Serbian Cyrillic
Type	Alphabet
Languages	Serbian, Bosnian
Time period	1814 (modern)
Parent systems	Greek alphabet (partly Glagolitic alphabet) Early Cyrillic alphabet Serbian Cyrillic
Child systems	Macedonian
ISO 15924	Cyrl, 220
Direction	Left-to-right
Unicode alias	Cyrillic
Unicode range	subset of Cyrillic (U+0400...U+04F0)
Note: This page may contain IPA phonetic symbols.

The Serbian Cyrillic alphabet (Serbian: српска ћирилица, srpska ćirilica, pronounced [sr̩̂pskaː tɕirǐlitsa]) is an adaptation of the Cyrillic script for the Serbian language, developed in 1818 by Serbian linguist Vuk Karadžić. It is one of the two standard modern alphabets used to write the Serbian and Bosnian languages, the other being Latin. Cyrillic has been the official script in Serbia since 2006.

Karadžić based his alphabet on the Cyrillic script, faithfully following Johann Adelung's principle of "write as you speak and read as it is written". Serbian Cyrillic and Latin alphabets have a complete one-to-one congruence, with the Latin digraphs Lj, Nj, and Dž counting as single letters.

The Cyrillic alphabet is seen as being more traditional, and has official status in Serbia (designated in the Constitution as the "official script", compared to Serbian Latin's status of "script in official use" designated by a lower-level act), Bosnia and Herzegovina, and Montenegro (besides Latin script). During the course of the 20th century the Latin alphabet has become more frequently used, especially in Bosnia and Herzegovina and Montenegro.

The Serbian Cyrillic alphabet, together with the works of Krste Misirkov and Venko Markovski, was used as a basis for the Macedonian alphabet.

Modern alphabet[link]

Serbian Cyrillic, from Comparative orthography of European languages. Source: Vuk Stefanović Karadžić "Srpske narodne pjesme" (Serbian folk poems), Vienna, 1841

The following table provides the upper and lower case forms of the Serbian Cyrillic alphabet, along with the equivalent forms in the Serbian Latin alphabet and the International Phonetic Alphabet (IPA) value for each letter:

History[link]

The two Slavic scripts, Glagolitic and Cyrillic, in tradition, were invented by the Byzantine Christian missionairies and brothers Cyril and Methodius in the 860s, amid the christianization of the Slavs. Glagolitic appears to be older, predating the introduction of Christianity, only formalized by Cyril and expanded to cover non-Greek sounds. Cyrillic may have been a creation of Cyril's disciples, perhaps at the Preslav Literary School in the 890s.^[1]

The earliest form of Cyrillic was the ustav, based on Greek uncial script, augmented by ligatures and letters from the Glagolitic alphabet for consonants not found in Greek. There was no distinction of capital and lowercase letters. The literary Slavic language was based on the Old Slavic dialect of Thessaloniki.^[1]

Major medieval works written in various Cyrillic alphabets include:

• Karyes Typicon, 1199 typicon by Saint Sava
• Studenica Typikon, 1208 typicon by Saint Sava
• Bratko Menaion, 1234 menaion
• Dragolj Code, 1259 Illuminated manuscript
• Belgrade Prophetologion, 13th century lectionary
• Vukan Gospels, 13th century Illuminated manuscript
• St. Sava's Nomocanon, 13th century civil law and canon law by Saint Sava
• Hagiography, 13th century work by Saint Sava
• Dušan's Code, 1349 legal code by Emperor Dušan
• Nikola Gospels, 1350 work
• Radoslav Gospels, 1429 illuminated manuscript
• Oktoih, 1494 psalter

Karadžić's reform[link]

Vuk Karadžić

Vuk Stefanović Karadžić (l. 1787–1864) fled Serbia during the Serbian Revolution in 1813, to Vienna. There he met Jernej Kopitar, a linguist with interest in slavistics. Kopitar and Sava Mrkalj helped Vuk to reform the Serbian language and its orthography. He finalized the alphabet in 1818, with the Serbian Dictionary.

Vuk's dictionary.

Karadžić reformed the Serbian literary language and standardised the Serbian Cyrillic alphabet by following strict phonemic principles on the German model and Jan Hus' Czech alphabet. Karadžić's reforms of the Serbian literary language modernised it and distanced it from Serbian and Russian Church Slavonic, instead bringing it closer to common folk speech, specifically, to the dialect of Eastern Herzegovina which he spoke. Karadžić was, together with Đuro Daničić, the main Serbian signatory to the Vienna Literary Agreement of 1850 which, encouraged by Austrian authorities, laid the foundation for the Serbian language, various forms of which are used by Serbs in Serbia, Montenegro, Bosnia and Herzegovina and Croatia today. Karadžić also translated the New Testament into Serbian, which was published in 1868.

He wrote several books; Mala prostonarodna slaveno-serbska pesnarica and Pismenica serbskoga jezika in 1814, and two more in 1815 and 1818, all with the alphabet still in progress. In his letters from 1815-1818 he used: Ю, я, Ы and Ѳ. In his 1815 song book he reverted the Ѣ.^[2]

The alphabet was officially adopted in 1868,^{[citation needed]} four years after his death. The corresponding Latin script (latinica) is also used to write in the language.

From the Old Slavic script he retained these 24 letters:

He added one Latin letter:

And 5 new ones:

He removed:

In Austria-Hungary[link]

Orders issued on the 3 and 13 October 1914 banned the use of Serbian Cyrillic in Croatia, limiting it for use in religious instruction. A decree was passed on January 3, 1915, that abolished the rights to address the authorities in Cyrillic. An imperial order in October 25, 1915, banned the use of Serbian Cyrillic in Bosnia-Herzegovina, except "within the scope of Serb Orthodox Church authorities".^[3]

In Yugoslavia[link]

The Serbian Cyrillic script was one of the two official scripts used to write the Serbo-Croatian language in Yugoslavia since its establishment in 1918.

