Baja Mali Knindža

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Baja Mali Knindža ( Serbian - Cyrillic Баја Мали Книнџа = Baja, the little Knin Ninja ), civic Mirko Pajčin (Мирко Пајчин * 13. October 1966 in Gubin in Livno ) is a Serbian folk - / turbo folk - singer .

The ultra-nationalist singer has been banned from performing in Croatia , the Federation of Bosnia and Herzegovina and Switzerland (2016) due to his nationalist , xenophobic and racist lyrics and his commitment to the ultra- nationalist Serbian Radical Party (SRS) . During the Croatian and Bosnian wars (1991-1995) Pajčin was the best-known singer of newly composed war songs in the former Republic of Serbian Krajina and the Bosnian entity Republika Srpska . His songs openly express his sympathy for the commanders of Serbian paramilitary units and his nationalist and xenophobic attitudes towards Croats and Bosniaks . These war songs made Pajčin famous and are a typical example of the spontaneous wave of militant pop music at the time. During the war he created a new musical mainstream and a new musical culture which he represented and which made him an overnight star .

Pajčin's songs made a significant contribution to deepening the hatred between the ethnic groups and motivating the Serbian troops.

Controversial work

Pajčin made his debut in 1991 during the fall of Yugoslavia under the stage name Baja Mali Knindža with the album Ne dam Krajine (I will not give the Krajina ). Knindža is a suitcase word from the name of the city Knin and the Serbian name for the Japanese ninja fighter. It is an allusion to the paramilitary unit " Knindže " of the Republic of Serbian Krajina , which, under the command of Dragan Vasiljković ( Kapetan Dragan ) , was responsible for war crimes against non-Serbs during the Croatian War .

His first success was in 1992 the song Vrati se Vojvodo (Come back, Voivode ), in which he addresses the Serbian Chetnik leader and war criminal Momčilo Đujić (1907-1999) and asks him to return to the Krajina. On the cover of his album Pobijediće istina (It is the truth win) in 1994 posing with Pajčin šajkača , a flintlock pistol and a T-shirt bearing the badge of Đujićs Dinaric Chetnik Division carries. Pajčin's music served as an omnipresent acoustic background, i.e. the 'emotional carpet' of national euphoria, and was sold at political rallies with religious and nationalist symbols of the Chetnik movement.

Serbian military leaders attached great importance to Pajčin's songs. The writer Dragoslav Bokan (* 1961) claimed that the effectiveness of the Serbian warfare would have been perhaps 30 percent lower without Pajčin's 1992 album Stante paše i ustaše (Stop the Pashas [= Bosniaks] and Ustascha [= Croats]).

In 1998 he dedicated the album Srpskim Radikalima (Serbian Radicals) to the Serbian Radical Party (SRS), which follows an extreme nationalist ideology and advocates the creation of a Greater Serbia , including a party anthem ( Himna Srpskim Radikalima ). Pajčin sang several times for the SRS free of charge and is still politically close to it. At the Belgrade Book Fair in October 2018 Pajčin guest was the stand of the controversial SRS party leader Vojislav Šešelj and whose book had Srpski narod mora da oslobodi Kosovo i Metohiju (The Serbian people must Kosovo and Metohija free) pay.

Text samples

Pajčin's nationalist, right-wing extremist and Greater Serbian sentiments are often reflected in the political lyrics of his songs.

In the chorus of his song Ne volim te Alija (I don't like you Alija) from 1993, which is directed against the former President of Bosnia and Herzegovina Alija Izetbegović (1925-2003), it says:

“Ne volim te Alija, zato što si balija. Srušio si miran san, nosila ti Drina sto mudžahedina, svaki dan! ”

“I don't like you Alija because you are a Balija . You destroyed a peaceful dream. May the Drina take hundreds of your mujahideen with it every day! "

Pajčin sees the aim of the Serbian struggle in the defense of orthodoxy ("as the only true faith") and linked religious beliefs with national identity in his lyrics:

“Mi imamo srce lavlje, mi branimo pravoslavlje. [...] U Kraijini pravoslavne sveće, niko nikad ugasiti neće. "

“We have a lion heart, we defend Orthodoxy. [...] In the Krajina nobody will ever extinguish the orthodox candles. "

- Galijaš 2011, p. 287 (see literature)

As in the song Živeće ovaj narod (This People Will Live) from 1993:

"Živeće ovaj narod i posle ustaša, jer i Bog je Srbin, nebesa su naša."

"This people will even after the Ustasha life, because God is a Serb, the sky is ours."

