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Museums and the ethnographic heritage of

the Yugoslav peoples

Tatjana Zec

A presentation of Yugoslav folk art for the international community

A special exhibition, Yugoslav Folk Art, was organized by the Belgrade Ethno- graphical Museum, in co-operation with museums in other Yugoslav repub- lics, on the occasion of the twenty-first session of the General Conference of Unesco. The exhibition was organized with a view to acquainting the numer- ous visitors from various parts of the world with certain aspects of the rich cultural heritage of the Yugoslav peoples. The contribution made by the ethnographical museums to this event made it possible to present a selection of folk-art treasures of outstanding technical and artistic interest. This ac- counts for the considerable enthusiasm shown by the general public in Yugo- slavia for the exhibition, which brought together, for the first time in many years, some of the finest specimens and art objects of the traditional culture of all the Yugoslav peoples.

Folk art is a major aspect of our cultural heritage and bears all the character- istics of an authentic art-form. Its components are of various origins, ex- pressing the ethnic and geographical identities of the Balkan ethnic groups. Numerous migrations and local developments throughout history have led to a wealth of forms, the sheer variety of which is rarely found.

Exhibitions of folk art have always been catered for separately in the pro- grammes of ethnological museums. The very diversity of the aspects of this theme has led to a variety of conceptual approaches, ranging from a straight- forward presentation of the various art- forms to more elaborate interpretations of the theme.

The approach adopted for our most recent exhibition was to classify objects of outstanding artistic value according to centres of specific cultural and his- torical interest. The main criterion used for determining the various cultural areas (Alpine, Pannonian, Dinaric, Mediterranean and central Balkan areas) was based on shared ways of life, together with socio- historical similarities between various parts of Yugoslavia. The several currents in the art-forms of certain cultural areas were accordingly assessed, first and foremost, in terms of economic development and the various cultural influences. Differences in the shapes of objects within a specific cultural area (which never corresponds to ethnic or political boundaries) are the result of ethnic and religious differences and this accounts for the preference which certain communities have expressed for a particular conception of objects. The exhibition therefore highlights the influence of economic development on the various features of figurative folk art and the common genetic foundations of the creativity of the Yugoslav

TATJANA ZEC graduated from the University of Belgrade, Faculty of Philosophy, in 1968. Joined Ethnographic Museum in Belgrade in 1974 ; curator for education since 1976. Has written short articles on different ethnographic and museological topics which have been both published and used in radio programmes. Also takes part in educational television programmes.

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peoples, the specific ethnic characteristics and the various internal or external influences.

The architect and the designer (a painter) who were responsible for organiz- ing the exhibition were faced with the difficult task of setting it up in a trade centre, which hardly meets even the most elementary requirements for an exhibition of museum objects. The spaciousness of the hall (1,600 square metres) and the use of light-weight display equipment, in horizontal and vertical display cases adapted to the nature of the objects, guided the overall approach. The result was a very original layout to the exhibition. In the presentation of the various objects, each of which is a work of art of consider- able interest, special attention was paid to the relationships between various forms. The white backdrop to the show-cases highlighted the richness of the colours of the objects on display.

The exhibition was equipped with an audio-visual communications system (television sets, and film and slide shows) and was accompanied by a number of related events (lectures, concerts and folk- dancing). A very complete cata- logue was prepared by the organizers. Entitled Yzgodau Folk Art, it contains explanatory texts by Yugoslav ethnographers and thirty-nine pages of photo- graphs, including several colour plates.

Ethnographical museums in Yugoslavia

The political, cultural and historical destiny of the southern Slavonic countries was shaped by their geographical location at the crossroads between Europe and the Middle East. Over the centuries, these lands have been the home of various peoples, the breeding-ground of major civilizations and the meeting- point of numerous migrations. A rich and varied cultural heritage has thus been handed down.

The lengthy rule of the Ottoman Empire, together with that of the Habs- burg monarchy, were both marked by a long period of oppression and im-

Yugoslav Folk Art, exhibition organized for the twenty-first\ session of Unesco’s General Conference, Belgrade, September-October 1980. [Photo: Etnografski Muzej/Pavitevit FiS.]

Museums and the ethnographic heritage of the Yugoslav peoples 83

Apron, Bosnia. [Photo: Etnografski Muzej/Pavitevit Fil.]

Short coat, woman’s festive attire, Serbia. [Photo: Etnografski Muzej/PaviCevit Fil.]

Ewer, Serbia. [Photo: Etnografski Muzej

poverishment of cultural centres, such as cities, feudal estates and monasteries. The decline of the feudal states in the Balkans and their subsequent enslave- ment over several centuries gradually brought about a renaissance in autarkic rural life and renewed the traditional, previously dormant social structures of these peoples (tribal units, family co-operatives). The rural population, in so far as it constitued the only homogeneous social class until more recent social and historical times (the establishment of independent nation states in the nineteenth century), became the standard- bearer of a specific culture which developed unceasingly over the centuries in spite of Óccupation and slavery.

These historical conditions did much to retard the setting up of museums in the southern Slavonic states as compared with other parts of Europe. While the cultural heritage and the advent of scientific discoveries in the nineteenth century in most European countries reflected steady cultural development in a climate of national freedom, the process of laying the foundations of cultural and scientific activity was only in its infancy in the newly independent southern Slavonic states.