With the collapse of Yugoslavia in the 1990s, Serbo-Croatian was divided into its variants on ethnic lines (as it was pre-Yugoslavia) and Cyrillic is no longer used officially in Croatia, while in Serbia, Bosnia and Herzegovina and Montenegro the Serbian Cyrillic stayed the official constitutional script,^[4] Slovenia and Macedonia had never officially used the Serbo-Croatian language.

Under the Constitution of Serbia of 2006, Cyrillic script is the only one in official use.^[5]

Special letters[link]

The ligatures ⟨Љ⟩ and ⟨Њ⟩, together with ⟨Џ⟩, ⟨Ђ⟩ and ⟨Ћ⟩ were developed specially for the Serbian alphabet.

• Karadžić based the letters ⟨Љ⟩ and ⟨Њ⟩ on a design by Sava Mrkalj, combining the letters ⟨Л⟩ (L) and ⟨Н⟩ (N) with the soft sign (Ь).

• Karadžić based ⟨Џ⟩ on letter "Gea" in the Romanian Cyrillic alphabet.^{[citation needed]}

• ⟨Ћ⟩ was adopted by Karadžić to represent the voiceless alveolo-palatal affricate (IPA: /tɕ/). The letter was based on and adapted from the letter Djerv, which is the 12th letter of the Glagolitic alphabet; that letter had been used in written Serbian since the 12th century, to represent /ɡʲ/, dʲ/ and /dʑ/.

• Karadžić adopted a design by Lukijan Mušicki for the letter ⟨Ђ⟩. It was based on the letter ⟨Ћ⟩, as adapted by Karadžić.

• ⟨Ј⟩ was adopted from the Latin alphabet.

⟨Љ⟩, ⟨Њ⟩ and ⟨Џ⟩ were later adopted for use in the Macedonian alphabet.

Differences from other Cyrillic alphabets[link]

Common non-italic (left), Russian italic (middle) and Serbian italic (right) glyphs of letters b, p, g, d, t and sh; note that all but Serbian italic 'g' are quite acceptable in handwritten Russian cursive

Serbian Cyrillic does not use several letters encountered in other Slavic Cyrillic alphabets. It does not use hard sign (ъ) and soft sign (ь), but the aforementioned soft-sign ligatures instead. It does not have Russian/Belorussian Э, the semi-vowels Й or ў, nor the iotated letters Я (Russian/Bulgarian ya), Є (Ukrainian ye), Ї (yi), Ё (Russian yo) or Ю (yu), and are instead written as two separate letters: Ja, Je, Jи, Jo, Jy. J can also be used as a semi-vowel. The letter Щ is not used. When necessary, it is transliterated as either ШЧ or ШT.

Serbian and Macedonian italic and cursive forms of lowercase letters б, п, г, д, and т, differ from those used in other Cyrillic alphabets (in Serbian ш is optionally underlined, whereas in Macedonian is not). That presents an obstacle in Unicode modeling, as the glyphs differ only in italic versions, and historically non-italic letters have been used in the same code positions. Serbian professional typography uses fonts specially crafted for the language to overcome the problem, but texts printed from common computers contain East Slavic rather than Serbian italic glyphs.^[6] Adobe Cyrillic fonts^[7] and the new Microsoft Windows Vista font family include the Serbian variations (both regular and italic) as well as a few other font houses.^{[citation needed]} The letters can easily be implemented using Adobe Illustrator, for example.^{[citation needed]}

See also[link]

• Serbo-Croatian language
  • Bosnian language
  • Croatian language
  • Serbian language
  • Montenegrin language
• Serbian literature
  • List of medieval Serbian literature

References[link]

Bora Dugić Бора Дугић
Born	(1949-06-10) June 10, 1949 (age 63)
Origin	Đurđevo, SR Serbia, Yugoslavia
Genres	Traditional music
Occupations	Composer
Instruments	Flute
Years active	1972 - present
Labels	PGP-RTS
Website	www.boradugic.com

Bora Dugić (Serbian Cyrillic: Бора Дугић) (born June 10, 1949 in Đurđevo, SR Serbia, Yugoslavia) is a Serbian musician and flautist having released a number of CD's and records as well as having performed at countless concerts.

Early and professional life[link]

Bora Dugić finished high school and educational college in the field of mathematics. Since a young age he played the flute and upon the completion of his highschool education he moved to the city of Kragujevac in Central Serbia. There, he became the secretary of the cultural group “Abrašević”. As he continued to become more popular due to his abilities playing the flute, Bora moved to Serbia's capital Belgrade where he joined the grand Folk Orchestra of RTV Belgrade. He is the winner of the October Award, Gold Thimble Award for constant contribution to the culture of Belgrade, and numerous other domestic and international awards.

In 2004 he celebrated 35 years of artistic work, by a grand solo concert name The Play of Spirit at the Sava Centar in Belgrade. In 2008 he appeared at the 2008 Eurovision Song Contest alongside Jelena Tomašević.

Personal life[link]

Bora Dugić is married to Milanka, who is also involved in music. They have a daughter Jasmina, who is a costume designer and a son Bojan, who graduated from the Berklee College of Music in Boston.

