and the revolt of
such people,
people with such memories, is only a
scratch beneath the surface.
Howard
Zinn, 1999: 413
Case
study 3
In the following
text I’ll try to do the impossible:
review Yugoslavia from the
perspective of “memory studies”
-currently a very invigorating
interdisciplinary branch at the
productive intersection of
historical anthropology, the
sociology of time, cultural studies
and transition studies. Already at
the outset, one encounters a series
of problems. Namely, which
Yugoslavia to review: the Yugoslavia
from the time of the Karadjordjević
dynasty (1918-1941)1, Tito’s
(1945-1991) or Milosević’s
(1992-2006) Yugoslavia? Should all
three be reviewed at once? What kind
of memory will be considered:
collective or personal? Cultural or
political? Or memory based on
memoirs – that much-loved but
factually unreliable literary form?
Will the subject-matter be based on
official, that is, institutionalized
memory, or unofficial, minority
memory: established or subversive?
Oral, written, recorded, engraved in
monuments and memorials, or memory
on the Internet, in the social
media? Memory from first-hand or
second-hand accounts or those
passed-on, retrieved, “inherited”?
And should these include the
subjects of nostalgia and
anti-nostalgia, bitter-sweet, heavy
and traumatic memories? Retro and
reproductive cultures, which in
current cultural forms elicit traces
of memory of previous times?
Spontaneous amnesia or its opposite
- contrived and systematic amnesia?
Memories as a means of emancipation?
An answer to each
of these questions would necessitate
a broad and deep study of every
question in its own right. The
objective of this text however lies
elsewhere: I will focus on the ways
of remembering Yugoslavia that I
have followed during decades spent
studying the various views of its
past. The main research question I
pose here is what are the specifics
of the ways of remembering a common
Yugoslav past? Therefore I won’t tap
into the memory of that time, as
expressed in its artifacts,
personalities, events, music,
culture and the like. That would be
too much, more than too much:
thousands of hard-copy and millions
of Internet pages have been written
about them. Quite the opposite: I
will ask how and in what specific
ways ex-Yugoslavs, that is
post-Yugoslavs, remember their
former common country.
Specifics of the Yugoslavias
The geopolitical
picture of the Balkans at the end of
the 20th century is reminiscent of
the one at its beginning: a
conglomerate of small, mutually
bickering, half-colonized
independent states with huge
territorial appetites, burek
republics (akin in meaning to
‘banana republics’ but with a local
pastry dish substituting for banana
– explanation by trans.), as I
contemptuously call them,
politically and economically
dependent on the Great Powers,
so-called Allies. The Yugoslav
intermezzo lasted for almost 90
years in the Balkans. The first
Yugoslav state came about through a
unification of the Kingdom of Serbia
and the Kingdom of Montenegro with
the southern parts of the former
Austro-Hungarian Empire, populated
by southern Slavs, on December 1,
1918. Viewed from a somewhat
longer-term perspective, it emerged
from the ruins of two former
powerful empires that had carved-up
the Balkans for centuries – the
Ottoman and the Austro-Hungarian
empires. The unitary Kingdom of
Serbs, Croats and Slovenes, renamed
Yugoslavia in 1929, was destroyed
and dismembered during World War II,
only to re-emerge as a socialist
federation and with some territorial
gains in the west in its aftermath.
It, too, brokeup in a series of
wars, beginning in 1991, only to
continue in its final form in the
alliance of Serbia and Montenegro,
also under the name of Yugoslavia
from 1992 to 2003 when it changed
its name to Serbia and Montenegro,
which then continued until 2006 when
these two republics, in an agreed
separation, became independent
states.
In order to
understand more easily the specific
ways of remembering Yugoslavia, I
will quote several historical facts
that have contributed to this
specificity. First of all, all three
Yugoslavias emerged as the
consequence of wars in the region:
World Wars I and II and the wars of
the Nineties during its break-up.
Therefore, all three had a powerful
and dramatic beginning, always with
Giraudoux-like “foundational
violence” and the “sacrificial
myth”, according to which there was
only one truth – that of the victor.
The three Yugoslavias did not emerge
as the result of a considered and
protracted process of association,
but rather through deep fractures
and historical contingencies in
which certain pre-existing
convergent tendencies and traditions
of varied Yugoslav ideas were
realized. Second, the internal and
external changes were swift and
deep: borders, symbols, political
and economic systems, social
structures, privileged / exploited
classes, foreign policy alliances
etc. were all subjected to change.
In circumstances of perpetual
change, the memory of everything
previous also constantly changes. In
western and northern Europe, the
virtually unchanging state and
political frameworks last for
centuries – frequently with serious
upheavals (civil wars, occupations,
dethronements, revolutions etc.),
but they are nevertheless more
enduring than those on the territory
of the former Yugoslavias. I can
illustrate this with the example of
my own family. Although residing
virtually in the same place, each of
the last five generations was born
into a different country and a
different political system, while
the men bore the military insignia
of five different armies.
Third, there is
the position, mobility and
uniqueness of the Yugoslavias.
Because they were always “somewhere
in between” (in between East and
West, in between one or other
political order, in between
different geostrategic determinants
and ‘independencies’), all three
developed their own ideologies of
uniqueness and exceptionality. The
feeling that we are something
special leaves, of course, strong
memory traces for succeeding
generations as well. Hence Tanja
Zimmermann (2010: 181), who studies
memory in the Balkans, speaks of the
ambiguous image of the second
Yugoslavia: there were “two
(ideological) ways of reading
(Yugoslavia): for the East, it was a
socialist idyll, and for the West, a
tourist paradise”. Literally, “the
new continent,” in other words, “the
third way.”
