Свесловенска идеја у деловању Савеза музичара у Краљевини СХС/Југославији током двадесетих година XX столећа: иницијативе, активности, постигнућа

Abstract

У овом раду разматрали смо допринос дела функционера најзначајнијег професионалног удружења музичара у међуратној Југославији – Савеза музичара у Краљевини СХС Југославији, спровођењу словенске културне интеграције. Пратећи деловање групе окупљене око званичног гласила организације Jugoslavenski muzičar / Muzičar, у међународним оквирима, издвојили смо кључне подухвате који су покренути у периоду између 1923. и 1929. с циљем зближавања и интеркултурне размене са словенским музичарима и стручњацима. Резултати анализе видова и интензитета колаборације загребачких музичара с музичарима из словенских земаља посматрани су у компарацији с резултатима ранијих истраживања. Циљ тога био је да се размотри да ли су и у којој мери настојања ове групације кореспондирала са сродним тежњама других југословенских и словенских музичара, као и с доминантним ставовима и праксом политичке и интелектуалне елите с ових простора.

Although many Slavic peoples were given long-awaited political independence after the Great War, it did not suppress their strivings to attain stronger cultural bonds and cultural integration that thrived throughout the 19th century. In the new geopolitical circuimstances, All-Slavism was mostly interpreted as a vehicle to actualize the potentials of Slavs to create cultural forms of universal value through a synthesis of opposing values of Western and Eastern civilizations. Despite the fact that its definitions varied significantly depending on the differences of ideological basis of individuals and groups that promoted it, the common ground represented a belief that Slavs shared the same worldviews, values and spiritual properties and that this similarity needed to be used as an emancipatory tool – for mutual cultual exchange, support, development, and progress. In interwar Yugoslavia of 1920s, All-Slavism was particularly promoted among musicians and music specialists. Among the numerous keen supporters were the representatives of the Association of Musicians of the Kingdom of SCS/Yugoslavia gathered around the periodical Jugoslavenski muzičar/Muzičar (Yugoslav musician). Led by Fran/Franjo Šidak and Jaroslav Šidak, this group contributed to the expansion of All-Slavic tendencies in the Yugoslav public and music spheres. From 1923 to 1929, these musicians settled in Zagreb initiated numerous activities aimed at developing collaboration with Slavic musicians around Europe. Unlike many like-minded groups in different Slavic countries of the time, Zagreb musicians created friendly relations with their Soviet colleagues, specifically with the leaders of the Всесоюзным профессиональным союзом работников искусств, ВСЕРАБИС (All-Soviet Professional Association of Art Workers). During the five years of extensive exchange with other Slavic musicians and specialist, they established fruitful correspondence and coperation with Bulgarian musicians, most of all with the high representatives of Bulgarian musical organizations. As a result of that, series of articles dealing with Bulgarian music history and musical life were published in Jugoslavenski muzičar/Muzičar together with detailed reports, while a number of essays of Yugoslav authors were reprinted in Bulgarian music journals. Results of the analysis of type and extent of collaboration between Zagreb and other Slavic musicians were compared with the results of previous researches. The aim of this paper was to consider whether the efforts of this group corresponded with the related tendencies of Yugoslav and Slavic musicians, as well as with the dominant views and practices of the Yugoslav political and intellectual elite.