#been a big year or bulgarian folk choir! :]

[fritzwilhelm]

7, 13, 42 for spotify wrapped 🎵

7) Izgreyala Yasna Zvezda - London Bulgarian Choir

13) What Did You Mean by Love? - Vulfpeck

42) 9 to 5 - Dolly Parton

[borisbubbles]

16. SERBIA

Balkanika - “Nova Deca” 19th place

Out of all the positive morphs I experienced this year, Serbia was the one that I suspected the least. I never hated them the way others did, but eh, I didn’t think highly of them either. Especially when the backstage clips showed them enterting the stage dressed up like members of some inauspicious fertility cult. “Oh.” I thought. “Another Genealogy. Except it won’t make the final. Whatever, NEXT”

How wrong I was though, because it did qualify and caused me to re-evaluate all I knew about life and come to the fucking conclusion that... this is really fucking good??? HOW is an exaggerated mess that has accurately been described as “Balkan Megamix Volume 3″ this great? 

I actually don’t have a clear answer for this as i’m writing this down (we haven’t reached the songs I would spam the replay button on yet), but the core of it is that Balkanika tried REALLY hard to condense 900+ years worth of Balkanic musical tradition in a mere three minutes and fucking pulled it off by... striking battle poses like some Ethno-Power Rangers

GO GO BALKAN RANGERS!!!

The choreography as a whole is just so extra and beautifully overacted. The entire way through, the members of Balkanika strike poses as if in Madonna’s “Vogue”, guided on by the beguiling tunes conjured by Ljubomir’s magic whistle-wand [ed.: here’s the best gif i could make of Old Rasflutin’s background flailing, but it’s way funnier if you pay attention to his presence as you watch “Nova Deca” unfold, so SCROLL UP AND REWATCH RIGHT NAO!!!]:   

Such a beautiful presence we’re not worthy of, y’all. All while the rest of Balkanika are either serving some epic 90 Percussion realness:

or chanelling some Project: Waters of Life sillyness

This could have so easily turned into a San Marinese goopy mess (which I don’t think too highly of, as you know), and briefly it looked like this would be the case; Instead, we found something better.

The plain answer however, lies in that Balkanika didn’t try to be funny and that makes a massive difference. Every piece of overacting, from Mladen’s creepy stares to Ra-Ra-Rasflutin (Serbia’s greatest love machine) prodding the action on from the background, is the product of intense belief and dedication, which... makes it hysterical, but in an endearing sort of way. Balkanika really just can’t help themselves. <3 

However, as I have to take things into account other than just act, I can’t really drag Balkanika much higher than this. Their song, while cool in concept, is kinda a bit too overloaded with quirks, which are largely lost to me because you know, show-stopping staging. (lol I just realized this is such a reverse “O jardim”, how neat they will now be forever ranked next to one another in this ranking). “Nova Deca” also suffers from the fact that I already had a large slew of other faves before I started to love them. As a whole, I think they have the least to offer of those left in the ranking. Oh well, at least we’ll forever have this: 

<3

RANKING SO FAR:

16. Serbia (Balkanika - “Nova Deca”)

17. Portugal (Cláudia Pascoal - “O jardim”)

18. The Netherlands (Waylon - “Outlaw in ‘em”)

19. Ukraine (MÉLOVIN - “Under the ladder”)

20. Macedonia (Eye Cue - “Lost and Found”)

21. San Marino (Jessika ft. Jenifer Brening - “Who We Are”)

22. Sweden (Benjamin Ingrosso - “Dance You Off”)

23. Austria (Cesár Sampson - “Nobody but you”)

24. Latvia (Laura Rizzotto - “Funny girl”)

25. Azerbaijan (AISEL - “X my heart”)

26. Israel (Netta - “Toy”)

27. Norway (Alexander Rybak  - “That’s how you write a song”)

28. Montenegro (Vanja Radovanovic - “Inje”)

29. Armenia (Sevak Khanagyan - “Qami”)

30. Poland (Gromee ft. Lukas Meijer - “Light me up”)

31. Greece (Yianna Terzi - “Oniro mou”)

32. Georgia (Iriao - “For you”)

33. Belgium (Sennek - “A matter of time”)

34. Italy (Ermal Meta & Fabrizio Moro - “Non mi avete fatto niente)

35. Romania (The Humans - “Goodbye”)

36. Ireland (Ryan O'Shaughnessy - “Together”)

37. Croatia (Franka - “Crazy”)

38. Belarus (ALEKSEEV - “Forever”)

39. Russia (Julia Samoylova - “I Won’t Break”)

40. Spain (Amaia & Alfred - “Tu canción”)

41. Iceland (Ari Ólafsson - “Our choice”)

42. Australia (Jessica Mauboy - “We Got Love”)

43. Czech Republic (Mikolas Josef - “Lie to me”)

FOOTNOTES (optional)

