- Dr. Milena Dragićević Šešić, professor emerita of the University of Arts Belgrade. Dr. Milena Dragićević Šešić, is fo... moreDr. Milena Dragićević Šešić, professor emerita of the University of Arts Belgrade. Dr. Milena Dragićević Šešić, is former President of the University of Arts, Belgrade, Founder of UNESCO Chair in Cultural Policy and Management. Board member of the European Diploma in Cultural Project Management (Brussels), EQ-Arts, Amsterdam. The UNESCO expert. Published 20 books, more than 25o papers, translated in 17 languages. Commandeur dans l`Ordre des Palmes Academiques 2002. ENCATC fellowship laureate 2019. University of Arts laureate 2004, 2019.edit
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This chapter will investigate different mechanisms of censorship in performing arts since 1989, with a focus on the Balkan countries. The abolition of official censoring bodies has made way for new strategies and subtle forms of... more
This chapter will investigate different mechanisms of censorship in performing arts since 1989, with a focus on the Balkan countries. The abolition of official censoring bodies has made way for new strategies and subtle forms of economic and social oppression around topics that are seen to endanger traditional, national values. The consequences of the new forms of control are all the more damaging and difficult to estimate since there are no official records. Rather contemporary cultural management has developed a sophisticated mechanism of “impacting” artistic decisions on the one side, while on the other side, the political sphere uses populist forms of political communication to inspire right-wing groups to produce fear and threaten the critical artist.
In the Western Balkans, issues that may provoke malaise in public opinion (critique of nationalism, religion or politics, and non-heterosexuality) do not raise controversy because their presentation on ‘official’ stages signals that they do not challenge dominant values. However, when crossed with themes related to cultures of memory (shame, guilt) and when performances question the accepted narrative of history, they may cause a reaction, ranging from noise to direct censorship.
The chapter will first explore direct forms of censorship: threats to prominent theatre personalities (Oliver Frljić but also Biljana Srbljanović and Siniša Kovačević); street-censorship actions (such as the interruption of the Saint Sava performance in JDP Belgrade); public defamation and its consequences (withdrawal of theaters, festivals or sponsors to host or sponsor the performance); ban from local authorities. Through interviews with prominent practitioners, we will then turn to the issue of self-censorship in writing, but also in acting (for instance, 17 fully-employed actors of Atelje 212 refused to take a role in a performance of Killing Zoran Đinđić, under the direction of Oliver Frljić). Finally, we will examine the micropolitics of resistance of civil society actors, studying examples of courage shown by numerous independent artists (Igor Vuk Torbica, Kokan Mladenović), artistic collectives and groups (Dah theater, Zorica Jevremović, Andras Urban Kosztolanyi Dezso theater), and even some public institutions (Željko Hubač at the National Theater, or currently the work and actions of Bitef theatre).
In the Western Balkans, issues that may provoke malaise in public opinion (critique of nationalism, religion or politics, and non-heterosexuality) do not raise controversy because their presentation on ‘official’ stages signals that they do not challenge dominant values. However, when crossed with themes related to cultures of memory (shame, guilt) and when performances question the accepted narrative of history, they may cause a reaction, ranging from noise to direct censorship.
The chapter will first explore direct forms of censorship: threats to prominent theatre personalities (Oliver Frljić but also Biljana Srbljanović and Siniša Kovačević); street-censorship actions (such as the interruption of the Saint Sava performance in JDP Belgrade); public defamation and its consequences (withdrawal of theaters, festivals or sponsors to host or sponsor the performance); ban from local authorities. Through interviews with prominent practitioners, we will then turn to the issue of self-censorship in writing, but also in acting (for instance, 17 fully-employed actors of Atelje 212 refused to take a role in a performance of Killing Zoran Đinđić, under the direction of Oliver Frljić). Finally, we will examine the micropolitics of resistance of civil society actors, studying examples of courage shown by numerous independent artists (Igor Vuk Torbica, Kokan Mladenović), artistic collectives and groups (Dah theater, Zorica Jevremović, Andras Urban Kosztolanyi Dezso theater), and even some public institutions (Željko Hubač at the National Theater, or currently the work and actions of Bitef theatre).
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This chapter will investigate different mechanisms of censorship in performing arts since 1989, and is aimed not to merely show which performances have been censored but how and why they were censored, i.e. how do the producers, artists,... more
This chapter will investigate different mechanisms of censorship in performing arts since 1989, and is aimed not to merely show which performances have been censored but how and why they were censored, i.e. how do the producers, artists, and critics act in different situations of censorship, what is the attitude of political authorities within different political, social and cultural environments, and finally, what are the real consequences of different forms of censorship. The specific focus will be on issues related to the Western Balkan countries but as their theatrical practice cannot be separated from wider European cultural spheres, all these multiple relations and flows will be taken into account.
After World War II and during the Cold War, in most European countries, especially those that belonged to the so-called East and Soviet bloc, state-organized censorship has made way for the various forms of implicit censorship that prevail in seemingly democratic societies. The abolition of official censoring bodies has been replaced by different strategies and subtle forms of economic and social oppression, and also to many forms of self-censorship – which enable interventions not only by government bodies but also various religious and moral groups, who are trying to control and prevent the presentation of the new taboo topics that replaced the political ones in the performing arts: problems of religion, nation, sexuality, gender, immigration, civil rights, which all seem to endanger traditional national values.
Any kind of prohibition represents an extreme act of freedom violation, but examples across the world, confirm that more sophisticated ways of censorship have been developed over the years, such as threats to withdraw financial support or organized public defamation, self-censorship, as well as more subtle and refined way of limiting creative freedom with consequences more dangerous and harder to calculate. In this way, there are no official records of banishment, no signed documents, and no material traces, in short nothing tangible. But the consequences are far too damaging and difficult to estimate.
Recent research shows different forms of censorship in performing arts, like the arrest of Russian director, Kirill Serebrennikov in 2017 in Moscow under the excuse of tax fraud; and the attack from moral and religious groups on Romeo Castellucci (Societas Raffaello Sanzio), because of his production On the Concept of Face Regarding the Son of God in 2011, that was boycotted, interrupted and shut down in Paris and Milan. The same kind of protests also hit the Italian theatre director and playwright Giuliano Scarpinato, for his play Fa’afafine. My Name is Alex and I’m a Dinosaur that tells the true story of a “gender fluid” child. The Croatian theatre director Oliver Frljic is constantly receiving death threats not only in his country but wherever he works, while there are always attempts to ban his performances, like in the case of the production The Curse, which he directed at Teatr Powszechny in Warsaw, in March 2017. These examples range from direct verbal and physical threats, cancellations, protests, legal actions, governmental interference in artistic institutions, and even exile and imprisonment, to the subtle pressures of the market, targeted budget cuts and self-censorship prove that freedom of expression is at risk in the performing arts more than it is thought of.
The issues that provoke the usual sense of malaise and discomfort in Serbian public opinion: critique of nationalism, religion, or politics, and to a far lesser extent – representation of sexuality (only when linked to non-heterosexuality) are overrepresented in contemporary performing arts, but in a way, especially on the “official” stages, that do not raises concerns, do not challenge dominant or official statements and values.
Only when crossed with themes related to cultures of memory (shame, guilt…) and questioning understanding of history or present geopolitics, it may provoke a noise, reaction, or even implicit censorship (covered by other arguments, such as "rented, or already occupied theater hall", etc.)
Types of indirect censorship and self-censorship are varied and more and more subtle, as contemporary cultural management has developed a sophisticated way of “impacting” artistic decisions on one side, while the political sphere is using populist forms of political communication to inspire right-wing groups and their activist to produce fear and threaten the artistic scene that dear to be critical.