External links[link]

• Official page of Bora Dugić
• Bora Dugić RTS page

v t e Serbia in the Eurovision Song Contest Serbia and Montenegro in the Eurovision Song Contest1   Participation 2004 2005 2007 2008 2009 2010 2011 2012   Artists 2000s Željko Joksimović No Name Marija Šerifović Jelena Tomašević feat. Bora Dugić Marko Kon & Milaan 2010s Milan Stanković Nina Željko Joksimović   Songs 2000s "Lane moje" "Zauvijek moja" "Molitva" "Oro" "Cipela" 2010s "Ovo je Balkan" "Čaroban" "Nije Ljubav Stvar" 1Competed as Serbia and Montenegro in 2004 to 2005 (Note: Entries scored out are when Serbia did not compete)

Marina Abramović
Abramović performing The Artist is Present, MoMA, May 2010
Born	(1946-11-30) November 30, 1946 (age 65) Belgrade, PR Serbia, FPR Yugoslavia
Field	Performance Art
Training	Academy of Fine Arts, Belgrade Academy of Fine Arts, Zagreb
Movement	Conceptual art
Works	Rhythm Series (1973–1974) Works with Ulay (1976–1988) Balkan Baroque (1997) The Artist is Present (2010)

Marina Abramović (Serbian Cyrillic: Марина Абрамовић; born November 30, 1946) is a Belgrade-born New York-based Serbian performance artist who began her career in the early 1970s. Active for over three decades, she has recently begun to describe herself as the "grandmother of performance art". Abramović's work explores the relationship between performer and audience, the limits of the body, and the possibilities of the mind.

Early life[link]

Marina Abramović's great uncle was Patriarch Varnava of the Serbian Orthodox Church.^[1] Both of her parents were Partisans^[2] during the Second World War: her father Vojo was a commander who was acclaimed as a national hero after the War; her mother Danica was a major in the army, and in the mid-sixties was Director of the Museum of the Revolution and Art in Belgrade.

Abramović's father left the family in 1964. In an interview published in 1998, she described how her "mother took complete military-style control of me and my brother. I was not allowed to leave the house after 10 o'clock at night till I was 29 years old. ... [A]ll the performances in Yugoslavia I did before 10 o'clock in the evening because I had to be home then. It's completely insane, but all of my cutting myself, whipping myself, burning myself, almost losing my life in the firestar, everything was done before 10 in the evening."^[3]

Abramović was a student at the Academy of Fine Arts in Belgrade from 1965–70. She completed her post-graduate studies at the Academy of Fine Arts in Zagreb, SR Croatia in 1972. From 1973 to 1975, she taught at the Academy of Fine Arts at Novi Sad, while implementing her first solo performances.

From 1971 to 1976, she was married to Neša Paripović. In 1976, Abramović left Yugoslavia and moved to Amsterdam.

Selected early works[link]

[edit] Rhythm 10, 1973

In her first performance Abramović explored elements of ritual and gesture. Making use of twenty knives and two tape recorders, the artist played the Russian game in which rhythmic knife jabs are aimed between the splayed fingers of her hand. Each time she cut herself, she would pick up a new knife from the row of twenty she had set up, and record the operation.

After cutting herself twenty times, she replayed the tape, listened to the sounds, and tried to repeat the same movements, attempting to replicate the mistakes, merging together past and present. She set out to explore the physical and mental limitations of the body – the pain and the sounds of the stabbing, the double sounds from the history and from the replication. With this piece, Abramović began to consider the state of consciousness of the performer. “Once you enter into the performance state you can push your body to do things you absolutely could never normally do.”^[4]

[edit] Rhythm 5, 1974

Abramović sought to re-evoke the energy of extreme body pain, in this case using a large petroleum-drenched star, which the artist lit on fire at the start of the performance. Standing outside the star, Abramović cut her nails, toenails, and hair. When finished with each, she threw the clippings into the flames, creating a burst of light each time. Burning the communist five-pointed star represented a physical and mental purification, while addressing the political traditions of her past.

In the final act of purification, Abramović leapt across the flames, propelling herself into the center of the large star. Due to the light and smoke given off by the fire, the observing audience didn't realize that, once inside the star, the artist had lost consciousness from lack of oxygen. Some members of the audience realized what had occurred only when the flames came very near to her body and she remained inert. A doctor and several members of the audience intervened and extricated her from the star.

Abramović later commented upon this experience: “I was very angry because I understood there is a physical limit: when you lose consciousness you can’t be present; you can’t perform.”^[5]

[edit] Rhythm 2, 1974

As an experiment testing whether a state of unconsciousness could be incorporated into a performance, Abramović devised a performance in two parts.

In the first part, she took a pill prescribed for catatonia, a condition in which a person’s muscles are immobilized and remain in a single position for hours at a time. Being completely healthy, Abramović's body reacted violently to the drug, experiencing seizures and uncontrollable movements for the first half of the performance. While lacking any control over her body movements, her mind was lucid, and she observed what was occurring.

Ten minutes after the effects of that drug had worn off, Abramović ingested another pill – this time one prescribed for aggressive and depressed people – which resulted in general immobility. Bodily she was present, yet mentally she was completely removed. (In fact, she has no memory of the lapsed time.) This project was an early component of her explorations of the connections between body and mind, which later took her to Tibet and the Australian desert. Following Rhythm 2, she set to develop the rest of the series of rhythm projects, continually testing her endurance.

[edit] Rhythm 0, 1974

To test the limits of the relationship between performer and audience, Abramović developed one of her most challenging (and best-known) performances. She assigned a passive role to herself, with the public being the force which would act on her.

Abramović had placed upon a table 72 objects that people were allowed to use (a sign informed them) in any way that they chose. Some of these were objects that could give pleasure, while others could be wielded to inflict pain, or to harm her. Among them were a rose, a feather, honey, a whip, scissors, a scalpel, a gun and a single bullet. For six hours the artist allowed the audience members to manipulate her body and actions.

Initially, members of the audience reacted with caution and modesty, but as time passed (and the artist remained impassive) people began to act more aggressively. As Abramović described it later:

“What I learned was that... if you leave it up to the audience, they can kill you.” ... “I felt really violated: they cut up my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the audience. Everyone ran away, to escape an actual confrontation.”^[6]

Works with Ulay (Uwe Laysiepen)[link]

In 1976, after moving to Amsterdam, Abramović met the West German performance artist Uwe Laysiepen, who went by the single name Ulay. They have the same birthday, in different years.