Fourth: all three
Yugoslavias were the result of the
simultaneous workings of internal
and external factors. On the one
hand, the very idea and ideology of
Yugoslav-hood – cultural or
political, integral or organic,
unitary or multi-ethnic, centralist
or federalist – has a long history
with the South Slavic peoples that
extends back to the 18th century and
which, in the last century, because
of the influence of different
political factors, went through
three state incarnations. Of the
intrinsic factors, one cannot
overlook those that pertain to the
domain of international politics:
the first Yugoslavia was part and
parcel of the Versailles power
structure; the second of that
belonging to the Cold War, while the
third belonged to a transitional
power structure with its new
divisions into a European center and
its periphery. Furthermore,
Yugoslavia was always
comprehensively heterogonous:
economically, socially, ethnically,
culturally, linguistically,
religiously, politically and
historically. Inside its own
borders, there was always the Other:
during the period of joint life this
Otherness was understood as an
inspiring complementarity, while in
the period of conflict it was an
insurmountable opposite and
primordial enmity. The fifth factor
is modernization. The era of
Yugoslavia overlapped with the era
of modernization of the society
within its borders: from the largely
agrarian and pre-modern before
unification to the post-industrial
and post-modern at its dissolution.
Especially during the second
Yugoslavia there was a “radical
emancipation” (Suvin, 2014: 314-345)
of different groups within its
borders – nations, classes, women
and minorities – in the words of
Ernst Bloch, there was a fulfillment
of their “concrete utopias”. Be that
as it may, the speed of social
change, by definition, influences
the process of memory –the faster
everything in society changes, the
more there is to remember.
Finally, I think
it is important to separate the
concept of the former Yugoslavia (or
ex-Yugoslavia) from the concept of
post-Yugoslavia. The first, more
prevalent during the nineties in the
frenzy of independence,
democratization, market economy,
human rights, national sovereignty
and other transition ideologies and
practices, represents angry attempts
to sever all ties with the former
state. Yugoslavia is (and was) the
negative obsession of nationalists,
just as socialism is (and was) the
negative obsession of neo-liberals.
Its name disappeared from the
vocabulary and instead, at best,
discursive euphemisms like before
independence or in the former period
were used. The concept of the former
Yugoslavia represents a discursive
and concrete institutional shift in
the new dominant forces of the
successor states by which they
sought to wrench themselves from the
heritage which was for them
compromising.2 In other words, in
their half-history it was as if
Yugoslavia had never been.
The concept of
post-Yugoslavia arose rather
imperceptibly, and then gained
increasing momentum during the more
sober 2000s, when it became clear
that the majority of unrealistic
transitional promises and
expectations had been betrayed. It
represents a distinct continuation
of identification with Yugoslavia
coming from both within, from the
successor states, but also from
without, from international agents.
In a positive but also negative
sense, its past and legacy still
equally influence, events in these
states as it does their development,
for they are after all still part of
the Yugo-sphere, to use the term
coined by Balkans expert Tim Judah
(2009). It’s a matter of, to
paraphrase, a continuation of
Yugoslavia by other means.
Yugoslavia is returning “through the
back door”, naturally, under a
different name: any other name
except Yugoslavia is welcome. The
best are, obviously, “neutral”
geographical concepts: hence music
programs named MTVAdria3, Western
Balkans in diplomatic newspeak, and
road maps4, X Factor Adria for
talent shows5, the Adriatic
Water-Polo League6, the Adriatic
League in basketball7 (missing),
Former Domestic as a label for music
from Former Yugoslavia at music
stands, and the list goes on. In
that sense, Yugoslavia is very much
alive: at a round table dubbed “Do
you remember Yugoslavia?” in
Belgrade in October 2010, author and
essayist Miljenko Jergović (2010:
17) noted that, “what Yugoslavia was
built upon, a common space made upof
a certain kind of cultural identity,
as well as similar historical and
pre-historical experiences, has not
only remained the same, but is again
increasingly operating.”8 At the
same event, cult Yugoslav film
director Želimir Žilnik slam-dunked
the same view with “ to my
recollection, the previous cultural
communication between Belgrade,
Zagreb, Ljubljana, Sarajevo, Skopje
and Podgorica was not that different
from present-day communication. At
the level of communication, things
are perhaps even faster today and we
are better informed than ever.”. To
sum up: post-Yugoslavia is like a
fate from which one cannot escape
that easily.
Before I
examinethe unique qualities of
remembering Yugoslavia, it is
necessary to give a few additional
terminological and theoretical
clarifications. According to that
classic in the sociology field
Maurice Halbwach, “to a large degree
memory is a reconstruction of the
past arrived at through data
borrowed from the present, or
through preconceived reconstruction
or, furthermore, through
reconstructions of earlier periods
in which representations of the past
have already undergone changes.”9 In
the same vein, French sociologist
Pierre Nora writes that memory “is
always a current phenomenon, a
connection between us and the
eternal present”, while history on
the other hand is a “representation
of the past” (1989: 8).10 For the
Serbian scholar Todor Kuljić,
collective memory “to differing
degrees permeates official memory,
historiography and the memory of the
ordinary individual”; it is “the
process of remembering and
forgetting by which we classify and
organize our experience, our
thoughts and our imaginationinto the
dimensions of the past, present and
future” (2011: 10, 13). For his
Dutch colleague, Mieke Bal,the
culture of memory is “an activity in
the present by which the past is
constantly modified and described
anew and which continues to shape
the future”. At the same time, she
divides memory into
non-reflective/spontaneous,
narrative and traumatic (1999: vii,
viii).
