Dissociated from any show business church or dogma, Emir Kusturica and The No Smoking Orchestra are a significant phenomenon of the anti-globalist movement and a unique paradox of the environment they have sprung from. They are more famous and more recognized on the international scene than in their country whose repute they have been successfully boosting.
Their first ten years performing the unza unza dishevelled sound of the rhythm guitar playing the rapid two quarters rhythm of the Serbian kolo, in fact a frantic Balkan version of rumba, bringing together by some strange ties the rock experience, the gypsy music sound and the Šumadija two quarters rhythm with broader artistic concepts of the twentieth century – is proof of the fact that, now, at a time featuring an ever greater lack of understanding, there is dance music with compelling contents that one cannot resist because “there are no two feet that can remain calm” when it plays. The No Smoking Orchestra communication with the world is based on music and performance, running on image and sound without any specific insistence on a single homeland. The sum of pixels and the frequency of that spectacle do not prompt the audience to search for the origins of that music through education and knowledge, but rather to recognize their own hearts, souls and forgotten feelings through the experience of a roaring sound.