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Jelek: entered into Serbian costume by way of Ottoman influence, at first augmenting and then later supplanting the ancient Slavic garment, the zubun. The zubun is seeing a revival among folklore ensembles, but was only actually retained as part of folk costume by Serbian women in Dinaric regions and the more remote portions of Morava and Timok zones.
Kecelja: used to be a heavy wool apron, woven in a specific technique (klečanje) and always geometric in design. The costume we know has an embroidered apron, generally velvet, sometimes wool, with elaborate floral embroidery. Similar embroidery is on the košulja, also having replaced geometric designs. These are post WWI novelties, influenced by the Pannonian zone just across the Danube.
Šajkaca, Bridž pantalone: both entered the folk costumes during the Balkan Wars and WWI, as they were part of the military uniform of the Principality and later Kingdom of Serbia. Bridž is from the English word britches.
There are many variants within the Morava zone throughout the microregions. Pomoravlje (i.e. Požarevac, Svilajnac, Ćuprija districts), Mačva (Šabac district), Dragačevo (Guča district) are just a few, each showing some influences of other zones such as Pannonian and Dinaric.
In 1944, Sekula Drljević, a Montenegrin fascist collaborator, rearranged the lyrics of the Montenegrin patriotic song \"Oj, svijetla majska zoro\" to celebrate the creation of the Montenegrin puppet regime that had been established in July 1941.[6]
The song survived until today under various names as a popular Montenegrin folk song under the name \"Oh, Bright Dawn of May\" (\"Oj svijetla majska zoro\"). This version of the song has been one of the several versions proposed in 1993 during the first discussion on the official state anthem, however, on which there was no consensus because of the disputed melodic value.[7]
As the president of Montenegro, Filip Vujanović participated on several occasions public debates regarding the disputed parts of the national anthem, which was made official in 2004. On that occasion, the official text of the anthem also included two stanzas (third and fourth) sung by the Montenegrin fascist and war criminal Sekula Drljević.[8] Controversy over the disputed parts of the anthem in the following years led to open divisions among the citizens of Montenegro,[9] and Vujanović himself on various occasions publicly criticized the adoption of Drljevic's stanzas, from which he distanced himself, advocating changes to the official text of the anthem.[10][11] Vujanović repeatedly pointed out that the adoption of Drljevic's verses was not acceptable because their creator was a fascist or Nazi, and on the same occasion he warned of the danger of strengthening extreme Montenegrin nationalism and chauvinism.[12][13] 59ce067264
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