Personally I would
define memory as the past useful to
the present, which appears at
different levels (personal, group),
in different forms (spontaneous,
institutionalized), in different
mediums (oral, written, petrified,
in national holidays and
holiday-making, via symbols etc),
and for different purposes
(sentimental, subjective-escapist,
or instrumental, functional). More
than a recording of the past, it is
a question of current narration:
more than just inertia, but rather
the creation of a past which will
for certain of its bearers create
certain effects in the present.
Memory therefore is not a neutral,
or just an abstract concept, but
rather it is active, performing,
and, as a rule, is a concrete
cultural idea, social practice or
political project. It is not a
simple objective copy, but a
selection of the past: not a
reconstruction of the past but
rather its deliberate construction,
intended for the current aspirations
of specific individuals and groups.
Not only a thought or feeling about
the past, but also its realization
in a specific practice or artifact.
Memory is narration, interaction,
and communication. It is not only
integrative on the inside and
exclusive on the outside, but is
primarily, phrased in an
Althusserian way, the
materialization of a specific
historical ideology. Or more
succinctly, there is no such thing
as non/political memory. Memories of
the past are part of the “regime of
truth” of a certain society which is
“already well along its way marching
‘towards truth’ – that is, a society
that produces and distributes
discourse in the function of truth,
passing itself off as such and thus
acquiring certain power” (Foucault,
1990: 112). Therefore, every society
contains a hierarchy of remembering
in relation to the balance of forces
within it. Particular memories are
not only different, but also
socially relevant or “valuable” in
different ways.
The division into
official, that is institutional, and
unofficial, that is spontaneous
memory is of special interest and
particularly pertinent for this
discussion. The first I would call
“hard” memory because it has been
written down, printed, immortalized,
sculpted, monumentalized, supported
by decrees, romanticized, renewed in
a network of museums, galleries,
national collections, archives,
school curriculums and textbooks,
monuments, state symbols (seals,
flags, currency), in the system of
national holidays and
commemorations, national mass media,
the (re)naming of streets,
institutions and awards, official
historiography11 etc. In a word, it
is found in hegemonic discourse and
dominant institutions. These are the
“supports of collective memory”, to
borrow the apt metaphor of Slovenian
ethnologist Božidar Ježernik
(2013:9). On the other hand, the
“soft” memories of groups and
individuals remain not canonized,
unwritten, hidden, introvert and
they have their own mediums and
channels of transmission that
frequently act in opposition or as
an alternative to the first.
Ways of Remembering Yugoslavia
More than the
cultural expansiveness of memories
of Yugoslavia I am interested in
their ideological depth: the
systemic, command-like, imposed and
sanctioned ideological depth of
official memory, as well as
dissipated, heterogeneous and
diversified individual memories. In
my view, there were nine specific
ways (of remembering the
Yugoslavias), both during their
existence and after their
dissolution. There are many concrete
examples for each of these ways and
I will enumerate here only a few of
the most typical for each and point
to the most relevant literature,
which reviews them in depth.
1. The Vocal Discontinuity of Memory
On the territory
of Yugoslavia the 20th centurywas
markedly, to use Hobsbawm’s phrase,
an “age of extremes”. Dramatic
political, military and social
events contributed to the breaking
up of straightforward and
longitudinal collective memory.
While in stable states with
long-term political and social
evolution collective memory can also
be linear and develop cumulatively,
in the case of Yugoslavia this
wasn’t so: there is no longue durée
of collective memory. Instead of a
historical totality, radical cuts
and new period classifications had
to be made. The previous cultures of
national memory in all three
Yugoslavias merged into a single
culture of trans-national
pan-Yugoslav memory only to be
“de-Yugoslavized” and broken up
again into individual national
memories from the end of the 1980s.
Since in the hegemonic
interpretation of history it
appeared that everything had begun
in 1918, or in 1941 (1943 or 1945),
or in 1991, so the collective memory
of the previous period was likewise
deliberately silenced and expelled
from public discourse and remained
to linger mainly at the informal
level. For example, the end of the
second Yugoslavia brought with it
the destruction of many monuments to
the WW II so-called ‘National
Liberation Struggle’ of Tito’s
Partisans (NOB is the acronym used
in Slavic languages – trans.): 3,000
of them disappeared on the territory
of Croatia alone. There is also
significance here in the practice of
renaming streets: a cultural scholar
from Banjaluka (in the Serbian part
of Bosnia – trans.) Srdjan Sušnica
(2015) demonstrated empirically and
with precision the percentage of
changes in the names of places and
streets since 1992.12 National
holidays: practically no one
remembers – or is trying to
reinstate – those belonging to the
first Yugoslavia; the ones from the
second Yugoslavia are remembered
only by older generations and still
celebrated only by those
‘Yugo-nostalgic’, while the national
holidays from the third Yugoslavia
never had time to take root.13
2. Joint and Simultaneously Separate
Memory
In fairly recent
studies on sexuality and youth, the
phrase living together apart became
accepted as signifying new forms of
life relationships, both in terms of
partnerships aswell as family, which
are maintained from a distance. I
will borrow this phrase and modify
it into “parallel memory”, as a form
of collective memory with
significant internal distinctions,
something we remember together
apart. Modernization introduced
pluralism into the sphere of memory,
too. Parallel memory means that
different memories peacefully
coexist at best, are ignored in
neutral instances, and conflict in
confrontational instances. In
ideologically and politically
increasingly complex Yugoslav and
post-Yugoslav societies there were
and are parallel compositions of
memory: between individual groups,
like nations, but also within each
‘unit’ itself. For example,
one-sided memories on issues from WW
II are kept alive not only by
veteran anti-fascist organizations,
but also by their opponents, the
different collaborationists: the New
Slovenian Alliance, neo-Ustasha
movements and various neo-Chetnik
movements.14 Croatian
anthropologist, Vjeran Pavlaković
took the example of present-day
commemorations of events from WW II
to note that “commemorative culture
is still incredibly politicized and
divided in both the ethnic and
ideological senses” (2012: 166,
167). So on the one hand, we
encounter negative memories of
socialist Yugoslavia for example,
among others, as collected in the
exhibit (later edited in book form)
from Ljubljana called the Temna
stran meseca (The Dark Side of the
Moon) from 1998, or the exhibit
(later also in book form) from
Belgrade, In the Name of the People
– Political Repression in Serbia
1944-1953 from 201415 and on the
other, we have a whole series of
books, which in a critical, and
sometimes humorous, fashion review
different aspects of life in
socialist Yugoslavia.16
Drawing parallels
and leveling out memories in the
sense that the good is always mixed
with the bad is frequently a
deliberate strategy by official
institutions. For example, this
canbe seen in the fact that
high-level political officials are
given to laying wreaths, frequently
within the same day, at the
monuments of fallen Partisans as
well as collaborationists, which is
coupled with an appropriate balanced
reporting of these events by the
media; in the political statements
they make, in different calls for
reconciliation and the like. Giving
equal weight in memory to the
fascist and anti-fascist side
renders historical fact relative and
such practices are the first serious
step towards revisionism.