Thus, in this paper, we will deal with issues of threats sent to prominent theatre personalities that are often on a different side of the political spectrum (from Biljana Srbljanović to Siniša Kovačević), street-censorship actions (such as the interruption of the Saint Sava performance in JDP Belgrade), indirect censorship coming as the results of threats and public defamation (withdrawal of theaters, festivals or sponsors to host or sponsor the performance), till the forms of direct censorship when local authorities give a clear indication that this author or actor is not welcomed anymore in “their” city. But, although that is the most difficult to analyze, we will try, through interviews with a few prominent figures, to discuss the issue of self-censorship in writing, but also in acting (17 fully-employed actors of Atelje 212 refused to take a role in a performance Killing Zoran Đinđić, under the direction of Oliver Frljić).
On the other side, we will look at the courage and bravery – micropolitics of resistance of civil society actors, such as numerous independent artists (Igor Vuk Torbica, Kokan Mladenović…) and artistic collectives and groups (Dah theater, Zorica Jevremović, Andras Urban Kosztolanyi Dezso theater) and even some public institutions, as it was the dramaturgy of Željko Hubač in National Theater, or today, part of the work and actions of Bitef theatre in collaboration with a few NGOs.
After World War II and during the Cold War, in most European countries, especially those that belonged to the so-called East and Soviet bloc, state-organized censorship has made way for the various forms of implicit censorship that prevail in seemingly democratic societies. The abolition of official censoring bodies has been replaced by different strategies and subtle forms of economic and social oppression, and also to many forms of self-censorship – which enable interventions not only by government bodies but also various religious and moral groups, who are trying to control and prevent the presentation of the new taboo topics that replaced the political ones in the performing arts: problems of religion, nation, sexuality, gender, immigration, civil rights, which all seem to endanger traditional national values.
Any kind of prohibition represents an extreme act of freedom violation, but examples across the world, confirm that more sophisticated ways of censorship have been developed over the years, such as threats to withdraw financial support or organized public defamation, self-censorship, as well as more subtle and refined way of limiting creative freedom with consequences more dangerous and harder to calculate. In this way, there are no official records of banishment, no signed documents, and no material traces, in short nothing tangible. But the consequences are far too damaging and difficult to estimate.
Recent research shows different forms of censorship in performing arts, like the arrest of Russian director, Kirill Serebrennikov in 2017 in Moscow under the excuse of tax fraud; and the attack from moral and religious groups on Romeo Castellucci (Societas Raffaello Sanzio), because of his production On the Concept of Face Regarding the Son of God in 2011, that was boycotted, interrupted and shut down in Paris and Milan. The same kind of protests also hit the Italian theatre director and playwright Giuliano Scarpinato, for his play Fa’afafine. My Name is Alex and I’m a Dinosaur that tells the true story of a “gender fluid” child. The Croatian theatre director Oliver Frljic is constantly receiving death threats not only in his country but wherever he works, while there are always attempts to ban his performances, like in the case of the production The Curse, which he directed at Teatr Powszechny in Warsaw, in March 2017. These examples range from direct verbal and physical threats, cancellations, protests, legal actions, governmental interference in artistic institutions, and even exile and imprisonment, to the subtle pressures of the market, targeted budget cuts and self-censorship prove that freedom of expression is at risk in the performing arts more than it is thought of.
The issues that provoke the usual sense of malaise and discomfort in Serbian public opinion: critique of nationalism, religion, or politics, and to a far lesser extent – representation of sexuality (only when linked to non-heterosexuality) are overrepresented in contemporary performing arts, but in a way, especially on the “official” stages, that do not raises concerns, do not challenge dominant or official statements and values.
Only when crossed with themes related to cultures of memory (shame, guilt…) and questioning understanding of history or present geopolitics, it may provoke a noise, reaction, or even implicit censorship (covered by other arguments, such as "rented, or already occupied theater hall", etc.)
Types of indirect censorship and self-censorship are varied and more and more subtle, as contemporary cultural management has developed a sophisticated way of “impacting” artistic decisions on one side, while the political sphere is using populist forms of political communication to inspire right-wing groups and their activist to produce fear and threaten the artistic scene that dear to be critical.
Thus, in this paper, we will deal with issues of threats sent to prominent theatre personalities that are often on a different side of the political spectrum (from Biljana Srbljanović to Siniša Kovačević), street-censorship actions (such as the interruption of the Saint Sava performance in JDP Belgrade), indirect censorship coming as the results of threats and public defamation (withdrawal of theaters, festivals or sponsors to host or sponsor the performance), till the forms of direct censorship when local authorities give a clear indication that this author or actor is not welcomed anymore in “their” city. But, although that is the most difficult to analyze, we will try, through interviews with a few prominent figures, to discuss the issue of self-censorship in writing, but also in acting (17 fully-employed actors of Atelje 212 refused to take a role in a performance Killing Zoran Đinđić, under the direction of Oliver Frljić).
On the other side, we will look at the courage and bravery – micropolitics of resistance of civil society actors, such as numerous independent artists (Igor Vuk Torbica, Kokan Mladenović…) and artistic collectives and groups (Dah theater, Zorica Jevremović, Andras Urban Kosztolanyi Dezso theater) and even some public institutions, as it was the dramaturgy of Željko Hubač in National Theater, or today, part of the work and actions of Bitef theatre in collaboration with a few NGOs.
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Researching the impact of populist political communication on media, art, and the cultural sphere in Serbia, the authors investigate various different phenomena that are rising under the pretext of market liberalisation and identity... more
Researching the impact of populist political communication on media, art, and the cultural sphere in Serbia, the authors investigate various different phenomena that are rising under the pretext of market liberalisation and identity politics. Deregulation of media may have brought “independence” from power, but also complete market-dependence. In the cultural sphere, pressures on the arts from right-wing populism have lead to extreme nationalism in Serbian media and cultural practices while simulta-neously seeing a commercialisation of programming. “National discussions” regarding the status of real-ity show programmes on commercial television and accusations of anti-patriotism against most promi-nent Serbian artists have been lead by right-wing populists. At the same time, this research takes into account several forms of left-wing populism, mostly developed within the independent scene.
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Kultura nova je trogodisnji program pokrenut u suradnji Europske kulturne fondacije iz Amsterdama i cetiri fondacije Otvorenog drustva iz regije (Hrvatska, Makedonija, Crna Gora, Srbija), s ciljem izgradnje kapaciteta organizacija s... more
Kultura nova je trogodisnji program pokrenut u suradnji Europske kulturne fondacije iz Amsterdama i cetiri fondacije Otvorenog drustva iz regije (Hrvatska, Makedonija, Crna Gora, Srbija), s ciljem izgradnje kapaciteta organizacija s naglaskom razvoja identiteta i samoodrživosti unutar pojedinih zajednica. Program potice lokalne menadžere u kulturi na sudjelovanje u lokalnim i regionalnim radionicama ; analizirajici organizacijske prednosti i slabosti, program se fokusira na razvoj strateskih planova koji mogu biti implementirani u trogodisnje planove financiranja. Autori teksta su kreatori programske metodologije te su ujedno i nacionalni koordinatori u Hrvatskoj i Srbiji.
