The Croatian team’s favorite singer is a fascist salute away from the mainstream
Fans across two continents belted out Marko Perković Thompson’s “Lijepa Li Si” this summer — a song that salutes a WWII puppet state convicted of war crimes.
Fans across two continents belted out Marko Perković Thompson’s “Lijepa Li Si” this summer — a song that salutes a WWII puppet state convicted of war
Read Full Story at Politico →Why This Matters
The Croatian national anthem’s unofficial anthem status of "Lijepa Li Si" exposes a troubling tension between cultural pride and historical accountability. When thousands of Croatians and diaspora communities sing a tune linked to a WWII puppet regime condemned for genocide, it forces a reckoning with how public memory is weaponized in modern identity politics. The phenomenon reflects a broader pattern where nationalist rhetoric masquerades as heritage, blurring the line between celebration and revisionism.
Background Context
Marko Perković Thompson, the singer of "Lijepa Li Si," is a polarizing figure whose lyrics and public statements have repeatedly invoked the salute of the Ustaše, the Nazi-aligned Croatian regime responsible for the deaths of hundreds of thousands during WWII. The song’s popularity during sporting events—often led by far-right fan groups—mirrors Croatia’s fraught post-independence identity, where anti-fascist narratives compete with narratives that glorify pre-war Croatian statehood. The Croatian government’s ambivalence toward these displays underscores a systemic reluctance to confront extremist symbols embedded in national symbolism.
What Happens Next
International scrutiny may intensify as human rights organizations pressure UEFA and FIFA to address the song’s use in stadiums, potentially leading to sanctions or bans for Croatian teams. Domestically, the debate could fracture the ruling political coalition, with centrist parties facing pressure to distance themselves from far-right allies who embrace such cultural symbols. The viral spread of the song among diaspora communities suggests this controversy will transcend borders, prompting Croatian embassies to navigate a global public relations dilemma over national identity.
Bigger Picture
This incident aligns with a rising global trend where nationalist movements co-opt art and music to sanitize historical atrocities, from Francoist hymns in Spain to Cossack folk songs in Ukraine. It also highlights how digital platforms amplify divisive cultural artifacts, turning regional disputes into transnational flashpoints. For Croatia, which has spent decades cultivating a progressive EU image, the song’s mainstreaming reveals the enduring power of revisionist nostalgia—and the fragile boundaries between patriotism and extremism.