3. Memory Wars
Like any other
narrative form memory, too, is a
matter of competition and
antagonisms, that is, it poses the
question of who remembers correctly.
Confrontations of memories are very
different: from those intimate and
full of piety, to those in public,
loud and full of rage. In the Balkan
region the culture of memory “is
characterized by synchronic
coexistence, even rivalry of
different national and transnational
concepts” (Zimmermann, 2012: 16). In
the hegemonic discourse of every
Yugoslavia, or their successors,
each of the previous Yugoslavias
(and even more so the
Austro-Hungarian and Ottoman empires
before them) was criminalized as the
dungeon of nations, above and most
of all, obviously, of our nation. I
cannot remember a single positive
word about the first Yugoslavia
uttered by a politician of the
second, nor about any of them by
current politicians. Such are also
the reconstructions of memory in
different ideological institutions.
School textbooks in the second
Yugoslavia had very little to say
about the first, just as present-day
textbooks say very little about all
the former Yugoslavia. The Belgrade
historian Dubravka Stojanović writes
about the “simmering fire of history
textbooks as the source of (new)
conflict” and using the example of
Serbian history textbooks
convincingly demonstrates the
neglect and suppression of the
Yugoslav dimensions of Serbian
history with accompanying and
inescapable national
self-victimization and historical
essentialism, the exclusion of
problematic historical individuals
and events, the militarization of
history, ethnocentrism and
xenophobia (2010: 85-158; see also
Kuljić, 2011: 156-183).
On the other hand,
the counter-memory of (individual)
people is being soured by the new
discursive uniformity of governing
institutions. For George Lipsitz, a
scholar of American popular culture
memory, this kind of memory “is not
a negation of history, but only the
discarding of its false priorities
and hierarchical divisions” (1997:
223).17 I will illustrate this with
some data from public opinion
research. According to research done
by the Serbian public opinion survey
agency Tvoj stav (Your view) from
August 2010, 82.95% of Serbian
citizens polled claimed that they
lived well in the former Yugoslavia
(only 17.05% thought the opposite):
and 51,14% were for its renewal,
while 48.86% were against.18 The
Croatian Jutarnji list (Morning
Paper)19 of June 25, 2011 reported how
residents of the Western Balkans
assessed their present living
conditions: the conviction that in
2011 they were better off than in
1991 was expressed by 26.5% of the
residents of Slovenia, 24.8% of
Croatians, by 15.4% of people polled
in Serbia, and 12.1% in Bosnia,
while the distribution of those who
thought they were worse off was:
68.6% of the residents polled in
Serbia, 59.1% in Bosnia, 43.6% in
Croatia and 38.6% in Slovenia. A
survey of the residents of the
Western Balkans born in 1971 and
1991 in autumn 2011 showed that, in
their view, life would be better in
a state that existed today, but was
modeled after life in socialist
Yugoslavia was held by 81% of those
polled in Republika Srpska
(Bosnia-Herzegovina), 69% of
respondents in Serbia, 65% in
Montenegro, 62% in Macedonia, 58% in
the Federation of B-H, 30% in
Croatia and 25% in Kosovo. The
greatest cultural affinity (music,
literature, art, entertainment) with
other Western Balkan nations is felt
in Kosovo (58%), in Macedonia (50%),
in Serbia, Montenegro,
Bosnia-Herzegovina and in Albania
(between 44 and 39%), and the least
is felt in Croatia (28%).20 In
January 2015, in a survey conducted
by the aforementioned Serbian
agency, 64.81% of respondents chose
Tito’s self-management socialism as
the political system they would like
to see in a possible future
Yugoslavia.21 It is also
interesting to note that according
to a survey from February of the
same year, more respondents who are
citizens of Serbia knew the words of
the socialist Yugoslav anthem better
than the words of the Serbian anthem
(81.3% compared to 68.29%), as well
as knowing better the sequence of
colors on the flag of socialist
Yugoslavia than on the flag of the
Republic of Serbia (83.7% compared
to 80.49% ).22 The results of a
survey, conducted amongst the
citizens of Croatia and
Bosnia-Herzegovina in spring 2015
who were 45 years of age or older,
in other words, those who had some
kind of Yugoslav experience, are
also indicative: 92% of those from
Bosnia and 86% of those from Croatia
claimed that life in the former
socialist Yugoslavia was better than
their present life. Tito was a
positive historical figure for 65%
of those polled in Bosnia and 40% of
respondents from Croatia.23 In sum:
the difference from the official
memory of the Yugoslav reign of
terror is more than striking.