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This chapter will explore how real obstacles to political and cultural integration of Europe are emphasized by the imaginary ones through focusing on real debates carried out in different communities at the periphery of the EU and on... more
This chapter will explore how real obstacles to political and cultural integration of Europe are emphasized by the imaginary ones through focusing on real debates carried out in different communities at the periphery of the EU and on empirical data relevant to ‘border crossing’, cultural communication patterns, as well as ‘cultural diplomacy’ policies within the European space. We will take into account the relevant political documents and social research analysis, but also media discourse and art practices in order to investigate and debate new European mobility (nomadism).
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Dragicevic Sesic describes the theatrical activities of Zorica Jevremovic, a theatre activist who went into “inner exile” during the Yugoslav wars, working with the most deprivileged and excluded: patients of a psychiatric hospital in... more
Dragicevic Sesic describes the theatrical activities of Zorica Jevremovic, a theatre activist who went into “inner exile” during the Yugoslav wars, working with the most deprivileged and excluded: patients of a psychiatric hospital in Belgrade. Created within a culture of dissent, sharing a sense of shame and guilt, this project was supported by civil society and an intellectual community which could not find its place inside the official system (counterpublic). The psychiatric hospital as heterotopia, a chronotope of Serbia (isolated and despised), became a performative platform for patients, theatre artists, doctors, nurses and their children to discuss and express the traumas and dilemmas of a highly divided society. The chapter is based on interviews, performance analysis, narrative analysis and the author’s own notes as a spectator–participant.
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31 Cultural policies, identities and monument building in Southeastern Europe Milena Dragićević eić Abstract This paper deals with ... celebrated even fascism (for example Ljotić in Smederevo) or rehabilitated controversial... more
31 Cultural policies, identities and monument building in Southeastern Europe Milena Dragićević eić Abstract This paper deals with ... celebrated even fascism (for example Ljotić in Smederevo) or rehabilitated controversial soldier-politicians like Draa Mihajlović, claiming that ...
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Abstract This article aims to analyse the meaning and implications of cultural rights for cultural policies concerned with sustainable development. Although references to both cultural rights and sustainable development have become... more
Abstract This article aims to analyse the meaning and implications of cultural rights for cultural policies concerned with sustainable development. Although references to both cultural rights and sustainable development have become widespread within cultural policy documents in recent decades, the actual conceptual and operational implications often remain vague, as an ambitious discourse that may conceal a poverty of resources and capacities. As a result, the ideal horizon suggested by cultural rights and sustainable development may not always be achieved in practice, nor are the mechanisms to achieve it always well known. In this respect, the article aims to dissect the actual requirements posed by cultural rights and sustainable development, including their different notions and areas of synergy and intersections, in order to shed light on relevant cultural policy approaches. To this end, a range of examples taken from a variety of contexts will also be examined as areas of expressed needs or areas of possible solutions.
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Dragicevic Sesic Milena. La culture néo-folklorique de guerre. In: Chimères. Revue des schizoanalyses, N°16, été 1992. Trop près, trop loin. pp. 17-21
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In this chapter, the authors discuss the fundraising and funding patterns and their potential relationship(s) with the of management professionalization in independent arts organizations. It is proposed that the source of income and the... more
In this chapter, the authors discuss the fundraising and funding patterns and their potential relationship(s) with the of management professionalization in independent arts organizations. It is proposed that the source of income and the fundraising activities can be associated with a clear pattern of managerial professionalization, as well as organizational directions. The empirical research is based on a sample of independent arts organizations from Croatia and Serbia. The Croatian organizations are now able to benefit from the EU structural funds and other sources of EU-based financing, while the Serbian organizations are in the very early stage of accessing the pre-accession EU financing and still rely on the more traditional sources of funding. The research methodology is comparative and qualitative, since this chapter is supposed to open a new venue of research in the South East European (SEE) region. It is based on comprehensive, in-depth interviews with the widely recognized actors of the independent and public arts scene in major urban areas in Croatia and Serbia.
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The aim of this study is to explore organizational policies and strategies regarding the institutional memory of Belgrade’s repertoire theaters. The concept of institutional (organizational) memory has not been developed within the... more
The aim of this study is to explore organizational policies and strategies regarding the institutional memory of Belgrade’s repertoire theaters. The concept of institutional (organizational) memory has not been developed within the culture of memory theory. The role of theater in the culture of memory has been researched mostly through studies of its repertoire, corresponding to how theaters deal with issues of glory, guilt, or shame. This study explores how theaters rethink their own past and organizational culture, how they use their capacity for re-imagining themselves, for clarifying their role and function in different historical moments. The objective of this research is to identify the main institutional policies and types of strategies used for preserving institutional memory through key narratives of remembering, and key methods of inter-generational transfer. The sample comprises of four Belgrade-based public repertoire theaters: the Yugoslav Dramatic Theater (JDP), the Be...
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By examining how the process of transition affected cultural sustainability of post-industrial medium-sized cities in Serbia, the paper is an attempt at providing answers to essential questions: What happened to the cultural needs and... more
By examining how the process of transition affected cultural sustainability of post-industrial medium-sized cities in Serbia, the paper is an attempt at providing answers to essential questions: What happened to the cultural needs and habits of the working class – once so significant during socialism? How its members re-articulate their citizenship nowadays? To what extent artists and cultural workers can help them reconsider sustainable development through bottom-up actions and participative projects? The research focuses on cities which used to be pride of socialist development in Serbia: Užice, Kragujevac, Bor and Majdanpek. Authors discuss the ways of creating sustainable communities through artistic actions and projects, by showing the extent in which such bottom-up activities contribute not only to the revitalization of different urban neighbourhoods in the context of (culture-led) sustainable development, but also to the rise of new developmental visions among the former work...
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THE GLORY AND POWER OF FORGETTING– THE INVESIBILITY OF WOMEN IN SERBIAN CULTURE (Svetlana Tomic, Slavne i ignorisane: ka kritickoj kulturi pamcenja, Beograd: Alfa BK Univerzitet, Fakultet za strane jezike, 2018)
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Abstract This article aims to analyse the meaning and implications of cultural rights for cultural policies concerned with sustainable development. Although references to both cultural rights and sustainable development have become... more
Abstract This article aims to analyse the meaning and implications of cultural rights for cultural policies concerned with sustainable development. Although references to both cultural rights and sustainable development have become widespread within cultural policy documents in recent decades, the actual conceptual and operational implications often remain vague, as an ambitious discourse that may conceal a poverty of resources and capacities. As a result, the ideal horizon suggested by cultural rights and sustainable development may not always be achieved in practice, nor are the mechanisms to achieve it always well known. In this respect, the article aims to dissect the actual requirements posed by cultural rights and sustainable development, including their different notions and areas of synergy and intersections, in order to shed light on relevant cultural policy approaches. To this end, a range of examples taken from a variety of contexts will also be examined as areas of expressed needs or areas of possible solutions.
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Organizational memory studies (OMS) frame memory in a managerial mode, treating it as a data storage, limiting the scope from wider field of social memory studies. There is a lack of understanding about how the process of institutional... more
Organizational memory studies (OMS) frame memory in a managerial mode, treating it as a data storage, limiting the scope from wider field of social memory studies. There is a lack of understanding about how the process of institutional forgetting works and how some memories stay a part of oral narratives and communicative social memory while they are omitted from the official memory represented by the official documents and events of remembering. Inspired by Paul Connerton’s article on the typology of forgetting we explore his typology in selected case studies of three public theaters located in Belgrade, focusing on remembering policy and practices investigating if a type of forgetting typical for a state/society/nation level is possible to be applied in the context of a cultural organization. We agree with Wessel and Moulds that developing common language and terminology would be important and beneficial for cross disciplinary dialogue. In this sense, the study shows how the typol...
