Mobility, especially labour mobility, is being promoted and highly praised as an economic and political cornerstone of the European Union, essential for its future development and growth. At the same time, people on the move are faced with many impediments to mobility, artists active in transnational art worlds being particularly vulnerable in this respect. Analysing and comparing various written sources (text and hypertext), the author focuses on the international mobility of artists in and to the European Union. The aim of the article is twofold: to outline artists’ mobility as a particular type of mobility, and to highlight the divergences between praising of the mobility concept on the decision-making level and the ‘naturalization’ of mobility in academic discourse on one side and the critical assessment of artists’ mobility and impediments to it by art practitioners and experts on the other.
KEY WORDS: mobility, artists’ mobility, European Union, impediments to mobility

Mobility, especially labour mobility, is being promoted and highly praised as an economic and political cornerstone of the European Union, essential for its future development and growth. At the same time, people on the move are faced with many impediments to mobility, artists active in transnational art worlds being particularly vulnerable in this respect. Analysing and comparing various written sources (text and hypertext), the author focuses on the international mobility of artists in and to the European Union. The aim of the article is twofold: to outline artists’ mobility as a particular type of mobility, and to highlight the divergences between praising of the mobility concept on the decision-making level and the ‘naturalization’ of mobility in academic discourse on one side and the critical assessment of artists’ mobility and impediments to it by art practitioners and experts on the other.
KEY WORDS: mobility, artists’ mobility, European Union, impediments to mobility

This article discusses the topic of representations of memories through art using an interdisciplinary approach that connects contributions from the fields of anthropology and art history to the research problems of art and creative processes. Considering the artistic world of the Croatian painter Zdravko Dučmelić in Argentina as a case study, the main aim of the article is to explore how the sum of the acquired artistic/aesthetic habitus that mediated his artistic activities, memories and personal experiences was combined in the artist’s creative process. To this end we will present the formation of Dučmelić’s artistic and aesthetic habitus, and his insertion into the Argentinian sociocultural and artistic context, in order to explore Dučmelić’s creative process, paying special attention to the way that personal experiences, emotional stimuli and memories were resignified into artistic, symbolic and oneiric images.
KEY WORDS: Dučmelić, art, creative process, memories, Croatians in Argentina, interdisciplinary approach

This article discusses the topic of representations of memories through art using an interdisciplinary approach that connects contributions from the fields of anthropology and art history to the research problems of art and creative processes. Considering the artistic world of the Croatian painter Zdravko Dučmelić in Argentina as a case study, the main aim of the article is to explore how the sum of the acquired artistic/aesthetic habitus that mediated his artistic activities, memories and personal experiences was combined in the artist’s creative process. To this end we will present the formation of Dučmelić’s artistic and aesthetic habitus, and his insertion into the Argentinian sociocultural and artistic context, in order to explore Dučmelić’s creative process, paying special attention to the way that personal experiences, emotional stimuli and memories were resignified into artistic, symbolic and oneiric images.
KEY WORDS: Dučmelić, art, creative process, memories, Croatians in Argentina, interdisciplinary approach

This article explores the role of Bosnian refugee women in the music-making and organisational activities of two refugee bands (Dertum and Vali) in Slovenia in the early 1990s. Endorsing the ideas about the transformative power of art and looking beyond the dominant identitarian doxa that views music-making in exile as simply the preservation of the ethnic/national identity in a new context, the article places particular emphasis on the active role of women as creative agents of social change. It traces their role ethnographically not only in the process of reinvention of a traditional musical genre (the sevdalinka), but also in identity negotiations and transformation of the gender and power relations within and beyond the boundaries of the heterogeneous Bosnian refugee community, which had been shaped by the strict Slovenian migration policy.
KEY WORDS: women refugees, music-making, art and change, gender relations, sevdalinka, Bosnia and Herzegovina, Slovenia

This article explores the role of Bosnian refugee women in the music-making and organisational activities of two refugee bands (Dertum and Vali) in Slovenia in the early 1990s. Endorsing the ideas about the transformative power of art and looking beyond the dominant identitarian doxa that views music-making in exile as simply the preservation of the ethnic/national identity in a new context, the article places particular emphasis on the active role of women as creative agents of social change. It traces their role ethnographically not only in the process of reinvention of a traditional musical genre (the sevdalinka), but also in identity negotiations and transformation of the gender and power relations within and beyond the boundaries of the heterogeneous Bosnian refugee community, which had been shaped by the strict Slovenian migration policy.
KEY WORDS: women refugees, music-making, art and change, gender relations, sevdalinka, Bosnia and Herzegovina, Slovenia

The article presents an anthropological perspective on the selection, transformation and invention of Slovenian popular musical forms among the Slovenian expatriate community in Argentina. Among many descendants, the wish to continue their ancestors’ cultural practices created a “homeland-oriented” community in which their members felt committed to preserving their roots and social memories, and thus to “musically” enacting their Slovenianness. To illustrate this, I will particularly explore the case of the Slovenian Alpine ethno-pop band “Slovenski Inštrumentalni Ansambel”, analysing how the migration and memory processes of their antecessors influenced the life of these ethno-pop artists, and how these experiences were appropriated in their music and lyrics.
KEY WORDS: Alpine ethno-pop and popular music, appropriation, diaspora, identity, social memory, Argentina

The article presents an anthropological perspective on the selection, transformation and invention of Slovenian popular musical forms among the Slovenian expatriate community in Argentina. Among many descendants, the wish to continue their ancestors’ cultural practices created a “homeland-oriented” community in which their members felt committed to preserving their roots and social memories, and thus to “musically” enacting their Slovenianness. To illustrate this, I will particularly explore the case of the Slovenian Alpine ethno-pop band “Slovenski Inštrumentalni Ansambel”, analysing how the migration and memory processes of their antecessors influenced the life of these ethno-pop artists, and how these experiences were appropriated in their music and lyrics.
KEY WORDS: Alpine ethno-pop and popular music, appropriation, diaspora, identity, social memory, Argentina

The article addresses the impact of experiences of mobilities on visual arts in the Slovenian diaspora in Argentina. It aims to explore the question of how artistic creativity is related to individual and collective experiences of migration, life in diaspora and return mobilities. It approaches art as processual, relational and embedded in broader social, political and cultural contexts. Hence, such an analysis facilitates not only an understanding of individual experiences and worldviews, but also of the broader conceptualisation of art within particular socio-historical contexts. It explores how artists in diaspora imagine, express and constitute their relations with the homeland and their understanding of the past. By juxtaposing their art production with their life histories and trajectories as well as broader socio-historical contexts, the article explores intersections and correspondences between mobility and visual art, and raises the question of how diasporic sociality influences artists and their works as well as how artworks in turn create sociality.
KEY WORDS: Slovenian diaspora, Argentina, visual art, mobility, anthropology of art

The article addresses the impact of experiences of mobilities on visual arts in the Slovenian diaspora in Argentina. It aims to explore the question of how artistic creativity is related to individual and collective experiences of migration, life in diaspora and return mobilities. It approaches art as processual, relational and embedded in broader social, political and cultural contexts. Hence, such an analysis facilitates not only an understanding of individual experiences and worldviews, but also of the broader conceptualisation of art within particular socio-historical contexts. It explores how artists in diaspora imagine, express and constitute their relations with the homeland and their understanding of the past. By juxtaposing their art production with their life histories and trajectories as well as broader socio-historical contexts, the article explores intersections and correspondences between mobility and visual art, and raises the question of how diasporic sociality influences artists and their works as well as how artworks in turn create sociality.
KEY WORDS: Slovenian diaspora, Argentina, visual art, mobility, anthropology of art