4. The Dialectics of Remembering and
Forgetting
Every politics of
memory or remembering is also a
politics of forgetting. The dynamics
of changes in the region of
Yugoslavia dictated a quickened
dialectic of remembering and
amnesia: as soon as something had to
be remembered, something also had to
be forgotten. This is the pendulum
effect. At the time of Yugoslavia,
one had to “officially” forget
pro-Yugoslav, anti-Yugoslav or
un-Yugoslav traditions, just as one
had to “officially” forget Yugoslav
traditions after the country’s
dissolution. Older examples for this
are the monuments to fallen
soldiers. In the first Yugoslavia,
the victors (Serbia and Montenegro)
proudly established them, while the
vanquished (the so-called Habsburg
South Slavs) did not.
Current ruling
policy in Croatia depends on
amnesia, while in Serbia it takes
the form of a contradictory mixture
of amnesia and integration. This is
the conclusion reached by
anthropologist of the contemporary
Balkans Stef Jansen (2005: 256); a
similar combination of imposed
official memory, partial lustration
of cultural memory and deliberate
amnesia can also be discerned in the
other successor states. But
compulsory amnesia dialectically
swings back like a boomerang. The
revenge of oppressed national memory
cultures during the time of the
Yugoslavias was obvious after their
dissolution: both during World War
II and during the wars of the
Nineties. Suppressed and proscribed
traumatic memory return with a
vengeance: for this it is enough to
recall examples in the memoir-type
literature of obsession with
Jasenovac (the infamous
concentration camp in Croatia –
trans.) and Bleiburg (the so-called
‘Bleiburg massacre’ events at the
end of WW II – trans.), or with the
assassinations of Stjepan Radić
(Croatian MP in the parliament of
the first Yugoslavia – trans.) and
King Alexander I, the fates of
Alojzije Stepinac (the Croatian
cardinal during WW II – trans.) and
Draža Mihajlović (leader of the
Chetnik movement during WW II –
trans.); with the liberation or
occupation of 1918, 1941, 1945, and
1991 etc. In these upheavals of
memoirs, former heroes become
criminals – and vice versa, former
villains become heroes, former
achievements become delusions – and
vice versa; the former state becomes
a tyranny – and vice versa.
Slovenian national television is
currently broadcasting a series of
talks on the suffering of Slovenes
at the hands of the Partisans and
later, during socialist Yugoslavia,
called Witnesses, whose format and
discourse is reminiscent of radio
talk shows from the seventies titled
Do You Remember, Comrades? which did
the reverse – celebrated the
Partisans and the post-war political
system.
5. The Uses of Memory
The
instrumentalization of memory is the
systematic use of memory to achieve
certain precisely defined objectives
in the present – objectives that can
be political, commercial,
pop-cultural and so forth. In short,
the past sells. In the case of
Yugoslavia, this takes place in
different ways. For example, in
politics. In Bosnia-Herzegovina,
wings have been added to museum
collections dedicated to the memory
of the Partisan struggle which this
struggle connects to that during the
Bosnian War from 1992-1995. In
Republika Srpska, the Serb entity in
Bosnia, Partisan resistance is
linked to resistance against the
Bosniak-Croatian side during the
last war, while in the Federation of
B-H the Partisan struggle is tied to
resistance against the Serbian side
during the last war. The revisionist
mantra of veteran organizations in
Slovenia is that without the
Partisan movement an independent
Slovenia would not have been
possible. Things are similar in
Macedonia - where continuity between
the resistance of the 1903 Kruševo
Republic has been established with
the Partisan resistance 40 years
later. Croatian presidents Stjepan
Mesić and Ivo Josipović have tried
to connect “the multi-ethnic
anti-Fascism of the 1940s to the
ethno-centric and chauvinist
Homeland War of the 1990s as having
the same liberating character and as
two equally important pillars of
Croatian statehood” (Kuljić, 2011:
84). In pop culture, memories of
Yugoslavia in the form of Yugo-Rock
or Yugo-Pop melodies are present in
oldies-goldies bands and certain
performers (Zdravko Colić, Neda
Ukraden, Novi Fosili (New Fossils),
Zabranjeno Pušenje (No Smoking
etc.), as well as in Yugo-Nostalgic
bands (Rock Partyzans, Zaklonišće
prepeva (Singing Shelter etc.). In
advertising, the rare surviving
Yugoslav trademarks and products,
like Životinjsko carstvo (Animal
Kingdom -chocolates – trans.),
Vegeta (all purpose seasoning or
spice – trans.), Gorenje (kitchen
appliances – trans.), Cedevita
(fizzy vitamin supplement – trans.)
or Domačica (Housewife) biscuits,
had have great success in selling
memories of past times. Kokta (a
Yugoslav brand of cola – trans.) is
thus still the drink of our and your
youth. In all the large supermarket
chains like Lidl, Hofer, Interspar
and Mercator these products are part
of sales drives called Nostalgia
Week. In design, memories of
socialist-style design is at the
core of new retro-cultures and
vintage styles. In these products we
find the aesthetics of Borosana
shoes (originallya brand of women’s
working shoes that symbolized
working women and gained a special
place in the urban lexicon of
socialist Yugoslavia – trans.),
Toper and Rasice winter wear
(Slovenian sportswear made in
socialist Yugoslavia – trans.),
Tomos (Slovenian motor company –
trans.) mopeds, the Yugoslav tiny
version of Fiat popularly called
Fića, parts of JNA (the Yugoslav
military – trans.) uniforms and many
other things.