When Abramović and Ulay began their collaboration, the main concepts they explored were the ego and artistic identity. This was the beginning of a decade of influential collaborative work. Each performer was interested in the traditions of their cultural heritages and the individual’s desire for ritual. Consequently, they decided to form a collective being called “the other”, and spoke of themselves as parts of a “two-headed body”.^[7] They dressed and behaved like twins, and created a relationship of complete trust. As they defined this phantom identity, their individual identities became less accessible. In an analysis of phantom artistic identities, Charles Green has noted that this allowed a deeper understanding of the artist as performer, for it revealed a way of “having the artistic self made available for self-scrutiny.”^[8]

While some critics have explored the idea of a hermaphroditic state of being as a feminist statement, Abramović herself denies considering this as a conscious concept. Her body studies, she insists, have always been concerned primarily with the body as the unit of an individual, a tendency she traces to her parents' military pasts. Rather than concern themselves with gender ideologies, Abramović/Ulay explored extreme states of consciousness and their relationship to architectural space. They devised a series of works in which their bodies created additional spaces for audience interaction. In "Relation in Space" (1976) they ran around the room – two bodies like two planets, mixing male and female energy into a third component called “that self.” "Relation in Movement" had the pair drive their car inside of a museum for 365 laps; a black liquid oozed from the car, forming a kind of sculpture, each lap representing a year. (After 365 laps they entered the New Millennium.)

In discussing this phase of her performance history, Abramović has said: “The main problem in this relationship was what to do with the two artists’ egos. I had to find out how to put my ego down, as did he, to create something like a hermaphroditic state of being that we called the death self.”^[9]

To create this “Death self,” the two performers devised a piece in which they connected their mouths and took in each other’s exhaled breaths until they had used up all of the available oxygen. Seventeen minutes after the beginning of the performance they both fell to the floor unconscious, their lungs having filled with carbon dioxide. This personal piece explored the idea of an individual's ability to absorb the life of another person, exchanging and destroying it.

In Imponderabilia (1977, reenacted in 2010) two performers, both completely nude, stand in a doorway. The public must squeeze between them in order to pass, and in doing so choose which one of them to face.

In 1988, after several years of tense relations, Abramović and Ulay decided to make a spiritual journey which would end their relationship. Each of them walked the Great Wall of China, starting from the two opposite ends and meeting in the middle. As Abramović described it: “That walk became a complete personal drama. Ulay started from the Gobi desert and I from the Yellow Sea. After each of us walked 2500 km, we met in the middle and said good-bye.”^[10]

Abramović conceived this walk in a dream, and it provided what she thought was an appropriate, romantic ending to a relationship full of mysticism, energy and attraction. She later described the process: “We needed a certain form of ending, after this huge distance walking towards each other. It is very human. It is in a way more dramatic, more like a film ending … Because in the end you are really alone, whatever you do.”^[10]

Abramović reported that during her walk she was reinterpreting her connection to the physical world and to nature. She felt that the metals in the ground influenced her mood and state of being; she also pondered the Chinese myths in which the great wall has been described as a “dragon of energy.”

[edit] Seven Easy Pieces, November 2005

Abramović performing Bruce Nauman's "Body Pressure." Guggenheim Museum, November 2005.

Beginning on November 9, 2005, Abramović presented Seven Easy Pieces at the Guggenheim Museum in New York City. On seven consecutive nights for seven hours she recreated the works of five artists first performed in the 60s and 70s, in addition to re-performing her own "Lips of Thomas" and introducing a new performance on the last night. The performances were arduous, requiring both the physical and the mental concentration of the artist. Included in Abramović's performances were recreations of Gina Pane's Self-Portraits, which required lying on a bed frame suspended over a grid of lit candles, and of Vito Acconci's 1972 performance in which the artist masturbated under the floorboards of a gallery as visitors walked overhead. It is argued that Abramović re-performed these works as a series of homages to the past, though many of the performances were altered from their originals.^[11]

Here is a full list of the works performed:

• Bruce Nauman's Body Pressure (1974)
• Vito Acconci's Seedbed (1972)
• Valie Export's Action Pants: Genital Panic (1969)
• Gina Pane's The Conditioning (1973)
• Joseph Beuys's How to Explain Pictures to a Dead Hare (1965)
• Abramović's own Lips of Thomas (1975)
• Abramović's own Entering the Other Side (2005)

[edit] The Artist Is Present, March–May 2010

Abramović performing in "The Artist is Present" at the Museum of Modern Art, March 2010.

From March 14 to May 31, 2010, the Museum of Modern Art held a major retrospective and performance recreation of Abramović's work, the biggest exhibition of performance art in MoMA's history.^[12] During the run of the exhibition, Abramović performed "The Artist is Present," a 736-hour and 30-minute static, silent piece, in which she sat immobile in the museum's atrium, while spectators were invited to take turns sitting opposite her.^[13] A support group for the "sitters", "Sitting with Marina", was established on Facebook^[14] as was the blog "Marina Abramović made me cry".^[15] In September 2011, a video game version of Abramović's performance was released by Pippin Barr.^[16]

Later life[link]

Marina Abramović purchased a theater two hours north of Manhattan in Hudson, NY, intending to establish a nonprofit organization, Marina Abramović Foundation for the Preservation of Performance Art. She will use the space to work and develop ideas with video and post-production equipment and there will be a second property to house resident artists.^[17]

In 2009, Abramović was featured in Chiara Clemente's documentary Our City Dreams and a book of the same name. The five featured artists – also including Swoon, Ghada Amer, Kiki Smith, and Nancy Spero – "each possess a passion for making work that is inseparable from their devotion to New York," according to the publisher.^[18]

Abramović is also the subject of an independent feature documentary movie currently titled "MARINA" that is based on her life and performance at her retrospective "The Artist is Present" at the Museum of Modern Art in 2010. The film will be broadcast in the United States on HBO.^[19]

In January 2011, Abramović was on the cover of Serbian ELLE, photographed by Dushan Reljin.