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This engaging book addresses the question of how diverse communities, whether in a nation, city or organization, can live together and prosper whilst retaining and enjoying their cultural differences. This is a particularly pertinent... more
This engaging book addresses the question of how diverse communities, whether in a nation, city or organization, can live together and prosper whilst retaining and enjoying their cultural differences. This is a particularly pertinent issue in the context of the modern world where mass migration and immigration are pervasive global phenomena.
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This chapter explores the role of the modern university, focusing on the usually neglected areas of the arts and humanities, both as hubs of creativity and innovation and as crucial platforms for questioning societal norms and rules. The... more
This chapter explores the role of the modern university, focusing on the usually neglected areas of the arts and humanities, both as hubs of creativity and innovation and as crucial platforms for questioning societal norms and rules. The point of departure is Zygmunt Bauman’s notion of the university as a public space which promotes the culture of human rights and social justice against the moral blindness of utilitarian sciences. How is the contemporary university, under increasing market demands and pressure from the ‘culture of management’ maintaining this ethos? What does it mean to be a critically engaged university in the era of performance benchmarks and league tables, as universities increasingly opt for a pragmatic curricular approach to meet the expectations of big corporate employers? To what extent are innovative transdisciplinary courses and programmes, focusing on learning-as-process, rather than product, able to act as platforms for critical thinking and debate? How do these learning processes become modes of ‘remixing’ culture and knowledge through performances, public actions, workshops, conferences and seminars to activate different social agents?
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Partnering with citizens and civil society in public services provision has emerged today as an alternative approach to innovate public service delivery. Engaging different partners (citizens, service users and professionals from all... more
Partnering with citizens and civil society in public services provision has emerged today as an alternative approach to innovate public service delivery. Engaging different partners (citizens, service users and professionals from all three sectors) allows for more prosperous, fair and inclusive societies. In Cambodia the rationale to take these developments into consideration is different. The central cultural policy issue is not how to modernise and make more efficient public system but how government could take some of the cultural responsibilities regarding culture as public interest which today are undertaken by Cambodian NGOs (with sporadic foreign aid). Namely, Cambodia is a post genocide society that went through 4 years of civil war and 12 years of foreign occupation which resulted in a complete destruction of institutional public structures relevant for the wellbeing of the people (health, education, culture). Many of the tasks have been taken by emerging civil society and ...
In comparison to the dynamic and progressive cultural policy strategies throughout European cities, the Serbian local context is marked by persistent centrist social and political infrastructure, trends toward re-traditionalization, and... more
In comparison to the dynamic and progressive cultural policy strategies throughout European cities, the Serbian local context is marked by persistent centrist social and political infrastructure, trends toward re-traditionalization, and growing populism. Thus, city cultural policies are confronted with (nationalist and populist) demands of the central government (the ruling political party), and with the opposite needs for the quality of life and well-being of its population. Mostly, policies are supporting the traditional cultural institutions that see globalization trends as a threat to culture as a public value and as artistic excellence.
The aim of the paper is to investigate the level of democracy in city cultural policy-making in Serbia, trying to define the spectrum of contemporary (non)participative governance models. To achieve this, research has analysed the approach of cities` cultural policy towards civil society and cross-sectoral collaboration, reflected on their priorities, and identified governance methods.
This research is focused on the “governance models” of cultural policy in 15 selected cities in Serbia, among which administrative centers of regions (Novi Sad, Niš, Kragujevac); (post) industrial cities (Leskovac, Zrenjanin, and Zaječar); historical cities – hubs of the culture of memory (Kruševac, Smederevo, Sombor); multicultural cities (Subotica, Pančevo); cities of “subregional identity” (Užice, Čačak, Vranje, Kraljevo). In choosing the sample it was important for us to cover as diverse cities as possible, in terms of their sociocultural identity and other variables.
The research method included exploring and mapping existing governance practices, strategies, and policies. The empirical part of the research was done in 2018 through questionnaires and interviews with local decision-makers, as well as questionnaires and focus groups with representatives of public institutions, and civil society organizations in culture. The research tried to look into the involvement of public authorities, the public sector as well as civil society organizations in planning, decision-making, implementation, monitoring, and evaluation of policies and programming in a culture of a city, combining policy frame analysis with content analysis, financial instruments and priorities of local cultural policies.
The aim of the paper is to investigate the level of democracy in city cultural policy-making in Serbia, trying to define the spectrum of contemporary (non)participative governance models. To achieve this, research has analysed the approach of cities` cultural policy towards civil society and cross-sectoral collaboration, reflected on their priorities, and identified governance methods.
This research is focused on the “governance models” of cultural policy in 15 selected cities in Serbia, among which administrative centers of regions (Novi Sad, Niš, Kragujevac); (post) industrial cities (Leskovac, Zrenjanin, and Zaječar); historical cities – hubs of the culture of memory (Kruševac, Smederevo, Sombor); multicultural cities (Subotica, Pančevo); cities of “subregional identity” (Užice, Čačak, Vranje, Kraljevo). In choosing the sample it was important for us to cover as diverse cities as possible, in terms of their sociocultural identity and other variables.
The research method included exploring and mapping existing governance practices, strategies, and policies. The empirical part of the research was done in 2018 through questionnaires and interviews with local decision-makers, as well as questionnaires and focus groups with representatives of public institutions, and civil society organizations in culture. The research tried to look into the involvement of public authorities, the public sector as well as civil society organizations in planning, decision-making, implementation, monitoring, and evaluation of policies and programming in a culture of a city, combining policy frame analysis with content analysis, financial instruments and priorities of local cultural policies.
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Decolonising the curriculum is a global imperative that takes different forms and urgency depending on the context. Developments across the globe such as BlackLivesMatter and student responses to the pandemic and online learning have... more
Decolonising the curriculum is a global imperative that takes different forms and urgency depending on the context. Developments across the globe such as BlackLivesMatter and student responses to the pandemic and online learning have raised new questions about the curriculumcritically questioning higher education institutions' plans about not only providing access to resources but about the (cultural) authority of curricula, pedagogical and research practices that are still dominated by Western discourses. This paper examines three experiences of curriculum decolonisation in cultural policy and management, an applied subject that has culture as its object, in three different contexts, Serbia, Puerto Rico and South Africa: namely how the pursuit of a pluriversal knowledge ecology found expression in the curriculum, content and pedagogical practices deployed to deliver locally relevant education; and how educators resolved the ontological and epistemic discontinuities between the standard disciplinary canon and local realities to embed and contextualise the discipline.
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Decolonising the curriculum is a global imperative that takes different forms and urgency depending on the context. Developments across the globe such as BlackLivesMatter and student responses to the pandemic and online learning have... more
Decolonising the curriculum is a global imperative that takes different forms and urgency depending on the context. Developments across the globe such as BlackLivesMatter and student responses to the pandemic and online learning have raised new questions about the curriculum – critically questioning higher education institutions’ plans about not only providing access to resources but about the (cultural) authority of curricula, pedagogical and research practices that are still dominated by Western discourses. This paper examines three experiences of curriculum decolonisation in cultural policy and management, an applied subject that has culture as its object, in three different contexts, Serbia, Puerto Rico, and South Africa: namely how the pursuit of a pluriversal knowledge ecology found expression in the curriculum, content and pedagogical practices deployed to deliver locally relevant education; and how educators resolved the ontological and epistemic discontinuities between the standard disciplinary canon and local realities to embed and contextualise the discipline.