6. One History, Many Memories
One the one hand,
historiography, says Slovenian
sociologist Rastko Močnik (2008:
46), frequently falls into
“retroactive legitimizing”. In this
respect it is of interest to compare
permanent exhibits in the main
historical museums in the
post-Yugoslav capitals, what one
might call the canonized memory of
the successor states, that is,
examples of how “historicism paints
an ‘eternal’ picture of the past”
(Benjamin, 1998: 223). Belgrade
student of Yugo-nostalgia Milica
Popović (2016),in her comparative
study of the historical museums in
Belgrade, Zagreb and Ljubljana,
convincingly shows that the Museum
of Yugoslav History (in Belgrade)
continues to cultivate the memory of
the former state, both with its
permanent exhibit and its occasional
exhibitions; the Croatian Historical
Museum (in Zagreb) and the Museum of
Modern History in Ljubljana, on the
other hand, have to a large degree
distanced themselves from the
Yugoslav past and are, in effect,
national museums proper.24 The
Sarajevo Historical Museum of
Bosnia-Herzegovina does not have a
permanent exhibit that covers the
Yugoslav decades, but only sections
covering the last two wars, in other
words, the years 1992-1995 and
1941-1945. According to the fairly
well-balanced permanent exhibit of
the State Museum of Montenegro in
Cetinje, in 1918 Montenegro lost its
state identity, in 1945 it completed
the process of renewing its state
identity in the period between the
two world wars, while in 1992,
through a referendum, it opted for
life in a joint state with Serbia.
The most revisionist (and in its
very display the most grotesque) is
without doubt the newly-opened (in
2011) Museum of the Macedonian
Struggle for Sovereignty and
Independence, which portrays the
Yugoslav period as the most
difficult in the history of the
Macedonian nation.25 In conclusion -
national memory seen through the
institution of museums has been,
since the 1990s, more or less
completely “de-Yugoslavized”.
On the other hand,
according to the view of the
American scholar of holocaust memory
Michael Rothberg (2009: 12),
“multidirectional memory assumes
that collective memory is partially
free of the ballast of exclusive
versions of collective identity and
accepts that memory both intersects
and connects different places across
space, time and culture. The
post-Yugoslav period is replete with
examples of such trans-national
memory, memory about the same past
that is unorthodox and characterized
by a non-exclusive pluralism and
which can be seen in different
media: in documentary films26,
comedy series27, Yugo-nostalgic
music28, in the theater29, and on
television channels such as Klasik
TV based in Zagreb, which broadcasts
Yugoslav films and other similar
programs, or Jugoton TV with
ex-Yugoslav music. Today on the
walls of buildings in cities from
Vardar (Macedonia) to Triglav
(Slovenia- trans.) we can find a
plethora of Yugo-philic and
Yugo-phobic graffiti and street art
(Velikonja, 2016). Even if I turn
around the focus of research and
microscopically study the memories
of individual people, I find a
similar multi-directionality of
memory and nostalgia, for example,
amongst the users of social media
and Internet discussion forums, on
blogs and web pages. The same
applies to memorial books, placed in
museums showcasing events from World
War II in different parts of the
former Yugo.30
7. Nostalgia as Memory Minus Pain
The above is the
shortest definition of nostalgia
introduced in the mid-seventies by
American columnist Herb Caen, to
which I would add another:
“retrospective utopia”. The
narration of nostalgia is always
anti-ethical (on one side is the
‘better yesterday’and on the other,
the ‘uglier today’). Its diction is
melancholy and bitter-sweet and its
relationship towards the present is
escapist (the intimate yearning for
that which is gone), or critical and
restitutional. Nostalgia is a
romanticized story about an
idealized past which as such never
existed: about an idealized ‘us’
which we never were and about that
past which had a future. Yet one
should not overlook the social
potential of nostalgia: it is not
just a sentimental fairy tale by
people who cannot make their peace
with the present(the so-called
transition losers, to cite the rough
characterization of the
anti-nostalgics), but possibly also
a strong cultural and political
force with practical effects in its
environment.
Yugo-nostalgia
appears regardless of, or precisely
because of, the ethno-nationalist
and neo-liberal damnatio memoriae in
the successor states and is similar
to the other red nostalgias that have
surfaced since the nineties from the
Baltic to the Balkans, and from the
Czech Republic to the former Soviet
republics. It is a kind of
(non)reflective resistance –
passive, sentimental, or active and
loud – against, above all,
systematic demonization or at least
the deliberate amnesia of the
Yugoslav era of the peoples
concerned and also, against new
tragedies, injustices and
exploitation brought about by
democracy, independence and a market
economy. Jansen concludes that the
main themes of Yugo-nostalgia are a
common (pop)cultural space, that is,
“home”, better times and normal life
(2005: 223-250). It first appeared
informally during the traumatic
nineties, softly and covertly, at
home and in closed groups, only to
surface and during the last ten to
fifteen years penetrate mainstream
discourse, practice and
institutions. But the
characterization Yugo-nostalgic
remains a usable curse word to
signify left-wingers in current
political conflicts.31
Today I find
nostalgia for the Yugoslav past at
every turn - in the media, in
advertising, in consumer and popular
culture, in tourism, in urban and
even alternative culture.
Yugo-nostalgics in the successor
states, but also the diaspora32,
are joining societies and clubs with
the name Josip Broz Tito (in
Bosnia-Herzegovina alone there are
over 40); in Macedonia they even
have a political party – The
Alliance of Left-Wing Tito’s Forces.