Prizes and awards[link]

• Golden Lion Award, XLVII Venice Biennale, 1997
• Niedersächsischer Kunstpreis, 2003
• New York Dance and Performance Awards (The Bessies), 2003
• International Association of Art Critics, Best Show in a Commercial Gallery Award, 2003
• Honorary Doctorate of Arts, University of Plymouth UK, 25 September 2009
• Cultural Leadership Award, American Federation of Arts, 26 October 2011
• Honorary Doctorate of Arts, Instituto Superior de Arte, Cuba, 14 May 2012

See also[link]

• Avant-garde
• Experimental theatre
• Fluxus
• Richard Foreman
• Happening
• Dick Higgins
• Intermedia
• Allan Kaprow
• Elizabeth LeCompte
• Ontological-Hysteric Theater
• Performance art
• Richard Schechner
• Speculations: An Essay on the Theater
• The Flea Theater
• The Wooster Group
• Mac Wellman

Bibliography[link]

Works by Abramović and collaborators[link]

• Artist Body: Performances 1969–1998, artist, Abramović; authors Abramović, Toni Stooss, Thomas McEvilley, Bojana Pejic, Hans Ulrich Obrist, Chrissie Iles, Jan Avgikos, Thomas Wulffen, Velimir Abramović; English ed. (Charta, 1998) ISBN 978-88-8158-175-7.
• The Bridge / El Puente, artist Abramović, authors Abramović, Pablo J. Rico, Thomas Wulffen (Charta, 1998) ISBN 978-84-482-1857-7.
• Performing Body, artist Abramović, authors Abramović, Dobrila Denegri (Charta, 1998) ISBN 978-88-8158-160-3.
• Balkan Baroque, (Pierre Coulibeuf, 1999)
• Public Body: Installations and Objects 1965–2001, artist Abramović, authors Celant, Germano, Abramović (Charta, 2001) ISBN 978-88-8158-295-2.
• Marina Abramović, fifteen artists, Fondazione Ratti; co-authors Abramović, Anna Daneri, Giacinto Di Pietrantonio, Lóránd Hegyi, Societas Raffaello Sanzio, Angela Vettese (Charta, 2002) ISBN 978-88-8158-365-2.
• Student Body, artist Abramović, vari; authors Abramović, Miguel Fernandez-Cid, studenti; (Charta, 2002) ISBN 978-88-8158-449-9.
• The House with the Ocean View, artist Abramović; authors Abramović, Sean Kelly, Thomas McEvilley, Cindy Carr, Chrissie Iles, RosaLee Goldberg, Peggy Phelan (Charta, 2004) ISBN 978-88-8158-436-9; the 2002 piece of the same name, in which Abramović lived on three open platforms in a gallery with only water for 12 days, was reenacted in Sex and the City in the HBO series' sixth season.^[20]
• Marina Abramović: The Biography of Biographies, artist Abramović; co-authors Abramović, Michael Laub, Monique Veaute, Fabrizio Grifasi (Charta, 2004) ISBN 978-88-8158-495-6.
• Balkan Epic, (Skira, 2006).
• Balkan Erotic Epic, as producer and director, Destricted (Offhollywood Digital, 2006)
• Seven Easy Pieces, artist, Abramović; authors Nancy Spector, Erika Fischer-Lichte, Sandra Umathum, Abramović; (Charta, 2007). ISBN 978-88-8158-626-4.

Critical and academic studies[link]

• Laurie Anderson, “Marina Abramović,” Bomb Summer 2003: 25–31.
• Patrick Anderson, "How to Stage Self-Consumption," So Much Wasted: Hunger, Performance, and the Morbidity of Resistance. Durham: Duke University Press, 2010. pp. 85–109.
• Klaus Biesenbach (ed.), Marina Abramović: The Artist Is Present, Exhibition Catalog with essays by Klaus Biesenbach, Arthur C. Danto, Chrissie Iles, Nancy Spector, and Jovana Stokić, Museum of Modern Art, New York, 2010
• Aline Brandauer,. "Marina Abramović: Double Blind." Sculpture, July/August 1995, pp. 23–27.
• A Daneri, et al., (eds.), Marina Abramović, (Charta, 2002)
• Jovan Despotovic, Marina Abramović, ’Fin de siecle’ – Balkans way, Borba, Belgrade, September 6–7, 1997, p. 17
• Jennifer Fisher, “Interperformance: The Live Tableaux of Suzanne Lacy, Janine Antoni, and Marina Abramović,” Art Journal 56 (1997): 28–33.
• Charles Green, “Doppelgangers and the Third Force: The Artistic Collaborations of Gilbert & George and Marina Abramović/Ulay,” Art Journal 59.2: 36–45.
• Shogo Hagiwara, “Art Hurts: Blood and Pain are Abramović’s Media,” The Daily Yomiuri April 1, 2004 p18.
• Janet Kaplan, “Deeper and Deeper: Interview with Marina Abramović,” Art Journal 58:2 (1999):6–19.
• Zoe Kosmidou, “A Conversation with Marina Abramović,” Sculpture Nov. 2001: 27–31.
• Tom Lubbock, “Visual Arts: Caught In the Act; It’s Video But Not As We Know It,” The Independent September 2, 2003.
• Thomas McEvilley, “Performing the Present Tense,” Art in America April 2003: 114–117; 153.
• Thomas McEvilley, "Art, Love, Friendship: Marina Abramović and Ulay, Together & Apart," book, Documentext (McPherson & Company), 2010.
• Asami Nagai, “Art in Harmony with Nature,” The Daily Yomiuri July 24, 2003, p. 13.
• Anna Novakov, “Point of Access: Marina Abramović’s 1975 Performance Role Exchange,” Woman’s Art Journal Fall 2003/Winter 2004: 31–35.
• Jennifer Phipps, “Marina Abramović/Ulay/Ulay/Marina Abramović,” Art & Text 3 (1981).
• Theresa Smalec, “Not What It Seems: The Politics of Re-Performing Vito Acconci's Seedbed,” PMC: Postmodern Culture 17 (1) 2006^[21]
• “Writing Art,” Art Monthly 1999 230:13–17.