The first museums to have been founded in the nineteenth century brought together collections of objects from a very broad spectrum of fields, such as archaeology, history, art and ethnography. Their purpose was to illustrate national traditions and to foster the development of scientific research on a national basis. In actual fact, the study of local traditions and the valorization of national culture (all too often contested by the foreign occupying authorities) consolidated the struggle for a genuine national identity, which continued throughout the nineteenth century.

Section of a wooden caned ceiling, Macedonia. [Photo: Etnografski Muzej/Pavitevit Fil.]

Born with the century

With the advent of the twentieth century came the establishment of the first ethnographical museums, often through a redistribution of ethnographical

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Woman’s hat, Voivodina. [Photo: Etnografski Muzej/Ra<itwiC FiS.]

Shepherd‘s mug, Bosnia. [Photo: Etnografski Muzej/PaviCeviC FiS.]

1. The collections and museographical conception of the museum as it used to be were described in an article by Verena Han, ‘The new permanent exhibition at the Ethnography Museum of Belgrade’, Afujeum, Vol. XV, No. 2 , 1962, pp. 134-136.

collections belonging to the national museums or through the donation of larger private collections. These were also to contribute, through their ethno- logical and museological activities, to the achievement of new national objec- tives. The role played by the museums at the time corresponded perfectly to the aspirations of the middle classes to a cultural identity of their own and to the prevailing Romantic predilection for culture and history.

In the early decades, the ethnographical museums constitued collections of objects drawn essentially from all the southern Slavonic states, wishing thereby to emphasize the common foundations to the cultures of the southern Sla- vonic peoples. The concept of a common culture before 1918, when reunifica- tion took place, reflected the aspirations of the Yugoslav peoples to national unity. Subsequently, this notion was to become an obstacle to objective scien- tific research, as it overlooked the specific nature of each national culture, leading not only to scientific error but also to political conflicts.

While in the early years, immediately after the ethnographical museums were set up, the general approach was typified by the presentation of art treasures in the form of collections, experience led subsequently to an approach based on sociological considerations. By presenting certain collections merely as classifications of art treasures, without any reference to socio- economic and cultural development, the ethnographical museums could not provide an ac- curate picture of either the ethnic development or the cultural and historical traditions of the peoples of Yugoslavia.

After 1945, however, suitable conditions for the development of all the national cultures of Yugoslavia were achieved at last and the museums of each republic and province were to become centres for the study and presentation of Yugoslav ethnic and cultural development.

In each republic, the acquisition of art treasures and related research ac- tivities mainly involve objects originating from these specific areas. Research on ethnic groups and ethno-geographical areas is also conducted on a similar, local basis and the museums publish the results of their activities in their own publications (The Belgrade Ethnographical Mzlseum Review, The Sarajeuo Geo- graphical Museum Review, The Skopje Ethnological Mzlsezlm Review, The Sloveniaiz Ethnographer of Ljubljana, and so on).

The advent of new social theories, the growth of ethnographical and museological knowledge and changes in visual conceptions have given rise to new approaches to the presentation of traditional cultures. Over the last few decades, several permanent exhibitions have been organized (the Belgrade Eth- nographical Museum, 195 1 ; the Zagreb Ethnographical Museum, 195 5 ; the Sarajevo Geographical Museum, 1974) which have each, through their techni- cal and museological conceptions, innovated in the presentation of ethno- graphical material. By basing their presentation on either the geographical distribution of the ethnographical areas (the Zagreb Ethnological Museum) or on the specific ethnic peculiarities of the ethno-geographical areas (the Bel- grade Ethnographical Museum) , the museums have striven to highlight all the facets of national culture, stressing their dependence on the working environ- ment. The foundations were accordingly laid for illustrating visually the dia- lectical relationships existing between the means of production, wealth and social structures.

Handicaps

The space devoted to display in the 1951 permanent exhibition at the Bel- grade Ethnographical Museum, through want of adequate facilities, has gradu- ally been reduced in favour of additional storage facilities.‘ Several other eth- nographical museums in Yugoslavia have also been faced with a similar situ- ation. There are permanent exhibitions at the Zagreb Ethnographical Museum, the Sarajevo Geographical Museum and the Skopje Ethnographical Museum, installed in buildings that are not altogether adapted to the needs of the museums. These, as in the case of the Belgrade Museum, often have facilities that do not correspond to elementary working requirements, such as

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adequate premises for thematic collections, permanent exhibitions, conserva- tion workshops, research areas, and so on. This accounts for the fact that the ethnographical museums are not yet in a position to take full advantage of the development of modern museology and to satisfy the ever more demanding aspirations of contemporary society. They have accordingly focused their atten- tion on specialized technical work involving the collection and preservation of museological material and on field work. The public is kept informed of their activities mainly through temporary thematic exhibitions. The frequency of these events (as many as ten a year) and the variety of aims and concepts they represent illustrate the firm intent on the part of the ethnographical museums to contribute actively to contemporary trends in the cultural life of the coun- try. By the fundamental nature of their programmes, however, they can still be classified among traditional museums and not among those institutions that have successfully established channels of communication with the environ- ment that is the subject of their activities. People today are more easily drawn towards other cultural activities, such as the theatre, the cinema and libraries, together with the many new and attractive types of media. This is a challenge which our museums still must meet.

[ Transluted from Serbo-Croat]

ETHNOGRIPHICAL Musmai, Belgrade, General view. [Photo: Etnografski hluzej, Belgrade.]