Evidence from popular music shows that the Yugoslav region just like other European countries does possess a 'deep reservoir' of notions of modernity, morality, hierarchy and entitlement through which popular culture and everyday discourse mobilise meaning. Wekker's search for the affective legacies of racialised colonial imagination in the 'cultural archive' reinforces Anikó Imre's argument that scholars of European media ought to apply the lens of east European postcoloniality to everyday popular culture as well as highbrow literature and cinema. The most unambiguous examples of colonial racialised imaginaries in post-Yugoslav entertainment, even more so than Cro-dance's tribalism and primitivism, were occasional blackface performances on music television. Popular music stands alongside transnational sport and film as a major vector for an embodied transnational cultural politics of race, where what producers and audiences perceive through transnational media is adapted or vernacularised through their own perceptions of race and identity.
Note: index pages in bold refer to the main discussion of the term. When ‘n.’ appears after a page reference, this indicates the number of a note on that page.