References[link]

External links[link]

Wikiversity has learning materials about Performance art

• Marina Abramović: The Artist is Present at MoMA
• Artfacts.Net profile with major exhibitions and public collections.
• Coulibeuf, Pierre. Balkan Baroque 1999 (video). "The autobiography, both real and imaginary, of Marina Abramović...."
• Interview with Bernard Goy for Journal of Contemporary Art, June 1990
• Marina Abramović, The Hero (for Antonio) – 2001. Vejer de la Frontera, Spain: NMAC Foundation.
• Marina Abramović, Human Nests – 2001. Vejer de la Frontera, Spain: NMAC Foundation.
• Marina Abramović Institute, San Francisco, California, USA.
• Marina Abramović: Seven Easy Pieces, November 9–15, 2005, 5PM to 12AM. New Way: Solomon R. Guggenheim Museum.
• Mediateca Media Art Space documentary archive with biography, works, and references.
• Rosenberg, Karen. Provocateur: Marina Abramović (interview). New York magazine, December 4, 2005.
• Lisson Gallery Marina Abramović artist page. Including works, bio, exhibitions and catalogues
• Sean Kelly Gallery artist page with biography, works, press, exhibitions, and catalogues.
• Spector, Nancy. Marina Abramović, Rhythm 5, 1974, published 1994. Guggenheim collection online.
• "Marina" the feature documentary film
• Interview, March 2010, with Robert Ayers at A Sky filled with Shooting Stars.
• Arthur C. Danto, "Sitting with Marina", New York Times, 2010/05/23
• Vice magazine interview, November 2010.
• 2011 James T. Demetrion Lecture: "How Performance Art is Entering the History of Art", press release, March 9, 2011, Hirschorn Museum, Washington, DC, USA; lecture April 5, 2011.
• Conversation: Marina Abramovic, interview with Jeffrey Brown, PBS Newshour Art Beat, April 8, 2011; transcript and video. Link: The Hirshhorn conducted a Twitter forum with Abramovic in late March; Q&A here.
• Tate: Meet the Artist: Marina Abramovic The artist talks about her performance practice. January 29, 2009.
• | EAI Artist biography and list of video works.

Šaban Bajramović (Serbian Cyrillic: Шабан Бајрамовић, Serbian pronunciation: [ʃǎban bajrǎːmɔʋitɕ], Romani: Shaban Bayramovic; April 16, 1936 – June 8, 2008) was a Serbian-Romani musician.

Biography[link]

He was born in Niš where he attended primary school for only the first four years. On quitting school, he picked up his musical education on the street.

When he was 19 he ran away from the army out of love for a girl. As a deserter, he was sentenced to three years prison on the island Goli otok, but as he told the military court they could not hold him for so long as he could survive, they raised his punishment to five and a half years. He survived as he was a good goalkeeper in the prison football team. Because of his nimbleness and speed, they called him "Black Panther". Soon he forced his way into the prison orchestra that played, among other things, jazz (mostly Louis Armstrong, Sinatra, and sometimes John Coltrane) with Spanish and Mexican pieces.

After Goli otok, his intensive music career began. He made his first record in 1964. He is believed to have composed 650 compositions.

In 2008, it was revealed that Bajramović was living impoverished in Niš with serious health complications and was no longer able to walk. The government of Serbia intervened to provide him with some funds, 10 000 euros.^[1] He died in Niš on June 8, 2008, from a heart attack.^[2]

Quotes[link]

Dragi Šestić - Mostar Sevdah Reunion

Andy Gill - The Independent, UK, February 15, 2002

References[link]

External links[link]

Wikimedia Commons has media related to: Šaban Bajramović

• Record Label
• Šaban Bajramović Unofficial Presentation
• Šaban Bajramović CDs
• Saban Bajramovic: Serbian esteemed as king of Gypsy singers, The Times, June 23, 2008

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (September 2010)

Rambo Amadeus (Serbian Cyrillic: Рамбо Амадеус, born June 14, 1963) is the stage name of the Belgrade-based Montenegrin singer-songwriter Antonije Pušić, who is a self-titled "musician, poet, and media manipulator". He is a popular phenomenon on the music scenes of the former Yugoslavia.

His songs combine satirical lyrics on the nature of common people and silliness of local politics. He uses a mixture of musical styles including jazz and Rock (converging towards drum and bass lately), and self-conscious ironic wit (for example, his most popular alias is "Rambo Amadeus Svjetski Kilo Car"— "Rambo Amadeus the World Kilo Emperor",formerly "Rambo Amadeus Svjetski Mega Car"— "Rambo Amadeus the World Mega Emperor" (RASMC) (changed in 2012 because of his belief in the importance of modesty in an environmentally conscious society). His stage name itself is made from John Rambo and Wolfgang Amadeus Mozart. Known also as a "charming king of jovial pop", his concerts are never mere repetitions of recorded songs, but a mixture of musical improvisation and humor exploiting all aspects of human nature in a crude manner. Some fans compare his style and career path with those of Frank Zappa or Captain Beefheart.

Rambo Amadeus was the representative of Montenegro in the Eurovision Song Contest 2012 in Baku, Azerbaijan, with the song Euro Neuro.

