New Primitivism (Serbo-Croatian: Novi primitivizam), also referred to as the New Primitives, was a localized subcultural and artistic movement established in Sarajevo, Socialist Republic of Bosnia and Herzegovina, in March 1983. Functioning as a satirical, surreal, and anti-intellectual response to both the Western New Romanticism and the prevailing Yugoslav New Wave/Punk scenes, the movement primarily expressed itself through rock music, radio, and television sketch comedy.[1][2]
The core of New Primitivism was the local urban culture of Sarajevo's mahalas (neighborhoods) and a celebration of the "small people"—ordinary citizens, blue-collar workers, and social outcasts—who were often portrayed in absurd and humorous situations. This emphasis introduced Sarajevan street jargon, slang, and Turkish loanwords into the official Yugoslav public sphere. The movement became both an eclectic expression of local patriotism and a form of social and cultural critique, often using pseudonyms to conceal ethnic identity and promote a sense of unified Sarajevan street culture. The movement officially disbanded in 1987, although its principal groups and television show continued for several more years.[3]
History[]
Origins in Sarajevo (1980–1983)[]
New Primitivism originated among a group of young individuals from the Koševo neighborhood of Sarajevo in the late 1970s and early 1980s. Influenced by Western artists such as Lou Reed, The Who, and the emerging punk scene, this group developed limited musical skills but quickly converged on music as a primary activity. By 1981, two key bands—Zabranjeno Pušenje and Elvis J. Kurtović & His Meteors—had taken a more serious, garage/punk rock direction, playing small local clubs. In parallel, some members of both groups began collaborating on Top lista nadrealista, a satirical comedy segment on Radio Sarajevo.
The formal concept of New Primitivism was developed between late 1982 and early 1983, primarily by the manager of Elvis J. Kurtović & His Meteors, Malkolm Muharem, who published the movement's manifesto in a local fanzine. The name itself was a deliberate, mock reaction to the Western New Romanticism and the Slovenian Neue Slowenische Kunst (NSK). Where New Romanticism was seen as "sugar-sweet" and NSK as "cold, serious, distant," the New Primitives positioned themselves as their raw, unsophisticated, and humorous antithesis, embracing the stereotypes associated with Bosnians in popular Yugoslav jokes. The movement's wider unofficial unveiling occurred in early March 1983 at a double-bill concert in Sarajevo's CEDUS club featuring both flagship bands.
Peak and Controversy (1984–1985)[]
In 1984, the movement gained significant momentum with the debut albums of both main bands: Mitovi i legende o Kralju Elvisu by Elvis J. Kurtović & His Meteors, and Das ist Walter by Zabranjeno Pušenje. Both albums were characterized by a hyperlocalized sensibility, referencing Sarajevo neighborhoods and focusing on social fringe characters. Simultaneously, Top lista nadrealista moved to television, becoming a popular weekly sketch comedy program that further cemented the movement's reach across Yugoslavia. This exposure increased the sales of Das ist Walter, eventually pushing it past 100,000 copies.
The movement faced a major crisis in late 1984 when Zabranjeno Pušenje's frontman, Nele Karajlić, made a joke referencing the death of Marshal Tito during a concert in Rijeka. The offhand quip, "Crk'o maršal" ("The 'Marshall' has croaked," referring to an amplifier), followed by the clarification "Mislim na pojačalo" ("The amplifier, that is"), was widely denounced in the press as an insult to the revered leader's legacy. This led to a media firestorm, legal proceedings against Karajlić, and the subsequent blacklisting of the band. Their songs were removed from radio playlists, TV access was restricted, and over 30 concerts were canceled in early 1985. The radio version of Top lista nadrealista was also removed from the radio schedule in March 1985.
Spin-offs and Demise (1985–1987)[]
Despite the controversy, the principles of New Primitivism—local narratives and a humorous approach—were leveraged for mainstream commercial success by other associated bands. After leaving Elvis J. Kurtović & His Meteors, manager Malkolm Muharem successfully pitched the band Plavi Orkestar to a major label by branding them as a "New Primitive project, only this time from an angle of camp." Their 1985 debut, Soldatski bal, became a sensation, selling 550,000 copies, though the band quickly moved toward a sugary pop sound.
Similarly, guitarist Dražen Ričl left Elvis J. Kurtović & His Meteors to form Crvena Jabuka, whose 1986 self-titled debut was also a commercial success, blending power pop with the localized aesthetics of New Primitivism. Both Plavi Orkestar and Crvena Jabuka achieved massive popularity by moving away from the movement's more aggressive punk roots.
New Primitivism officially disbanded in 1987 in a mock ceremony filmed for TV Sarajevo, which was framed as the "7th Extraordinary New Primitivism Congress," concluding with the statement, "better us [to do it] than somebody else."
