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East Central Europe 38 (2011) 169–179 © Koninklijke Brill NV, Leiden, 2011 DOI 10.1163/187633011X602462 brill.nl/eceu Introduction Mapping the Merry Ghetto: Musical Countercultures in East Central Europe, 1960–1989 Our special issue off ers an innovative overview of the developments in musical subcultures in East Central Europe from the 1960s to the postcommunist transition period. It intends to place these movements into their respective sociocultural settings, paying attention to both the local political contexts and artistic traditions, and also the transnational cultural mediation of styles and ideas. It also off ers an insight into the modern cultural history of these countries, focusing on the alternative musical scenes in the sense of a Gesamtkunstwerk , i.e., analyzing their complex linkages to other art branches. It tackles questions like the emergence of generational subcultures, the rela- tionship of Samizdat/opposition groups and the art subcultures, the recon- struction of contemporary debates on counterculture, and the question of national/transnational contexts. To indicate the notion of counterculture we have been relying upon, a few words of explanation are needed. Let us approach this issue from the angle of two related concepts in vogue in the past decades: “popular culture” and “sub- culture.” Popular culture is
East Central Europe – Brill
Published: Jan 1, 2011
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