Again I will choose only a few from
the many possible examples. Toponyms
of Yugoslav memory, Pierre Nora’s
lieux de memoire (places like
Dedinje, Dražgoše, Tjentište,
Brioni, Kumrovec, Jablanica etc.),
as the “supreme embodiments of
memorial consciousness which barely
survived a historical period because
it is no more call out to be
remembered” (Ibid. 12) and have in
recent years become profitable
destinations for nostalgic
pilgrimages. Furthermore, across the
former Yugoslav republics several
resounding and well-visited
exhibitions are circulating which
showcase everyday life, popular
culture, fashion and sports of that
time in an exceptionally favorable
light. I will only mention that in
2013 an exhibition was first put on
display in Belgrade under the
noteworthy name Živio život (Living
the Life); in Ljubljana (in its
largest shopping and entertainment
mall BTC City!) as An Exhibition of
the Good Life from the ‘50s to the
‘90s, and a year later in Podgorica
again under the name Living the Life
(yet again in some shopping mall).
At the end of 2014, a similar
exhibition, first in Belgrade, then
in Sarajevo and Ljubljana, was
organized on the modernization of
everyday life and leisure time in
Yugoslavia under the name They Never
Had It Better?
The survival of
these nostalgic relics demonstrate
two things: that Yugoslavia “was not
only the sum of its constitutive
national cultures, but rather that
during the seventy years of its
existence it managed to create a
supra-national, common cultural
layer of all Yugoslavs” (Milutinović
2013: 75). And that ‘Yugoslavhood’
in the sense of a specific cultural
syncretism and a social
cosmopolitanism of the nations and
social groups living on its
territory preceded Yugoslavia as a
state, that is, as a political
community; that it survived in that
space in different forms over the
years and that it even survived
Yugoslavia after its dissolution in
1991 and, again, in 2006.
8. Cathartic Memory
In the politics of
memory one always finds more guilt
in others and what they did to us,
rather than what we did to others.
We are always the victims, never
they. On the other hand, the memory
of historical tragedies in which
responsibility lies with members of
one’s own group having wronged
others can assist in reaching a more
thoughtful attitudeto historical
misconceptions and errors and also
facilitate reconciliation with the
other side. The Never Again! of
memory can be equally cathartic and
liberating towards the inside as it
can towards the outside.
Kuljić defines negative memory in the
following way: “in question is the
practice, which comes about only
slowly and with much resistance, of
creating social memory with the
premise that memory can have
humanistic and democratic
consequences only if it also
includes memory about the history of
injustice and crime for which we are
responsible or are at least
accomplices” (2012: 223). This means
that primarily one should remember
the vanquished – about which, to
take a Croatian example, historian
Dragan Markovina (2015) writes so
well.
Willy Brandt’s
‘Warsaw Genuflection’ in front of
the monument to the Jewish victims
of the Warsaw Ghetto Uprising in
1970 consolidated German negative
memory of the barbarity of their
Nazism. It is probably too early to
expect similar sincere and mature
gestures on the territory of the
former Yugoslavia. Those that have
occurred have frequently been merely
symbolic, insufficient, misleading
or made by former war-mongers.33
Nevertheless, there are some
noteworthy examples: in the State
Museum of Montenegro there is a
photograph of Dubrovnik in flames
from autumn 1991 with the
acknowledgement that this act was
committed by members of the regular
forces of the JNA from Montenegro.34
The act that went furthest in
this respect was probably the
confession, apology and plea for
forgiveness uttered by Alfred
Pichler, the Roman-Catholic Bishop
from Banjaluka in 1963, for the
crimes committed by those who called
themselves Catholics against
Orthodox Christians simply because
they were not Croats or Catholic.
For example,
significantly more self-criticism -
and the catharsis in collective
memory connected with it - can be
found in art and the so-called
alternative scene than in the
dominant institutions (the state,
church, political parties and
movements). For example, in film:
even before the shaping of the most
formative myth of the second
Yugoslavia, the Partisan myth, and
during its existence, one can
discern clear diversity not only in
genre and aesthetics, but also in
ideology.35 Towards its end even
more complex Partisan films were
made,36 then films that critically
treated difficult post-war events,37
or offered thoughtful and critical
reflections on the Yugoslav
socialist system,38 while the
Nineties brought with them an
about-face towards the other side.39
Furthermore, in the post-Yugoslav
period, many initiatives and
organizations appeared that nurtured
the memory of, and warned against,
the crimes by our side against
others: from Helsinki Committees and
Amnesty International, to pacifist
and humanitarian groups that act in
continuity or ad hoc, in different
left-wing counter-cultural and
counter-political groups. Here are
some examples. In Serbia, ever since
the time of the breakup of the
Federation, the Women in Black group40
has been very active. Through its
various activities it has confronted
the domestic and wider public with
crimes from the last wars,
especially with crimes committed by
the Serbian side and it continually
advocates bringing to justice the
perpetrators responsible and
dignified commemoration for the
victims. To this end, they
participate in ahighlyvisible way in
commemoration events in Vukovar,
Srebrenica, Višegrad and elsewhere.
In Croatia, the
Centar za ženske žrtve rata (Center
for Female Victims of War) draws
attention to military and
patriarchal violence against women
from the beginning of the nineties,
while the pacifist organization
Zamir (For Peace) has provided an
anti-war platform for NGOs. During
the past decade, a group of
multi-media artists and
theoreticians from different parts
of the former Yugoslavia called
Spomenik (Monument) have, with their
performances, lectures and
discussion panels, critically
reviewed the recent wars, crimes
against civilians and the general
normalization of violence in the
post-socialist transition in this
part of the world. All together
these present irritating,
“overlooked” memories and therefore
it is no surprise that they have
been branded by militarist and
nationalist circles as
Yugo-nostalgics, secret police mafia
(udbomafija), traitors, foreign
mercenaries etc.
9. Engaged Memory
Official memory
that is in the hands of the ruling
group homogenizes the past, while
unofficial memory pluralizes it; the
first totalizes, the second
diversifies and particularizes it;
the first constructs a unified view
towards the past, the second
deconstructs it; the first orders
and bans, the second resists.