- Galijaš 2011, p. 287 (see literature)

In the 1994 song Moj je tata zlocinac iz rata (My father is a war criminal), Pajčin glorifies Serbian war criminals with the words:

“Moj je tata, zločinac iz rata. Vi se potrudite, a ga osudite. Nema niko muda, da vodi ga do suda. "

“My father is a war criminal. You try hard and try to judge him. Nobody has the balls to take him to court. "

In his song Ja ne volim ljude te koji vole HDZ (I don't like these people who like the HDZ) , he sings about the majority of Croatian voters of the Croatian Democratic Community (HDZ ):

“Yes ne volim ljude te, koji vole HDZ. To su neka tužna lica, jebala ih Šahovnica "

“I don't like these people who like the HDZ. These are sad faces, fuck their Croatian coat of arms . "

During the Kosovo War and Operation Allied Force , Pajčin sang in his song Tesla (1999) against NATO and the US :

“Srpske trube mrze saksofone, srpsko nebo NATO-avione. Olbrajtova, mani se Kosova, to je sveta zemlja Srbinova. Ako NATO s' pešadijom kreće, sa Kosova, vratiti se neće. "

“The Serbian trumpets hate saxophones; the Serbian sky the NATO planes. Albright avoid Kosovo , that is sacred soil for the Serbs. If NATO invades anyway, they will never return. "

Discography

Albums

solo

  • 1991: Ne dam Krajine (I don't give Krajina )
  • 1992: Stan'te paše i ustaše (Stop the Pashas and Ustashas)
  • 1993: Živeće ovaj narod (This people lives)
  • 1993: Sve za Srpstvo, srpstvo nizašta (Everything for Serbianism, Serbianism for nothing)
  • 1994: Još se ništa ne zna (You don't know anything yet)
  • 1994: Advice to me (war and peace)
  • 1994: Kockar bez sreće (player without luck)
  • 1994: Pobijediće istina (It will win the truth)
  • 1995: Igraju se delije (The heroes play)
  • 1995: Idemo dalje (Let's move on)
  • 1995: Zbogom oružje ( Farewell , weapons)
  • 1995: Seobe (migrations)
  • 1997: Ne dirajte njega (don't touch him)
  • 1998: Povratak u budućnost (Back to the Future)
  • 1998: Srpskim radicalima (Serbian radicals)
  • 1999: Biti il ​​ne biti
  • 1999: Život je tamo
  • 2000: Zaljubljen i mlad
  • 2001: Đe si legendo
  • 2002: Zbogom pameti
  • 2003: Uživo
  • 2003: Luda Žurka - uživo
  • 2006: Gara Iz Njemačke
  • 2006: Za Kim Zvone Zvona
  • 2007: Gluvi Barut
  • 2011: Idemo malena
  • 2012: Lesi Se Vraća Kući

With the Braća sa Dinare group

  • 1994: Goki i Baja bend
  • 1995: Bila jednom jedna zemlja
  • 1996: Plači voljena zemljo
  • 1997: Yes se svoga, ne odričem do groba
  • 1998: Idemo do kraja

Others

His cousin Ksenija Pajčin (1977-2010) was a Serbian singer, dancer and model.

literature

  • Srđan Atanasovski: Recycled Music for Banal Nation: The Case of Serbia 1999–2010 . In: Ewa Mazierska, Georgina Gregory (Ed.): Relocating Popular Music: Pop Music, Culture and Identity . Palgrave Macmillan, 2016, ISBN 978-1-137-46338-8 , pp. 90 : “Certain musicians associated with this genre (such as Mirko Pajčin, known as ′ Baja Mali Knindža ′) openly engaged in the conflict, advocating the serbian cause through blatant nationalistic lyrics. Pajčin openly sympathized with Serbian paramilitary commanders in the wars in Croatia and Bosnia, expressing his nationalist and xenophobic attitudes towards Croats and Bosniaks. Moreover, he supported the far-right Serbian Radical Party, whose political program based on the irredentist project of so-called ′ Greater Serbia ′, glorified its controversial leader Vojislav Šešelj . Although Pajčin's stereotypically folkloric music style may seem prosaic, the appeal of his songs is mostely produced by poignant verses which speak of Serbian racial supremacy and historical victimhood [...], often directly insulting or threatening members of other national communities "
  • Armina Galijaš: Music as a mirror of political attitudes: Turbo-Folk vs. Rock . In: Institute for Eastern European History (Ed.): The political song in Eastern and South Eastern Europe (=  Europa Orientalis ). tape 11 . LIT Verlag Münster, 2011, ISBN 978-3-643-50255-1 , p. 278, 284 ff . “During the war in Bosnia-Herzegovina and Croatia in the nineties, the turbo-folk singer Baja Mali Knindža separated the worlds unified by Bijelo dugme from each other, in accordance with the newly postulated value system . In his popular Serbian hit, written in the now modern folk style, he sang the song Kad sam bio mali (When I was little). He thereby split the Serbs and Croats, claiming that the Croats always sang the Croatian hymn Lijepa naša , but the Serbs only sang the Serbian hymn Bože pravde (God of Justice) and never liked each other. [...] The aforementioned Baja Mali Knindža created a new mainstream during the war and at the same time represented a new musical culture. With his nationalistic songs, he achieved star status overnight. Coming from the Croatian Krajina, the Serbian singer Mirko Pajčin staged himself under this artist name as a fighter for Serbianism. [...] Baja's recordings were sold at political rallies along with religious and nationalist symbols, crosses and badges of the Četnik movement. [...] Above all, the nationalist songs functioned as omnipresent acoustic background "and served as an 'emotional carpet', so to speak, of national euphoria." This music increasingly dominated the media and could easily mobilize large sections of the population for political commitments. [etc.]"

