| Summary: | An immense number of scientific works have been written on the phenomenon of
identity. Insisting on the consideration of the aforementioned phenomenon has
become prominent in social and humanistic sciences - and especially in
cultural studies as a specific interdisciplinary field - since the 1960s.
Unlike previous studies and notions that see identity as a centered,
unchangeable and homogeneous entity that manifests itself as objective social
facts, much research has led to the conclusion that identity is a complex,
multifaceted, changeable, unstable construct which occurs and changes its
meaning in various historical, social and discursive contexts. After that,
the focus of research was shifted from the consideration of ways of
constructing identity to understanding the occurrence of new aspects of
identity, that is, multiplication, fragmentation and destruction of existing
identities, especially in the era of globalization. Along with the statement
that any art is political, as art per se is one of ideological instruments
which conceals the horrible, in terms of the Lacanian “Real”, and which would
destroy society if it could be seen, visualized, heard or touched, there are
discussed some aspects of the work of Kevin Volans and Aleksandra Vrebalov,
composers whose works have been promoted and brought into the world of music
by the Kronos Quartet, a music institution whose work is based on the idea of
promoting multiculturalism - a phenomenon which accompanies globalization.
Modern open politicization of works of art and musical institutions, which
are themselves political instruments, has been interpreted, in the spirit of
the conclusions of left-orientated scientists, as a social decision, within
neo-liberal capitalism, which enables the acceleration of the process of
globalization, that is, the unimpeded flow of Capital.
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