Keywords: decolonisation, epistemic justice, curriculum, content, pedagogy, cultural policy, and management
Keywords: decolonisation, epistemic justice, curriculum, content, pedagogy, cultural policy, and management
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Interview - the ethical line of responsibilities have to be confirmed every day.
Discussion on public interest in culture, governance methods, authonomy of culture, citizenship, ethics, architecture and urbanism and ethics
Discussion on public interest in culture, governance methods, authonomy of culture, citizenship, ethics, architecture and urbanism and ethics
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L’objectif principal de cette mission est l’évaluation de l’im- pact du Festival sur le Niger (FSN) et de ses organisations asso- ciées : Fondation Festival sur le Niger (FFSN), Centre Culturel Kôrè (CCK), Institut des Arts et Métiers... more
L’objectif principal de cette mission est l’évaluation de l’im- pact du Festival sur le Niger (FSN) et de ses organisations asso- ciées : Fondation Festival sur le Niger (FFSN), Centre Culturel Kôrè (CCK), Institut des Arts et Métiers Kôrè (IKAM), etc. La recherche a été réalisée d’octobre 2020 à avril 2021 par l’équipe composée de Milena Dragićević Šešić en tant que responsable de recherche et de Maïga Lalla Mariam Haidara en tant que chercheuse de terrain. L’évaluation a principalement utilisé des méthodes de recherche qualitative, se concentrant sur l’impact profond et à long terme (entretiens avec 51 personnes, quatre discussions de groupe comprenant 38 participants et une dis- cussion de groupe en ligne avec 30 participants ; analyse du contenu des programmes, des sites Web et des récits des médias sociaux ; méthodes d’observation et analyse iconologique). Les données quantitatives ont été collectées dans le cadre d’une recherche documentaire, à l’aide de statistiques disponibles, de documents de politique juridique et stratégique, d’études d’impact antérieures et de rapports sur le Festival. L’organisation Festival sur le Niger n’est pas seulement un festival annuel, mais une grande initiative culturelle, compre- nant la Fondation Festival sur le Niger (FFSN), Le Festival en tant que telle (FSN), le Centre Culturel Kôrè (CCK), l’Institut Kôrè des Arts et Métiers (IKAM), la Caravane Culturelle pour Paix et Circuit mandingue. Le festival agit comme un volant d’inertie pour les changements sociaux, un « réseau » culturel, un incubateur, une plate-forme d’apprentissage et d’éducation et une plate-forme de réunion / discussion. C’est un amplifi- cateur et un catalyseur de différentes pratiques artistiques, culturelles et socio-économiques. La recherche a montré une contribution extrêmement importante du Festival à différentes couches de la vie sociale et économique, au renforcement du secteur culturel, en particulier des petites organisations cultu- relles entrepreneuriales, des artistes et des entrepreneurs cultu- rels individuels au Mali et au-delà du Mali, dans toute l’Afrique. Son importance supplémentaire réside dans son succès dans la promotion d’un développement endogène, la restructuration et l’approbation du renforcement du secteur culturel au sens large d’une manière éthique, car ses activités, y compris l’entrepre- neuriat, sont basées sur les valeurs traditionnelles de Maaya.
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Culture in the digital dimension. Digital environment is structurally changing the cultural sector, contemporary artistic practices and media systems, both on a global and local level. Intentionally or not, they are contributing to the... more
Culture in the digital dimension. Digital environment is structurally changing the cultural sector, contemporary artistic practices and media systems, both on a global and local level. Intentionally or not, they are contributing to the digital civilization, led by the youngest generation of prosumers. This requires new forms of education and reeducation for digital literacy of all professionals and practitioners. In this text, we examine the bigger picture of the influences of technological development on the worlds of culture, arts and media, such as changes in the educational or legal frameworks, national and local cultural policy priorities, strategies that traditional media implement in order to adapt, transmedial artistic practices or transformation of marketing, archiving or museology in the new digital horizon. However, the management structures of the cultural field in Serbia are still dominated by the people who do not initially belong to the generation of smartphones, negatively evaluating products of mass culture, and aiming to offer programs different to those coming from either traditional audio-visual media, or the Internet. we are technologically “superconnected” (čejko, 2019), but that connection is above all, an effort towards sociability, a desire to belong. Everything that characterizes social reality – economic inequalities, social injustices, competitiveness, etc. can be seen in a similar way in the digital sphere, too. Virtual is in the core of today's reality and in order to be able to adapt to the rules of the 21st century, transmedia literacy is a necessary tool.
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Research Interests:
Research focuses on the value of activism as regards an independent cultural organization in Serbia, which demanded specific leadership capacities and skills during the turbulent historical period, marked by the dissolution of Yugoslavia... more
Research focuses on the value of activism as regards an independent cultural organization in Serbia, which demanded specific leadership capacities and skills during the turbulent historical period, marked by the dissolution of Yugoslavia in the 1990s. We have selected the Centre for Cultural Decontamination (CZKD stands for Centar za kulturnu dekontaminaciju, and this abbreviation is commonly used when writing about the Centre) and its leader Borka Pavicevic, a paradigmatic figure and symbol of dissidence and activist movements of those period, for a case study. The main approach would relate to the organizational development studies and leadership theories trying to explore mutual interdependence, located in the context of cultural transition and social movements that presented key agents of change in post-communist time. A method would include an adaptable quality management approach (Dragicevic Sesic, Dragojevic 2005) and an Adizes leadership theory, while empirical part would be...
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In this chapter, the authors discuss the fundraising and funding patterns and their potential relationship(s) with the of management professionalization in independent arts organizations. It is proposed that the source of income and the... more
In this chapter, the authors discuss the fundraising and funding patterns and their potential relationship(s) with the of management professionalization in independent arts organizations. It is proposed that the source of income and the fundraising activities can be associated with a clear pattern of managerial professionalization, as well as organizational directions. The empirical research is based on a sample of independent arts organizations from Croatia and Serbia. The Croatian organizations are now able to benefit from the EU structural funds and other sources of EU-based financing, while the Serbian organizations are in the very early stage of accessing the pre-accession EU financing and still rely on the more traditional sources of funding. The research methodology is comparative and qualitative, since this chapter is supposed to open a new venue of research in the South East European (SEE) region. It is based on comprehensive, in-depth interviews with the widely recognized ...
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Western assumptions of unthinking Serbian support for the policies of Slobodan Milošević were upset by the success of popular protest in securing his removal in the autumn of 2000. In fact, just three years after his accession to power in... more
Western assumptions of unthinking Serbian support for the policies of Slobodan Milošević were upset by the success of popular protest in securing his removal in the autumn of 2000. In fact, just three years after his accession to power in 1989, there had already been massive student protests against the Balkan War, and these were repeated and surpassed in the winter of 1996–97, when Milošević tried to disregard the success of the opposition in the local elections of that November. The student protests quickly took a theatricalized form, and their recurrent modes – graffiti, banners, street processions – were successfully carnivalized, to become popular performative events. This feature provides a chronology of the main developments to complement the more analytical study by Milena Dragićević-Šešić of the nature of this organic but ironic response to an authoritarian regime, which gave old traditions a late twentieth-century voice.
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This paper will explore ways of dissent regarding policies of memorialization of Yugoslavia, its common past and recent wars. It will show the difficulties for the development of official memory policies that are not resulting in coherent... more
This paper will explore ways of dissent regarding policies of memorialization of Yugoslavia, its common past and recent wars. It will show the difficulties for the development of official memory policies that are not resulting in coherent practices of remembrance in Croatia, Serbia, Montenegro, Macedonia, and in Bosnia and Herzegovina. These questions are not debated in public and an explicit memory policy does not exist anywhere in the Balkans due to changing ideologies during transition and numerous old and new taboos around the negative past. There is no social consensus on any of the crucial issues of remembrance (while temporary social consensus during the war years was based only on fear and hatred toward the other). The key theme of this paper is linked to counter-monuments and anti-monuments as bottom-up expressions of the feelings of dissent toward official (implicit and explicit) memory and monument policies. Social oppositional counter movements have often inspired differ...