Unofficial, “heretical” memory can
serve as a basis of resistance to
the powers that be, it is – in the
words of James C. Scott – the
“weapon of the weak” because it
resists historical revisionism,
opportunism, conformism and amnesia
which destroy the “historical
continuum” (Benjamin, 1998: 223).
Kuljić lucidly defines the critical
culture of memory as that which
“advocates investigation of the
interest base of groups mediating
the past (class, political, family
and generation factors)” and for
which “the key question is not what
the remnants of the past tell us,
but how these remnants are
interpreted” (2012: 23; and more
extensively 207-252).
In the
post-Yugoslav context it is
therefore not surprising that
pictures, symbols and slogans from
the old times constitute a mandatory
part of the repertoire of different
anti-regime demonstrations
everywhere. Using the example of
present-day Sarajevo, Alenka
Baretulovič, an anthropologist from
Ljubljana, has demonstrated that
“memory of the (idealized) past has
really served as a method of
resistance” (2013: 221). The main
protagonist of the Sarajevo protests
of 2008 was no other than Valter,
the protector of the city from World
War II, popularized in the film and
television series from the
Seventies;41 his revival would
protect the city from its final
downfall (Ibid: 276, 277). At other,
similar gatherings, and not only in
Bosnia, demonstrators carried
pictures of Tito or waved the flags
of the second Yugoslavia or one of
its socialist republics.
Memory for the Future
Research into
collective memory has not as yet
dealt sufficiently with its social
foundations, ideological potentials
and political consequences.
Frequently, they are understood in a
fashion that is too objectivist, in
the sense of remembering the past –
putting it in the words of von
Ranke– the way it really was. One
must, however, always be aware of
the fact that the position of memory
in time “is always in the present
and not, according to a naïve
epistemology, in the past” (Huyssen,
1995: 3). In the words of Stojanović
(Ibid: 19), “’the politics of
memory’ is therefore also a par
excellence history of the present”.
Memory speaks of the past precisely
as much as the present allows it.
Mnemonic
reconstructions, therefore, should
be investigated not only from the
perspective of the present, meaning
who/what/ how and, primarily, why
someone remembers, but above all
from the aspect of social conflict.
Put another way: not all memory is
equally socially relevant and
influential and cannot be
investigated in the same way.
Starting from Benjamin’s maxim that
“the subject of historical knowledge
is the very rebellion of the
oppressed class” (Ibid. 221), one
should ask not only what and who is
remembered, but primarily what
effect that memory has on a better
present and a better future too (if
any at all!) Does memory only
reproduce what exists, aligning
itself with it or does it also offer
alternative and different visions?
Here again, we can draw an important
parallel with historiography as the
“memory of the state”. Just as
“critical historiography is
productive to the extent to which it
confronts us with discontinuities
and internal paradoxes, acting as a
bulwark against the myths of
glorious history and the dogmas of
antiquarian history” (Kuljić, 2012:
218, 219), and just as “a history
that nurtures the memory of peoples’
rebellions also proposes new
definitions of power” (Zinn, 1999:
610), so too is the active and
critical memory of an oppressed
group one which, instead of simply
referring to the past, or even
unreflectively recycling it, grabs
it and uses it as a means of
transformation for the better.
In the
post-Yugoslav field, too, there are
things to be remembered that have an
emancipatingcharacter: the idea and
practice of an autochthonous
anti-Fascism (that is, a wider,
rebellious, anti-imperialist
tradition) and an equally
autochthonoussocialist system, but,
of course, in all their complexity,
with the necessary criticism of
their fallacies and errors. Memory
of thesebrings into question and
abolishes the monopoly of official
historiography over the past, as
well as the overviewof dominant
politics over the present, from the
position of those who have lost the
most in the post-Yugoslav and
post-socialist transition. This kind
of memory is in contrast withthe
“kitschification of memory
culture”42 – in other words, the
other side of the de-politicization
of “Project Yugoslavia” through its
commoditization, banalization,
trivialization, romanticization,
sentimentalism and its incorporation
into tourism and consumerism. First,
the Yugoslav idea “in the current
circumstances represents a purely
humanistic and anti-nationalist
platform”, that frightens
nationalists in all the successor
states (Markovina, 2015: 130).
Memory of the specific, Yugoslav
brand of multi-culture undermines
ethno-nationalist forms of
provincialism. And second, memory of
Yugoslavia affirms its fairly high
degree of social justice,
solidarity, security and social
mobility, which to a great extent
runs counter to the contemporary
ideas and practices of
neo-liberalism (in the circumstances
of the post-Yugoslav space it might
be more appropriate to talk about
Manchester capitalism). In this
sense, memory of Yugoslavia –
anathematized by the present-day
powers that be – is a subversive
political activity that produces
political consequences: destroys the
monolith of official anti-Yugoslav
memory, brings political imagination
back into the game, that is,
thinking about alternatives after
the desolation of the new world
order, after the self-styled end of
history, after the end of ideology,
after the end of society and finally
after the end of Yugoslavia. I
believe Yugoslavia should be
remembered only to the degree that
it also contained rebellion,
modernization, emancipation and (the
possibility of) an alternative, in
other words, to the degree that it
contained an effort to attain a more
just future.
To return to the
title of this text: the Yugoslav
rear-view mirror should be turned
forward.
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Antinacionalizem v povojnem
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Benjamin, Walter, Izbrani
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Foucault, Michel, Michel Foucault:
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Hadžibulić, Sabina, Manić, Željka,
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Halbwachs, Maurice, The Collective
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1980.
Huyssen, Andreas, Twilight Memories
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