Web links

Individual evidence

  1. ↑ Vera Stojarová: The far right in the Balkans . Oxford University Press, 2016, ISBN 978-1-5261-1202-6 : "the media and various cultural figures ([...] Baja Mali Knindža) remain very nationalist"
  2. ^ Jim Samson: Music in the Balkans (=  Balkan Studies Library ). BRILL, 2013, ISBN 978-90-04-25038-3 , Chapter Nineteen: Birthright of the People: Orchestras: Classicizing Traditional Music, pp. 511 : "the nationalist turbo-folk singer Baja Mali Knindža"
  3. ↑ a b c Atanasovski 2016, p. 90 (see literature)
  4. ↑ BAJA MALI KNINDZA: Nikada vise necu zapevati u Hrvatskoj, iako mi se tamo sjajno prodaju kaset ( Memento from June 7, 2011 in the Internet Archive )
  5. ↑ Nora Bader: Local council bans Serbian singer from concerts - his songs are a security risk . In: Aargauer Zeitung . July 29, 2016 ( aargauerzeitung.ch ): “The Aargau canton police are not so relaxed about the issue. "For security reasons, we recommended that the Aarburg community not approve the concert," confirmed spokesman Bernhard Graser. Public peace and security were not guaranteed with the event on September 10th. He couldn't say more about it, since it was intelligence service knowledge. "
  6. ^ Ivo Žanić: Flag on the Mountain: A Political Anthropology of the War in Croatia and Bosnia-Herzegovina 1990–1995 . London 2007, ISBN 978-0-86356-815-2 , pp. 295 : "Mirko Pajčin, alias Baja Mali Knindža of Knin, who was the most popular performer of what were known as newly composed was songs in the RSK and RS in the 1991–5 period."
  7. ↑ Rajko Mursic: Yugoslav and Post-Yugoslav Encounters with Popular Music and Human Rights . In: Ian Peddie (Ed.): Popular Music and Human Rights (=  Ashgate popular and folk music series ). tape 1 . Ashgate Publishing, 2011, ISBN 978-1-4094-3758-1 , pp. 101 : "and the Serbian neo-folk singer from Croatia Baja Mali Knindža (Mirko Pajčin) are typically examples of the spontaneous wave of militant popular music that flourished at that time."
  8. ↑ Galijaš 2011, p. 284 (see literature)
  9. ↑ Galijaš 2011, p. 284: "Even military leaders gave it such a high priority [...]" and P. 285: “[...] to deepen hatred. The songs of Baja Mali Knindža made a significant contribution to this ”(see literature)
  10. ↑ Fig. At Discogs (see web links)
  11. ↑ Galijaš 2011, p. 284 (see literature)
  12. ↑ Galijaš 2011, p. 284 f. (see literature)
  13. ^ Dragoslav Bokan: Baja Mali Knindža - Stante paše i ustaše . In: Naše Ideje . No. 1 , June 1993, p. 71 . Quoted from Pirkko Moisala, Beverley Diamond (Ed.): Music and gender . University of Illinois Press, 2000, ISBN 978-0-252-02544-0 , pp. 222 : "the effectiveness of [the Serbian] battle would perhaps be 30 percent lower ... without that tape"
  14. ↑ EKSPLOZIJA PATRIOTIZMA: Baja Mali Knindža dobio od Šešelja posebnu knjigu, a naslov će vas ODUŠEVITI (PHOTO). Srbija Danas, October 24, 2018, accessed November 12, 2018 .
  15. ↑ Baja Mali Knindža: Ne volim te Alija on YouTube , accessed on November 11, 2018.
  16. ↑ Ivan Čolović: Brothel Warrior: folklore, politics and war . fiber Verlag, Osnabrück 1994, ISBN 3-929759-08-X , Brothel of Warriors, The Holy Warriors, p. 111 (Original title: Bordel ratnika: Folklor, politika i rat . Belgrade 1993.): “The folk singer Baja Mali Knindža sees the aim of the Serbian struggle in a defense of orthodoxy: We have the heart of a loy , we fight for the right faith . "
  17. ↑ Galijaš 2011, p. 287 (see literature)
  18. ↑ Baja Mali Knindža: Moj je tata zlocinac iz rata on YouTube , accessed on November 12, 2018.
  19. ↑ Baja Mali Knindza: Moj Je Tata Zlocinac Iz Rata. tekstovi-pesama.com, November 5, 2011, accessed November 14, 2018 (lyrics).
  20. ↑ Baja Mali Knindža: Ja ne volim ljude te on YouTube , accessed on November 12, 2018.
  21. ↑ Baja Mali Knindža: Ja ne volim ljude te koji vole HDZ on YouTube , accessed on November 14, 2018.
  22. ↑ Baja Mali Knindza: Tesla. tekstovi-pesama.com, August 18, 2007, accessed November 14, 2018 (lyrics).
personal data
SURNAME Knindža, Baja Mali
ALTERNATIVE NAMES Pajčin, Mirko
BRIEF DESCRIPTION Serbian turbo folk singer
DATE OF BIRTH October 13, 1966
PLACE OF BIRTH Gubin near Livno , Yugoslavia