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Conference Proceedings Culture and Sustainable Development at Times of Crisis University of Arts in Belgrade, March 27–28, 2014 Zbornik rаdovа sа međunаrodne nаučne konferencije Kulturа i održivi rаzvoj u dobа krize Univerzitet umetnosti... more
Conference Proceedings
Culture and Sustainable Development at Times of Crisis University of Arts in Belgrade, March 27–28, 2014
Zbornik rаdovа sа međunаrodne nаučne konferencije
Kulturа i održivi rаzvoj u dobа krize Univerzitet umetnosti u Beogradu, 27. i 28 mart 2014.
Culture and Sustainable Development at Times of Crisis University of Arts in Belgrade, March 27–28, 2014
Zbornik rаdovа sа međunаrodne nаučne konferencije
Kulturа i održivi rаzvoj u dobа krize Univerzitet umetnosti u Beogradu, 27. i 28 mart 2014.
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Knjiga po prvi put unutar europskog kulturnog konteksta problematizira primjenjivost “ klasicnih” znanja i pristupa kulturnog menadženta razvijenih uglavnom u anglo-saksonskoj tradiciji u kriznim i turbulentnim sredinama. Otud je fokus... more
Knjiga po prvi put unutar europskog kulturnog konteksta problematizira primjenjivost “ klasicnih” znanja i pristupa kulturnog menadženta razvijenih uglavnom u anglo-saksonskoj tradiciji u kriznim i turbulentnim sredinama. Otud je fokus knjige prije svega na podrucju Istocne i Jugoistocne Europe, Kavkaza, Srednje Azije, Srednjeg i Bliskog istoka, Afrike i Latinske Amerike. Posebna pozornost je posvecena analizi turbulentnih okolnosti i mogucnosti njihova prevladavanja u mikro-organizacijskim uvjetima kulturnih ustanova i organizacija radi sacuvanja kako internog kulturnog kapitala tako i kulturnog kapitala sire sredine i ukljucenih zajednica. Sredisnji dio knjige posvecen je problematici strateskog kulturnog menadžmenta u turbulentim okolnostima, dok je posljednji dio studije posvecen mogucnostima , preduvjetima i prakticnim oblicima izgradnje cenatra izvrsnosti u zemljama i regijama obilježenim krizom.
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Cet ouvrage est publié à l'occasion de l'exposition « Urban Text, cet espace nommé Balkans » présentée à l'Institut des Cultures d'Islam à Paris, du 15 septembre au 11 décembre 2022. This book was published on the occasion of the... more
Cet ouvrage est publié à l'occasion de l'exposition « Urban Text, cet espace nommé Balkans » présentée à l'Institut des Cultures d'Islam à Paris, du 15 septembre au 11 décembre 2022.
This book was published on the occasion of the exhibition ''Urban Text, This Place called Balkans'' presented at the Institut des Cultures d'Islam in Paris, from September 15 th to December 11 th , 2022.
https://www.institut-cultures-islam.org/expositions/urban-text-cet-espace-nomme-balkans/
This book was published on the occasion of the exhibition ''Urban Text, This Place called Balkans'' presented at the Institut des Cultures d'Islam in Paris, from September 15 th to December 11 th , 2022.
https://www.institut-cultures-islam.org/expositions/urban-text-cet-espace-nomme-balkans/
Research Interests:
Kakav smisao ima danas pisanje o devedesetim godinama dvadesetog veka? Čini se da su već otišle u „bezdan zaborava”. Upravo zato mi se čini važnim da se zabeleže ti, u početku mali, usamljeni akti otpora, da se vidi da nije „sve bilo... more
Kakav smisao ima danas pisanje o devedesetim godinama dvadesetog veka? Čini se da su već otišle u „bezdan zaborava”. Upravo zato mi se čini važnim da se zabeleže ti, u početku mali, usamljeni akti otpora, da se vidi da nije „sve bilo isto”, umrljano konformizmom, nacionalizmom, bez empatije, ukaljano šovinizmom i beskrupuloznim bogaćenjem. I nas danas određuje ono što uzimamo kao vrednost koja zrači iz prošlosti. Alternativa i umetnost otpora uvek su imale važnost, slojevitu jednostavnost, ali i mrežnu prepletenost, no, uprkos tome, kako u svom vremenu opstaju na marginama tokova javne komunikacije, tako i u sećanju nemaju mesto koje bi im pripadalo, imajući u vidu značajne, no malo vidljive, skrivene uticaje koje su vršile u polju kontrajavnosti – polju koje je jedino moglo da im pruži mogućnost predstavljanja i komunikacije. Ipak, kontrajavnost u Srbiji imala je lakši zadatak no što su ga mogli obaviti disidenti u drugim totalitarnim zemljama širom sveta, koji su se morali služiti jakim simbolima i metaforama („gradovi tišine”, „gradovi sreće”, „glasovi” nestalih, nevidljivih ljudi, demos Demonijanije itd.) da bi preneli poruku o otporu (Dragićević Šešić M., 2014: 08). Ona je devedesetih imala svoje, ma koliko malobrojne, medije, imala za sobom i veliki deo univerzitetske (tihe) javnosti, i poneku ustanovu kulture koja je opstajala u sivoj zoni. Ova knjiga mala je zabeleška o toj kontrajavnosti otpora – umetničkoj i kulturnoj kontrajavnosti devedesetih. To je bila specifična zajednica znanja, koja je počela da razvija novu produkciju pojmova, kontekstualizovanih prema potrebama vremena – od prava na pobunu, prava na građansku neposlušnost, razumevanja našeg cezarizma, ljudskih prava i kao individualnih, ali i kao kolektivnih čak i kad kolektiv kao takav nije priznat, solidarnosti i empatije u vremenima sukoba, itd.
Ova knjiga jeste specifičan nastavak prethodne knjige - Umetnost i alternativa. Uzimajući u obzir iskustva alternative i performativne politike iz doba kulture nade (Mojsi, 2012), ona piše o alternativi i uličnim izvedbama u doba kulture poniženja, straha i beznađa. Njen vremenski obuhvat odrediće dva politička događaja: 9. mart 1991. i 5. oktobar 2000. godine, iako će se, nužno, morati govoriti i o fenomenima koji im prethode, i o nekim pojavama koje, iako nastale u kontrajavnosti devedesetih, traju do današnjeg dana (poput borbe za društvenu pravdu, borbe za slobodu umetničkog iskaza i govora, za alternativnu kulturu sećanja i za umetničke prostore namenjene civilnom društvu).
Tematsko-analitičkom perspektivom ove knjige napravljen je otklon od pojmova političke ili angažovane umetnosti, upravo stoga što su fenomeni koji su se osamdesetih nazivali političkim pozorištem, kao i literatura koja je dominirala čitalačkim prostorom (stvarnosna proza), bili u ključu nacionalnog buđenja, odmaka od komunizma, jugoslovenstva, vezivanjem za desna kretanja, dok je umetnost otpora i pobune devedesetih – umetnost „alternative” – uglavnom projugoslovenska, kosmopolitska i „leva”, ma kako se različita značenja u nju upisivala.
