Summary

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Introduction
Margaret Beissinger

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Ch. 1:
Music, Dance, Performance: A Descriptive Analysis of Manele
Anca Giurchescu & Speranța Rădulescu

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Ch. 2:
A History of the Manea: The 19th to the Mid-20th Century
Costin Moisil

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Ch. 3:
How the Music of Manele is Structured
Speranța Rădulescu

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Ch. 4:
Romanian Manele and Regional Parallels: "Oriental" Ethnopop in the Balkans
Margaret Beissinger

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Ch. 5:
Actors and Performance
Speranța Rădulescu

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Ch. 6:
The "Boyar in the Helicopter": Power, Parody, and Carnival in Manea Performances
Victor Alexandre Stoichita

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Ch. 7:
Manele and the Underworld
Adrian Schiop

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Ch. 8:
Village Manele: An Urban Genre in Rural Romania
Margaret Beissinger

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Ch. 9:
Turbo-Authenticity: An Essay about "Manelism"
Vintilă Mihăilescu

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Epilogue
Speranța Rădulescu

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Chapter 2:

A History of the Manea: The 19th to the Mid-20th Century

Costin Moisil

This chapter presents a discussion of the historic roots of manele. Having accumulated sentimental Ottoman musical elements from the court music of the sixteenth to the eighteenth centuries, manele comprised the music of the aristocracy at the beginning of the nineteenth century when the Romanian Principalities were still under Ottoman suzerainty. The genre gradually disappeared from the public in the era of nationalism (latter nineteenth and early twentieth centuries) and reappeared as a totally innovative and dynamic form toward the end of the twentieth century--the reflection of a new society and result of the fusion of Balkan musical forms. In this stage of their development, manele were entirely distinct from the elite world and instead became the preferred music of youth as well as two categories of "marginalized" communities: people within the underworld (that had emerged in post-1989 Romania) and the poor and underprivileged.

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