Legacy[]
New Primitivism had a profound and lasting impact on the culture of Sarajevo and Yugoslavia as a whole. It is credited with giving Sarajevan urban culture a unique and nationally recognized voice, transforming the city's self-perception and cultural standing. Some analysts, in hindsight, viewed the movement as an important cultural moment in the last decade of SFR Yugoslavia's existence, with one academic suggesting the country may have survived had it adopted the New Primitivism values as its new cultural model. However, others saw the movement negatively, from rock critics who initially dismissed it as "renewed and stripped-down primitivism" to critics who viewed it as a politically destructive force.
The movement, distinct from the later, more explicitly pro-Yugoslav, militant, and patriotic New Partisans movement, nonetheless laid a cultural groundwork that proved pivotal in the coming decade.
Visuals and Fashion[]
The New Primitivism visual aesthetic was intentionally démodé and unpolished, serving as a humorous rejection of prevailing Western trends. It championed a "smart yet trashy" presentation that blended subcultural elements with the style of social outcasts and minor criminals from Sarajevo's old town area (Baščaršija).
The movement used imagery focused on the mundane and the fringes of society, including coal miners, neighborhood alcoholics, and local thugs. The narrative frequently incorporated B-movie plots and surrealist elements derived from the Top lista nadrealista sketches. A defining aesthetic feature was the use of hyperlocalized Sarajevo street jargon and slang, which was prominently featured in song lyrics and comedy sketches. This specific vocabulary, often containing Turkish loanwords, was central to the movement's local identity.
he movement's unofficial fashion look was an embrace of the 1970s leisure suit style, appropriated from petty hoodlums. This consisted of:
- Waist-tight bell-bottom pants.
- Plaid suit jackets.
- A thin golden necklace worn above the shirt.
- Pointy shoes (the špicoke).
Philosophy[]
The philosophy of New Primitivism was built on self-irony, local patriotism, and an anti-establishment stance. Its core function was to elevate the Bosnian experience from a perceived source of shame and inferiority—a "primitive" cultural wasteland—to a source of collective identity and pride.
The movement's protagonists presented themselves as the authentic homo balcanicus, affirming the distinctive socio-folkloric characteristics of the region, from street fights to casual hygiene. They used their art to bring the ignored or ridiculed aspects of Sarajevan mahala life to the national stage.
The dominant method of critique was relentless, localized satire and absurdity, drawing stylistic comparisons to groups like Monty Python's Flying Circus. The use of pseudonyms was a deliberate choice to both unify the movement under a single "Sarajevan code" and provide a playful anonymity that transcended ethnic identification.
While appearing to be an "old primitivism," the movement was consciously an artifical construct. Nele Karajlić described the movement as a "fuckabout that got taken a little too seriously," created to "join" the music industry by inventing a local trend rather than genuinely adhering to a conceptual philosophy, like the serious NSK art movement.
The movement's unofficial creed, "Tuđe hoćemo, svoje nemamo" ("What's not ours, we want; because ours, we haven't got"), was a parody of the communist slogan, "Tuđe nećemo, svoje ne damo" ("What's not ours, we don't want; ours, we won't give up on"), reflecting their stance of rebellion against any establishment—cultural, social, or political.
Figures[]
Primary Groups[]
- Zabranjeno Pušenje: A punk/garage rock band known for their localized, storytelling lyrics, such as "Zenica Blues" (a cover of Johnny Cash's "San Quentin") and "Anarhija All Over Baščaršija."
- Elvis J. Kurtović & His Meteors: A rock band that combined rock'n'roll with performance art and stand-up comedy, led by the band's lyricist and mascot, Elvis J. Kurtović.
Tangentially Associated Bands[]
- Plavi Orkestar: Achieved massive commercial success with a pop-rock sound that incorporated Balkan pop-folk elements and retained some New Primitivism themes, though their sensibility quickly shifted to the mainstream.
- Crvena Jabuka: Formed by Dražen Ričl, they quickly found commercial success with a melodic power pop/pop rock sound, retaining a localized aesthetic but distancing themselves from the movement.
- Bombaj Štampa: Considered co-founders of the movement alongside the two flagship bands.
Media[]
Television[]
- Top lista nadrealista: The satirical sketch comedy program on radio (1981–1985) and television (1984–1991) that served as the movement's central comedic outlet.
Gallery[]
Under Construction
References[]
- ↑ "New Primitivism" on en.wikipedia.org
- ↑ "New Primitivism" on rateyourmusic.com
- ↑ "Sarajevo Punk Scene: The New Primitives and New Partisans" on yugoslavpunk.omeka.net
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