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"Romani performances also frequently blu the line between essentialised Gypsyness and musical cosmopolitanism, drawing from the popular conflation of the authenticity and hybridity complexes."

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Changes from Traditional Genre made to appeal Western Audiences

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Changes from Traditional Genre made to appeal Western Audiences

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Key shifts in instrumentation, repertoire and musical aesthetics in these videos illustrate additional strategies to appeal to western audiences. First, the additive rhythms so integral to Vranje repertoires (7/8: 3 + 2 + 2; 9/8: 2 + 2 + 2 + 3; and 12/8: 3 + 2 + 2 + 2 + 3) are almost completely absent. Pieces in 2/4 and 4/4, presumably more familiar to western ears, predominate instead (see also Silverman 2013: 199, 2015). Second, tempi are often faster than is true of Vranje-style performances, where audiences relish slower, ‘heavy’ (‘teško’) tunes.11 By contrast, boisterous and upbeat numbers promote the high energy associated with ‘Balkan Gypsy Brass’ abroad. Third, while clarinet and saxophone are valued in Vranje for their contribution to brass band timbre and their role in improvisation, they do not regularly figure in mainstream presentations of Balkan brass;

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"The semiotic power of Gypsy tropes to market Romani music in world music circles creates an ironic paradox. While international audiences crave contact with ‘real Gypsies’ and their ‘authentic culture’, the romanticisation of Romani brass silences the realities of Romani musical practices, aesthetic tastes and professional status."

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The comments particularly highlight exotic eastern Oriental influences; while Romani musicians symbolically offer easternness for western consumption, they can also tame the music of even more eastern Others by filtering them through their own practices as quasi Europeans. Roma thus constitute the perfect arbiters for western celebratory explorations of global cultural diversity.

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"The content of Kusturica’s films does much to shape popular perceptions of
Romani brass. They depict Balkan society in fantastical and darkly comical terms, and
frequently incorporate romanticised or farcical takes on Gypsy life and culture.
Stereotypes about Roma abound, with complicated predicaments related to crime,
excess, unconventional lifestyles, romantic passion and surreal magical experiences.
These scenes reinforce popular assumptions of Romani exoticness and zest for life"

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has become the global face of Balkan music, performing Balkan folk

music with a pop twist to great international acclaim. Bregović plays with ideas of the Balkans as Europe’s internal Other

the East within the West, sufficiently primitive and exotic to be titillating but also near enough in geographic and cultural

terms to feel safe to Western European audiences.

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A driver for the increase in popularity for Romani brass musicians were the success of films by Emir Kustrurica. This is unsurprising given that movies expose the music to a wider audience, but causes musicians to exaggerate these stereotypes to appeal to them.

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"For Roma, the widespread popularity of the Gypsy authenticity trope on the
international stage makes strategic performances of essentialised Gypsyness the
predominant paradigm for professional success."

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Cosmopolitan Artists or Purveyors of Kitsch? 

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Cosmopolitan Artists or Purveyors of Kitsch? 

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the  path  to  international success,  however, is  primarily  determined by  the stereotypical Gypsy hype surrounding brass music. To enter the global market, Vranje’s Romani musicians often look to performers who have achieved global fame:

Goran Bregović and Boban and Marko Marković. All of these performers play with

romanticised notions of Gypsyness and claims to cosmopolitan hybridity in order to market their music, but they do so in different ways.

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Ivan's band is constantly conscious of their image and is willing to adapt it to the tastes of the audience (domestic or international) in order to appeal to them and in turn have access to more opportunities.

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"Having international audiences in
mind, he had the group pretend to play their instruments, spread legs wide, bend bodies, crane necks and smile broadly or haughtily stare out at the viewer.
He also chose unconventional locations for photographs, like having the band
members stand in the basin of a decorative, Ottoman-style fountain. ForIvan, these images suggested a quirky Gypsy atmosphere for foreign clients with exoticising perceptions of Romani brass."

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"Romani musicians often can not claim natural ties to non-Romani diasporas and are not felt to represent majority national culture abroad . For example, most Serbian Romani brass bands perform regional musics that are distinct from the central Serbian style considered to be the most authentic national sound. "

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"Gypsy self-stereotyping is often as indispensable for

capturing international audiences as the music itself. Yet Romani performances also

frequently blur the line between essentialised Gypsyness and musical cosmopolitan-

ism, drawing from the popular conflation of the authenticity and hybridity complexes."