Early life[link]

Antonije Pušić was born in Kotor, SR Montenegro, SFR Yugoslavia. He graduated in tourism studies from the University of Belgrade's Faculty of Mathematics and Natural Sciences. He also completed six grades of elementary music school for piano before dropping out.

Before taking up music as a career choice, Rambo was an accomplished competitive sailor. Between 1972 and 1984, he represented Yugoslavia in numerous international regattas. During this period he was champion of Montenegro several times, an 8-time South-Adriatic champion, national title winner in the junior category, as well as International Đerdap Cup winner in 1980. He still occasionally attends and participates in some recreational sailing regattas in the Gulf of Kotor.

He began to sing and compose during first year of high school (gymnasium) which soon led to involvement with various local bands in Herceg Novi and Titograd. One of his first performances saw him play the mandolin in an orchestra that entertained guests of Herceg Novi's Plaza hotel.

In 1985, he moved to Belgrade in pursuit of higher education. Parallel to his university studies, he also played with various amateur bands and musicians.

Musical career[link]

1980s[link]

In 1988 he dropped onto the music scene right out of nowhere with a debut album O tugo jesenja. His sound was a seemingly coarse blend of folkish ululations and even opera, further mixed in with humorous lyrics and classic guitar riffs. Since very few people had any prior knowledge of him, Rambo delighted in creating confusion by introducing himself as Nagib Fazlić Nagon, mine shaft operator who saved up enough money to record an album. He referred to his own musical style as turbo folk, long before the term would obtain grave social connotations and come to symbolize moral and cultural decline throughout the Balkans during the wars of the 1990s.

In reality, it was actually thanks to producer Saša Habić that Rambo got the opportunity to sign for the state television's record company PGP RTB (Rambo later wrote an anecdotal tribute to that event, in the hit song "Balkan boy"). Habić also played the synthesizer on this album, from which a track named "Vanzemaljac" (Extraterrestrial) continues to be very popular to this day. The record's sales weren't particularly high, but Rambo certainly created enough of a buzz to be able to remain active on the scene.

Next album Hoćemo gusle came out in 1989 and gave a small taste of much of Rambo's future musical direction - overt political activism. The track "Amerika i Engleska (biće zemlja proleterska)" was originally supposed to be named "Kataklizma komunizma" (Cataclysm of Communism) but powers that be wouldn't allow it. The album title pokes fun at a bizarre event from the 1989 protests in Montenegro that eventually grew into the anti-bureaucratic revolution that swept Milo Đukanović, Momir Bulatović, and Svetozar Marović into power. Protesters were heard chanting "Hoćemo Ruse" ("We want the Russians"), but when the authorities and state-controlled media criticized them for it, many quickly began backpedaling by claiming they actually chanted "Hoćemo gusle" ("We want gusle").

Other songs like "Glupi hit" and afore mentioned "Balkan boy" would also become considerable hits and Rambo even received solid critical acclaim for chances he took in "Samit u buregdžinici Laibach". On that track, he created a catchy hybrid by mixing pretentiously heavy sound of Laibach with poetry of Laza Kostić and Desanka Maksimović, as well as with folk kafana standard "Čaše lomim" and his own turbo-poetry. Album sleeve lists the lyrics of a song that wasn't actually recorded and explains that "it was dropped at the last moment because there was no room for it" but gives assurances it would appear on the next album. Since the song in question, named "Pegepe ertebe", was all about taking shots at Rambo's label PGP RTB it isn't surprising that it didn't appear on the next, or any subsequent album for that matter.

1990s[link]

As the 1990s were beginning, Rambo was growing into an established performer. His third album M-91 came out towards the end of 1991 at a time when the conflict across former Yugoslavia was already in full swing. For obvious reasons, the least of which was the album's subtitle - Psychological Propaganda Set, many songs contained heavy lyrics and a dark, militaristic atmosphere. In your face profanity and descriptive cursing was also par for the course, making this the first major music release in former Yugoslavia to take such narrative liberties. Tracks like "Smrt popa Mila Jovovića" (30-year old poem by Božo Đuranović), "Jemo voli jem" (incorporating samples from Yugoslav aviators' anthem "Hej vojnici vazduhoplovci" as well as Šemsa Suljaković's "Izgubila sve sam bitke"), "Inspektor Nagib" and "Zdravo damo" became instant hits.

The discrepancy between what's listed on the cover and what is actually recorded is there again as sleeve announces the track called "KPGS" which would, this time for real, appear on the next live album, but does not list "Halid invalid Hari" and "Prijatelju, prijatelju" which were included and became big hits. Many consider the two tracks to be classic Rambo: observant, opinionated, direct and profane. The latter of the two originally included excerpts from Slobodan Milošević and Franjo Tuđman speeches, but the record company censors took them out.

This album further solidified Rambo's presence on the scene as he started playing bigger arenas like Sava centar. Due to outspoken and entertaining nature he would often get invited on various TV and radio outlets across the country.

Trying to take the new situation in stride, he hit the road, becoming one of the first performers from FR Yugoslavia to regularly start touring Macedonia and Slovenia in the years following those states' declarations of independence.

After live album KPGS (taped on December 29, 1992 in Skopje) that included new studio track "Karamba karambita" followed by a greatest hits compilation Izabrana dela 1989–1994, Rambo recorded peculiar new material during July 1995 in Paris with Goran Vejvoda. Released the following year as Mikroorganizmi, it featured inaccessible, moody sound garnered with terse, experimental lyrics marking a sizable departure from his usual antics.

He simultaneously released Muzika za decu, personal musical take on Ljubivoje Ršumović's poetry featuring two bonus new tracks - "Sex" and "ABVGD".

