Nationalism Unleashed: Thompson's Concert Divides Croatia

Thompson's concert in Zagreb drew hundreds of thousands, reigniting historical tensions in Croatia. The event highlighted divisions over nationalism and interpretations of the country's complex past, prompting criticism and concerns about the rise of far-right sentiments.

The mega-concert featuring ultra-nationalist singer Marko Perkovic, known as Thompson, has sparked a significant cultural rift in Croatia. Hailed by supporters as a patriotic affirmation, the event has drawn fire from opponents who label it a "neo-fascist Croatian Woodstock," revealing profound societal divisions regarding national identity and history.

Reports suggest that more than half a million tickets were sold for the concert, although actual numbers attending were significantly lower, yet still impressive, with hundreds of thousands participating at Zagreb Hippodrome. The high-energy crowd erupted into chants as Perkovic performed, particularly responding enthusiastically to his opening number, "Čavoglave Battalion." The singer's cry of "Za dom," meaning "for homeland," elicited a thunderous response of "Spremni," translating to "ready," and was echoed by politicians from the governing HDZ party.

This phrase, however, has sparked outrage from opposition parties, human rights advocates, and organizations promoting regional reconciliation. The origins of "Za dom, spremni" lie with the Ustasha, a Nazi-aligned regime during World War Two, a fact acknowledged by Croatia's Constitutional Court, which declared the chant unconstitutional. Tena Banjeglav from Documenta emphasizes that such expressions have gained traction in political discourse, pointing to an environment that fosters dangerous nationalism reminiscent of the region's turbulent past.

Government figures have largely downplayed the incident, with Prime Minister Andrej Plenkovic attributing the chant to artistic representation and even posing for photos with Thompson the day before the concert. Nevertheless, commentators express grave concern about the implications of these events for Croatian society. Matija Štahan defends the singer, suggesting a recontextualization of the chant akin to the Ukrainian salute, arguing for its modern anti-establishment interpretation amongst youth.

The Youth Initiative for Human Rights (YIHR) stands firmly against this reinterpretation, condemning such expressions as overtly fascist. YIHR's director, Mario Mažić, critiques Croatia's failure to confront its past and advocates for responsibility in representing historical narratives, especially as an EU member state.

In a broader geopolitical context, historian Tvrtko Jakovina notes that the visibility of extremist views has been exacerbated since Brexit. He highlights Thompson's recent performances in regions symbolically significant to the Serb population, framing it as part of a nationalist agenda that overshadows pressing contemporary concerns like tourism and education.

The collective anxiety over nationalism in Croatia is palpable as the government opts for showmanship through military parades and concerts rather than engaging in crucial socio-economic discussions. As divisions deepen, the implications for unity and reconciliation in Croatia remain uncertain.