Russia’s Glamorization of the Shanson

• In Event: Popular Culture and Society in Russia, Ukraine, and Yugoslavia

Abstract

In my discussion of the social role of Shanson musical genre (so-called underworld songs) in Russia and Ukraine I employ Baudrillard’s concept of the “simulacrum” to argue that popular music operates as social cement for its consumers by providing membership in contemporary (virtual) communities. By investigation of Theodor Adorno’s work on popular music, I introduce the contrasting approach that identifies popular music as a practical tool for manipulation of mass consciousness by the ruling class. Furthermore, I use Dick Hebdige’s work in order to expand on symbolic protest presented in and by musical subcultures. Finally, I relate the aforementioned theories to the phenomenon of Shanson music in Russia and Ukraine and conclude that Shanson might be seen as subculture that was eventually commodified and therefore transformed into a commercially successful money-making machine; in addition, this musical genre operates as social cement for its audience. As follows, this paper aims to introduce a few contrasting theories about the role of popular music in society and foregrounds a particular musical style—Shanson—to illustrate the social function of popular music.

Author

• Anastasiia Gordiienko, Ohio State U