1) I decided not to credit Sanja Ilic simply because he wasn’t on the stage and I feel it’s kinda unfair to credit him just based on his merit as a composer, while Isaura composed AND performed second fiddle to Cláudia, without a letter of on-screen credit. 

2) Re: Intentional vs Unintentional humour: The reason why intentional humour rarely works for me is that it comes with the built-in pressure to laugh, which... makes me less inclined to find something funny because it kinda takes away the choice element of it. Like, I think I have a fairly okay sense of humour, I can decide for myself what I find funny, you know? This is why intentional humour rarely works for me, while unintentional humour nearly always does. For reference, dial back to where I ranked Israel and Norway and Czechia and San Marino (or “Yodel it” and “Space” from last year), all acts that piggybacked on scripted humour

3) DoReDos are one of the few instances this year where intentional humour totally worked for me, although I also realize they’ve largely been hit-or-miss. But we won’t be discussing that soon.

4) Me being a history nerd, I also think the idea of “weaving a song out of literally every Serbian musical quirk ever” is a really cool song concept. It really comes close to an earnest, Balkanic version of “Swedish Smörgåsbord”  <3 5) “Nova Deca” is a way more accurate representation of what actual balkan music sounds like (as opposed to the tiresome, tedious, boring Balkan Ballad). The Folk music channels in Bulgaria, for instance play “Nova Deca”-esque songs all day.   6) A funny argument between my mom and I occured during this song. My mom, who is Bulgarian, argued that Balkanika plagiarized their song from Bulgarian Polyphonic Singing. When I pointed out the song was based on the Byzantine musical traditions, she claimed that the Byzantines stole them from the Bulgarians, which is historically implausible (see note 8). This is one of many reasons I think little of ethnocentrism and nationalism, especially from the Slavs and Greeks. Everyone accuses one another of cultural appropriation (see again: Macedoniagate), when in fact, their geographical proximity exposed them to similar cultural ideas and their geopolitics (warmongering) turned it into a mutually unintelligible wash. 

7) Besides, the entire point of the Balkans is that they support each other due to their cultural similarities in spite of wishing horrific, painful deaths on one another.  <3

8) HISTORY LESSONS WITH BORIS #1: Polyphonic Singing.  Polyphonic singing evolved as a Byzantine response to Roman Catholic liturgical chanting (instituted by Charlemagne, who as Holy Roman Emperor, took measures in making the religion more accessible to the common folk. How do we make the Bible popular? By teaching rich people how to read! What a genius. <3 ). Thus, polyphony spread as Byzantine Christianity spread, which would later become Eastern Orthodoxy after the East-West Schism in the 11th century AD. (hence why polyphony is such a big cultural benchmark all Eastern Orthodox nations, including Russia and Georgia, but not Armenia until their annexation by the Russian Empire in the 19th Century AD (since Armenian Christianity is a cadet branch of Oriental Orthodoxy, which split from Catholicism in the 4th century AD).  Anyway, Bulgaria historically played a massive role in spreading Christianity and its liturgical chanting to their pagan Balkan neighbours, after the Bulgarian Knyaz (a fancy way of saying “Khan”) Boris I converted under the pressure of Byzantine Emperor Michael III. Boris (whom, as you might have guessed, I was named after) used Christianity to pacify the squabbling lords of his realm (which included both pagans and Catholics) and oversaw the creation of the Glagolitic (liturgical) and Cyrrilic scripts to speed up the spread, paving the way for Bulgaria’s Golden Age under his son Simeon. During that Golden Age, btw, much of what is now Serbia came under Bulgarian control, including Belgrade.  So while the Serbs probably did learn polyphony from the Bulgarians, the Bulgarians absolutely, totally, learned it from the Byzantines, who invented the damn’ thing, in their own spin on Charlemagne’s popular church choirs. Mum, you’re WRONG. O:-)