Severina's Rainbow Tour: A Croatian Story

Ask showbusiness manager Zoran Škugor, as Večernji list did on Monday, and he'll tell you that Severina's flop in the diaspora is due to her lack of a 'Croatian story' compared to Miroslav Škoro and Marko Perković Thompson, who literally and metaphorically perform their ethnicity at every opportunity:

'She doesn't number herself with the schlager singers [zabavnjaci] nor among the representatives of Dalmatia, but she has more and more of a pop-folk accent [na narodnjak]. [...] I'm sure that now she'll turn towards Serbia as much as she can and it's no wonder she chose Goran Bregović to write songs for her.'

(And look what happened when he was only her arranger.)

Severina's successfully toured Australia in the company of other Croatian singers, though (usually involving fetching pictures of Seve cradling a koala) - and the complaint that Croatia (diaspora included) is too small a market for Croatian singers is hardly new to autumn 2006. Indeed, two weeks ago Severina's manager Tomislav Petrović depicted the tour's national neutrality as an advantage:

'Unlike performances organised by Croatian parishes where musicians usually play two or three sets during the evening which also includes dinner, this time it's a real concert tour. We don't think that [church-organised] type of performance is bad, but Severina has outgrown it.

'[...] I didn't ask whether they [Arx International] are Croats, Serbs, Slovenes... Kazakhs. Their nationality really isn't essential to the job, and so far they've fulfilled all the conditions we agreed. Personally I don't have a problem on that question, and I even see that Croats are already working with Serbia in a big way. It's ultimately out of place to talk about the nationality of the people organising the tour, just as it's out of place to talk about whether Severina will be singing in America to Croats, Serbs, Bosniaks... or Kazakhs again? Severina will sing to everyone who goes to her concert.'

It's been clear for some time that Severina also belongs to Serbian showbusiness as far as the media there are concerned: add up her invitations to TV Pink awards shows and the extent of her coverage in Serbian tabloids like Svet. As a 'regional' star, she's surrounded by yet more sets of people and firms looking to promote, represent and generally make money out of her image.

Throughout spring, Severina was receiving (and taking part in) the musical version of the debate: if it's Croatian, can it be anything else ex-Yugoslav? And if it includes anything else ex-Yugoslav, can it be Croatian at all? The collapse of her American tour perhaps reflects the offstage version of the same problem (and in fact, there are a few hints that 'Štikla' didn't help Severina's standing with the Croatian diaspora). Can a Croatian singer have another ex-Yugoslav audience? And if she has another ex-Yugoslav audience, can she be Croatian at all?

Political circumstances and the structure of the media have changed since Doris Dragović fell foul of the same questions in 1999 with her (in)famous performance in Montenegro for New Year's Eve. (At the invitation, it tends to be forgotten, of a Croatian priest.) Nonetheless, the answer to whether Severina is just a Croatian star continues to be summed up by the British comedy catchphrase: 'Yeah but, no but'...

Showbusiness Ethnopolitics: Severina's Rainbow Tour

When I heard Severina was off on a tour of North America this November, I wondered briefly whether the schedule would touch down in Washington DC, where I spent most of last week at a not unrelated conference.

No such luck, and while I was in Washington, it turned out that the entire tour had been called off, ostensibly due to incredibly poor ticket sales - only several dozen at each venue, and as little as 20 tickets (or even just 8?) in LA.

Croatian tabloid 24 sata has been almost gleeful about the whole thing, reporting Severina's landing in Atlanta, bomb threats to the venues in Vancouver and Los Angeles and the eventual cancellation of the whole schedule through a reporter already accompanying Seve on her rainbow tour.

Now she's back in Zagreb, the root of the problem seems to be resistance from the Croatian diaspora towards her performing in larger concert venues (the Atlanta concert was booked for the CBS Center) rather than diaspora clubs owned and operated by Croatian emigres - and/or a semi-organised campaign against a Croatian singer's tour being operated by a Serb-American firm Arx International. (Arx's upcoming attractions include concerts by Indira Radić, Kemal Monteno, Zdravko Čolić, Bijelo Dugme and Rade Šerbedžija - hardly a narrowly Serb line-up, although there's of course no sign of the usual Croatian-club diaspora performers, who operate through other channels.)

Arx's Miloš Marić has since told the Serb-American magazine Objektiv that he believed sections of the diaspora sabotaged the LA and Vancouver legs in particular by refusing to accept advertising or posters, as did a Serb radio station in LA 'which did not want to run the ad because Severina is a Croat'. However, he praised the Croatian Chronicle newspaper for prominently advertising the tour, and emphasised that:

'Of course I can't talk about a boycott from the entire Croatian community, because I don't believe the people who work in those media have that much influence over the whole community or that the entire community in those cities is homogeneously negative.

Marić's colleague Žana Jovanović Savić has also blamed the diaspora, including a Croat radio station in New York whose editor 'openly boycotted us, describing our collaboration as unnatural.'

The same line, perhaps unsurprisingly, comes from Serbian tabloid Blic - although no mention there, or in the dependably outraged Kurir, of the Serb radio station in LA.

Continued

Severina On Schedule

Yet another Večernji list interview for Severina, who's had a busy week - in between performing Moja štikla in a rock arrangement during a big Boris Novković concert in Zagreb, and rehearsing her role as Baroness Castelli in a new production of the classic Croatian play Glembajevi.

Next she'll be off on a tour of North America, where the Congress Theatre in Chicago is apparently billing her as the 'Croatian Madonna.' (That's the 21st-century singing one, not the 1st-century praying one, whose Croatian incarnation is already quite well spoken for by a certain Tatjana Matejaš.)

Otherwise, Severina has little to add to last week's interview with VL which finally indicated the contents of her made-in-Belgrade album. As she says this time:

'The new songs shouldn't be compared with 'Štikla' [...] Maybe what the album does have in common with 'Štikla' is that those little amateur orchestras from Županja, Daruvar, Solin, and Kaštel will perform on it, like the ojka singers from Sinj and the Matić brothers performed on Štikla. And on one lovely tamburica song Zlatni dukati are also appearing for me.'