Narativi alternativne umetnosti – umetnosti protesta i pobune – otpor su nacionalizmu, mitovima, ksenofobiji... U različitim umetničkim žanrovima dela su ostvarivala vremenske i prostorne transgresije, uspostavljajući odnos prema umetničkoj avangardi i konceptualnoj umetnosti, s jedne strane, i prelazeći iz ustanova u javni prostor, s druge strane. Istovremeno, ove umetničke prakse prevazilaze i prekoračuju uobičajene granice žanrova ostvarujući transmedijalni pristup političkim pitanjima savremenosti. One se koriste transmedijalnošću polazeći od kulturnog nasleđa čovečanstva, od antičke Grčke (Zorica Jevremović), do umetničke avangarde dvadesetih (Dah Teatar), pa uzimajući u obzir i savremene političke prakse koje žele da kritikuju. Transmedijalno pripovedanje je u stvari nit koja povezuje ova dela, kao i politike i strategije umrežavanja, participacije i inkluzije kojima se stvara kontrajavnost, umetnička disidentska alternativna scena devedesetih.
Ova knjiga jeste specifičan nastavak prethodne knjige - Umetnost i alternativa. Uzimajući u obzir iskustva alternative i performativne politike iz doba kulture nade (Mojsi, 2012), ona piše o alternativi i uličnim izvedbama u doba kulture poniženja, straha i beznađa. Njen vremenski obuhvat odrediće dva politička događaja: 9. mart 1991. i 5. oktobar 2000. godine, iako će se, nužno, morati govoriti i o fenomenima koji im prethode, i o nekim pojavama koje, iako nastale u kontrajavnosti devedesetih, traju do današnjeg dana (poput borbe za društvenu pravdu, borbe za slobodu umetničkog iskaza i govora, za alternativnu kulturu sećanja i za umetničke prostore namenjene civilnom društvu).
Tematsko-analitičkom perspektivom ove knjige napravljen je otklon od pojmova političke ili angažovane umetnosti, upravo stoga što su fenomeni koji su se osamdesetih nazivali političkim pozorištem, kao i literatura koja je dominirala čitalačkim prostorom (stvarnosna proza), bili u ključu nacionalnog buđenja, odmaka od komunizma, jugoslovenstva, vezivanjem za desna kretanja, dok je umetnost otpora i pobune devedesetih – umetnost „alternative” – uglavnom projugoslovenska, kosmopolitska i „leva”, ma kako se različita značenja u nju upisivala.
Narativi alternativne umetnosti – umetnosti protesta i pobune – otpor su nacionalizmu, mitovima, ksenofobiji... U različitim umetničkim žanrovima dela su ostvarivala vremenske i prostorne transgresije, uspostavljajući odnos prema umetničkoj avangardi i konceptualnoj umetnosti, s jedne strane, i prelazeći iz ustanova u javni prostor, s druge strane. Istovremeno, ove umetničke prakse prevazilaze i prekoračuju uobičajene granice žanrova ostvarujući transmedijalni pristup političkim pitanjima savremenosti. One se koriste transmedijalnošću polazeći od kulturnog nasleđa čovečanstva, od antičke Grčke (Zorica Jevremović), do umetničke avangarde dvadesetih (Dah Teatar), pa uzimajući u obzir i savremene političke prakse koje žele da kritikuju. Transmedijalno pripovedanje je u stvari nit koja povezuje ova dela, kao i politike i strategije umrežavanja, participacije i inkluzije kojima se stvara kontrajavnost, umetnička disidentska alternativna scena devedesetih.
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Pojava alternativnog umetničkog izraza u kulturi i umetnosti, šezdesetih godina XX stoleća, predstavlja svakako jedan od najznačajnijih, ali i najmanje proučavanih fenomena. Alternativni umetnički izraz nastaje iz nezadovoljstva... more
Pojava alternativnog umetničkog izraza u kulturi i umetnosti, šezdesetih godina XX stoleća, predstavlja svakako jedan od najznačajnijih, ali i najmanje proučavanih fenomena. Alternativni umetnički izraz nastaje iz nezadovoljstva postojećim dominantnim modelima kulturnog života, te „modernim”, aktuelnim i od kritike i institucionalne kulture prihvaćenim „trendovima”. Značajne rezultate ostvaruje u pojedinim umetničkim granama, pre svega na filmu, u likovnim umetnostima, pozorištu. Tako postaje danas ona pokretačka umetnička snaga kao što je to bila „avangardna umetnost” početkom XX veka.
Alternativni umetnički izraz suprotstavljen je kako dominantnim umetničkim pravcima i shvatanjima, tako i masovnoj kulturi (iako preuzima neke njene elemente da bi se distancirao od elitne kulture). Polazeći od protesta prema vladajućoj „umetničkoj normi”, estetskom kanonu, alternativni umetnički izraz uspostavlja odnos i sa odgovarajućim društvenim pokretima – okrećući se prema stvarnosti, društvenom biću sredine u kojoj deluje. Istovremeno sa umetničkim ostvarenjima zasniva se i odgovarajuća teorijska misao, kao i novi oblici komunikacijske prakse, recepcije i vrednovanja. Iako je nastao na marginama kulturnih i društvenih dešavanja, ovaj pokret napravio je ogroman pomak kroz medije i ustanove, postajući značajan u kolektivnoj svesti današnjice kao pokret osporavanja, otpora i novih vrednosti. Tako samo značenje pojma „alternativno” podrazumeva suprotstavljanje, tj. odricanje etabliranom kulturnom i umetničkom kodu, kao i svim ostalim dominantnim (masovnim, populističkim) kodovima, što bi trebalo da mu onemogući da sam ikada postane deo tog koda. Naravno, istorija umetnosti iako zna za povremene „impasse” estetika koje se nisu dalje razvijale, koje nisu ukazivale na pravac ili put, a predstavljale su u svom vremenu nesumnjivu alternativu (Gaudi, na primer) većim svojim delom pruža dokaze o preuzimanju, inkorporaciji „alternativnog” u glavni kulturni tok, glavnu kulturnu tendenciju (Džojs, sa Uliksom i Fineganovim bdenjem).
Alternativni umetnički izraz suprotstavljen je kako dominantnim umetničkim pravcima i shvatanjima, tako i masovnoj kulturi (iako preuzima neke njene elemente da bi se distancirao od elitne kulture). Polazeći od protesta prema vladajućoj „umetničkoj normi”, estetskom kanonu, alternativni umetnički izraz uspostavlja odnos i sa odgovarajućim društvenim pokretima – okrećući se prema stvarnosti, društvenom biću sredine u kojoj deluje. Istovremeno sa umetničkim ostvarenjima zasniva se i odgovarajuća teorijska misao, kao i novi oblici komunikacijske prakse, recepcije i vrednovanja. Iako je nastao na marginama kulturnih i društvenih dešavanja, ovaj pokret napravio je ogroman pomak kroz medije i ustanove, postajući značajan u kolektivnoj svesti današnjice kao pokret osporavanja, otpora i novih vrednosti. Tako samo značenje pojma „alternativno” podrazumeva suprotstavljanje, tj. odricanje etabliranom kulturnom i umetničkom kodu, kao i svim ostalim dominantnim (masovnim, populističkim) kodovima, što bi trebalo da mu onemogući da sam ikada postane deo tog koda. Naravno, istorija umetnosti iako zna za povremene „impasse” estetika koje se nisu dalje razvijale, koje nisu ukazivale na pravac ili put, a predstavljale su u svom vremenu nesumnjivu alternativu (Gaudi, na primer) većim svojim delom pruža dokaze o preuzimanju, inkorporaciji „alternativnog” u glavni kulturni tok, glavnu kulturnu tendenciju (Džojs, sa Uliksom i Fineganovim bdenjem).