Old-school Rambo fans did not have to wait long for a return to earlier style. Towards the end of 1996, on Titanik he delivered a new batch of traditional fare like "Šakom u glavu", "Sado-mazo", "Zreo za penziju" and "Otiš'o je svak ko valja" (dedicated to Toma Zdravković and members of Šarlo Akrobata). Seasoned musicians like Ognjan Radivojević (later to perform with Goran Bregović and Zdravko Čolić), Goran Ljuboja, Dragan Markovski and Marija Mihajlović took part in recording sessions for this album.

Extensive tour followed and it again included Slovenia (live album was recorded over two Ljubljana concerts in April 1997 and later released as R.A. u KUD France Prešern), as well as Bosnia where Rambo appeared as a guest at Sejo Sexon's Zabranjeno pušenje gig in Sarajevo. That appearance in December 1997 was the first post-war visit by a Serbian-Montenegrin performer to the Muslim part of Bosnia.

On June 9, 1998, Rambo played Belgrade's Dom sindikata hall in what he announced to be the farewell performance before retirement. Even if many doubted his sincerity, the concert was a memorable one. Soon, Rambo packed his bags and left for the Netherlands, though not before squeezing in two more shows in Bosnia. In the Netherlands, he worked a series of menial jobs including construction, before deciding to return to Belgrade after only 4 months abroad. Back home, not surprisingly, he also returned to music and continued to break down inter-ethnic barriers: on December 10, 1998, he and Margita Stefanović played a show in Pula at the local cinema with KUD Idijoti, which was a first opportunity since the war for a Croatian audience to see performers from Serbia and Montenegro.

2000s[link]

Throughout the year 2000, Rambo worked on what would eventually become the Don't Happy, Be Worry album. This album included the song Laganese in which sampled the Norwegian journalist Åsne Seierstad singing the Norwegian Folk song Eg rodde meg ut på seiegrunnen and swearing. By this time, sampling and local pop-cultural references became two more staples of his sound, and this material, too, was heavy on both. Produced by Iztok Turk, it featured tracks like "Čoban je upravo napustio zgradu" (loose cover of Neda Ukraden's "Zora je svanula"), "Moj skutere" that borrows from Oliver Dragojević's "Moj galebe", and "Izađite molim" with sprinkled in dialogues from Goran Marković's 1975 movie Variola vera.

In 2004, Rambo released his third live album Bolje jedno vruće pivo nego četri ladna, which was followed by the studio album Oprem dobro in mid-2005.

He made a song "Dikh tu kava" in collaboration with ethno-jazz fusion band Kal, and in 2007 he appeared on their album as a featured artist in the song "Komedija" ("Comedy").

He gave us another extraordinary performance called "Mixing of alternative rocks" in autumn 2007, when he "played" on 12 concrete mixers in front of the audience, during The Alternative Rock Festival in SKC, Belgrade.

For the purpose of the New Year's show on RTV, he appeared in the song "Rakija" followed by Zorule, the traditional folk orchestra. This song was used later as one of the tracks for "Vratiće se rode" TV serial. In February 2008, Rambo Amadeus performed as a guest star of The RTS Big Band jazz orchestra, for their 60th Anniversary.

Hipishizik Metafizik is his latest studio album, released for PGP RTS in July 2008.

2010s[link]

Rambo Amadeus was internally selected by the Montenegrin national broadcaster RTCG to represent Montenegro in the Eurovision Song Contest 2012 in Baku, Azerbaijan.^[1] His winning song Euro Neuro gained controversy for its video. He ultimately failed to make the Eurovision final.

Other endeavours[link]

In addition to a prolific solo recording career, Rambo frequently engaged in different, often bizarre side projects.

• In 1989 in Sarajevo, for a short while, he hosted an erotic quiz show with actress Jasna Beri named Turbo-lilihip, which aired on a local TV station SA3.
• He wrote music for different theatre plays such as Đetić u parlament, Oksimoron, as well as Lažni car Šćepan Mali for which he was awarded Sterija prize in 1994.
• Rambo also wrote lyrics for commercial folk stars like Lepa Brena and Vesna Zmijanac, as well as the entire score for 1994 film Slatko od snova, which was a star vehicle for another folk performer Dragana Mirković.
• That same year he wrote a musical base for 1927 silent movie Metropolis by Fritz Lang. At a movie screening at Sava Center, Rambo's music was played by Belgrade Philharmonic. The material was later recorded by Rambo himself along with Miroslav Savić and Heavily Manipulated Orchestra, and released as Metropolis B (Tour de Force).
• A year later, he arranged a cadenza within "A concerto for piano and orchestra in C-minor" by W.A. Mozart. In 1995, candenza was performed by Ivan Tasovac, while the entire concert was conducted by Oskar Danon at Belgrade's Kolarac concert hall.
• Since early 2005 Rambo has been writing a column Megacarska razmišljanja (Mega-Imperial Thoughts) for the daily tabloid Blic.
• He was a guest on Studio B's Agape program together with Serbian Orthodox priest Porfirije where they talked about the meaning of life, finding your self, slowing down, drug abuse and rehabilitation.^{[citation needed]}

Discography[link]

Studio albums[link]

• 1988 - O tugo jesenja (Oh Autumn Sorrow), PGP RTB
• 1989 - Hoćemo gusle (We Want Gusle), PGP RTB
• 1991 - Psihološko propagandni komplet M-91 (Psychological Propaganda Set M-91), PGP RTB
• 1995 - Muzika za decu (Music for Children), B92
• 1996 - Mikroorganizmi (Microorganisms), Komuna
• 1997 - Titanik, Komuna
• 1998 - Metropolis B (tour-de-force), B92
• 2000 - Don't happy, be worry, Metropolis (Released as Čobane vrati se (Shepherd, Come Back) in Slovenia and Croatia by Dallas Records)
• 2005 - Oprem Dobro, B92
• 2008 - Hipishizik Metafizik, PGP RTS

EPs[link]