Skip to main content Accessibility help
×
  1. Home
  2. Search

Refine search

Refine search

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

1 results

  • 7 - A Cultural Phenomenon

  • from Part III - New Avant-Gardes and Postmodernism
  • Laura Emmery, Emory University, Atlanta
  • Book:
    Yugoslav Avant-Garde Music, 1945–1991
    Published online:
    11 June 2026
    Print publication:
    11 June 2026, pp 153-178
    • Chapter
      • You have access
      • Open access
    • PDF
    • HTML
    • Export citation

  • Summary

    In an act of reconciliation following the tumultuous student protests of 1968, the Communist Party of Yugoslavia gifted the students a building in the center of Belgrade – a student-managed “safe space” where they could freely express their views and creativity. The space, which officially opened in 1971, became the iconic Student Cultural Center (Studentski kulturni centar, SKC). It was the birthplace of the New Art Practice in Yugoslavia headed by groundbreaking artists Marina Abramović and the “Belgrade Six,” and a young group of rebellious composers and performers – Opus 4 and the Ensemble for Different New Music – who defined a new era of avant-garde art with performance and conceptual art, minimalism, Cage-style experimentalism, Fluxus, and the use of multimedia. Informed by archival documents, Chapter 7 charts the compelling history of the SKC and how artistic and music programming by young, daring artists contributed to its meteoric rise and international popularity.