Research Interests:
Culture in the digital dimension. Digital environment is structurally changing the cultural sector, contemporary artistic practices and media systems, both on a global and local level. Intentionally or not, they are contributing to the... more
Culture in the digital dimension.
Digital environment is structurally changing the cultural sector, contemporary artistic practices and media systems, both on a global and local level. Intentionally or not, they are contributing to the digital civilization, led by the youngest generation of prosumers. This requires new forms of education and reeducation for digital literacy of all professionals and practitioners.
In this text, we examine the bigger picture of the influences of technological development on the worlds of culture, arts and media, such as changes in the educational or legal frameworks, national and local cultural policy priorities, strategies that traditional media implement in order to adapt, transmedial artistic practices or transformation of marketing, archiving or museology in the new digital horizon. However, the management structures of the cultural field in Serbia are still dominated by the people who do not initially belong to the generation of smartphones, negatively evaluating products of mass culture, and aiming to offer programs different to those coming from either traditional audio-visual media, or the Internet. we are technologically “superconnected” (čejko, 2019), but that connection is above all, an effort towards sociability, a desire to belong. Everything that characterizes social reality – economic inequalities, social injustices, competitiveness, etc. can be seen in a similar way in the digital sphere, too.
Virtual is in the core of today's reality and in order to be able to adapt to the rules of the 21st century, transmedia literacy is a necessary tool.
Digital environment is structurally changing the cultural sector, contemporary artistic practices and media systems, both on a global and local level. Intentionally or not, they are contributing to the digital civilization, led by the youngest generation of prosumers. This requires new forms of education and reeducation for digital literacy of all professionals and practitioners.
In this text, we examine the bigger picture of the influences of technological development on the worlds of culture, arts and media, such as changes in the educational or legal frameworks, national and local cultural policy priorities, strategies that traditional media implement in order to adapt, transmedial artistic practices or transformation of marketing, archiving or museology in the new digital horizon. However, the management structures of the cultural field in Serbia are still dominated by the people who do not initially belong to the generation of smartphones, negatively evaluating products of mass culture, and aiming to offer programs different to those coming from either traditional audio-visual media, or the Internet. we are technologically “superconnected” (čejko, 2019), but that connection is above all, an effort towards sociability, a desire to belong. Everything that characterizes social reality – economic inequalities, social injustices, competitiveness, etc. can be seen in a similar way in the digital sphere, too.
Virtual is in the core of today's reality and in order to be able to adapt to the rules of the 21st century, transmedia literacy is a necessary tool.
Research Interests:
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Kako je jedna stručna knjiga beogradskih autora šetala sve-tom i šta je svet iz nje saznao. Voleli bismo i trudimo se da postanemo deo Evrope, da nas svet uvažava, voleli bismo da i oni nešto nauče od nas, da u nama ne vide narod koji... more
Kako je jedna stručna knjiga beogradskih autora šetala sve-tom i šta je svet iz nje saznao. Voleli bismo i trudimo se da postanemo deo Evrope, da nas svet uvažava, voleli bismo da i oni nešto nauče od nas, da u nama ne vide narod koji ratuje već narod čiji kvalitet, znanje i veština utiču na opšti razvoj. Evropa i svet, naravno, nemaju ništa protiv toga, ali ili retko kad hoće da obrate pažnju na naše proizvode, ili ih retko kad nešto made in Serbia zainte-resuje. Ovo je priča o jednoj od takvih retkosti. Radi se o knjizi "Kultura, menadžment, animacija, marke-ting" Milene Dragićević-Sešić i Branimira Stojkovića. (Čude-nje tipa ,,zar ima nešto što oni još ne znaju o menadžmentu" opravdano je i očekivano.) Nakon što se 1994. godine pojavila u Beogradu u izdavačkoj kući "Clio", objavljena je i na još četiri jezika. Iz nje uče ministri kulture i stručnjaci sličnog ranga u mnogim zemljama sveta i, naravno, studenti-što je rečit po-datak o kvalitetu i značaju knjige, kao i argument protiv našeg kompleksa niže vrednosti od sveta.
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Čemu istraživanje populizma u Srbiji danas? Populizam poste- peno, iako ne mnogo vidljivo, ulazi u centar interesovanja srpske nauke i srpskog društva. Još od sredine osamdesetih godina XX veka populistička komunikacija, u početku gotovo... more
Čemu istraživanje populizma u Srbiji danas? Populizam poste- peno, iako ne mnogo vidljivo, ulazi u centar interesovanja srpske nauke i srpskog društva. Još od sredine osamdesetih godina XX veka populistička komunikacija, u početku gotovo neprimetno, osvaja medijski i kulturni prostor Srbije, da bi devedesetih preo- vlađivala u javnom diskursu i značajno uticala na oblikovanje javne sfere, njenih idejnih i estetskih vrednosti.
autori tekstova: Mirjana Nikolić, Milena Dragićević Šešić, Zoran Lutovac, Goran Peković, Lidija Mirkov, Kristina Malešević, Bojana Barlovac, Ana Martinoli, Nada Zgrabljić Rotar, Nina Ožegović i Ljubica Josić, Dubravka Valić Nedeljković, Slobodan Reljić, Rafaela Henze, Džonatan Vikeri, Ana Letunić, Lidija Marinkov Pavlović, Dajana Đedović, Tamara Ognjević, Irena Šentevska.
autori tekstova: Mirjana Nikolić, Milena Dragićević Šešić, Zoran Lutovac, Goran Peković, Lidija Mirkov, Kristina Malešević, Bojana Barlovac, Ana Martinoli, Nada Zgrabljić Rotar, Nina Ožegović i Ljubica Josić, Dubravka Valić Nedeljković, Slobodan Reljić, Rafaela Henze, Džonatan Vikeri, Ana Letunić, Lidija Marinkov Pavlović, Dajana Đedović, Tamara Ognjević, Irena Šentevska.
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Keynotes: Gerty Dаmbury, writer, educator and theatre director from Guadalupe, founder of the artistic collective Décoloniser les arts Paris Basma El Husseini, Action for hope, Beirut Possible topics for all kinds of contributions:... more
Keynotes:
Gerty Dаmbury, writer, educator and theatre director from Guadalupe, founder of the artistic collective Décoloniser les arts Paris Basma El Husseini, Action for hope, Beirut
Possible topics for all kinds of contributions: 1.Epistemic injustice-a critical perspective of hegemonic knowledge 2.Situatedness in knowledge production: peripheral perspectives 3.Ecology of knowledges and knowledge sharing 4.Arts and subaltern, marginalized, excluded 5.Artistic engagement / collective imaginaries 6.(Un)framing knowledge-Shaking the institution 7.Participatory research: an agenda that shakes academic norms 8.New ethics in cultural communication and collaboration 9.Fairness in international cultural cooperation: questioning North-South relations 10. Fairness in international cultural cooperation: involving "invisible" communities 11. Decolonising cultural policies-introducing plural perspectives in official frameworks 12. Culture of memory: decolonial perspectives and practices in arts and cultural sector 13. Subaltern cultural practices in public and counter-public realms: new models, selforganisation, anti-institutional practices 14. Digital world: is subaltern excluded from techno utopias? 15. Practice-based alternatives for subaltern knowledge production and sharing 16. Arts-based methods and subaltern research (art-based research practice) 17. Subaltern knowledge production and its integration in academic circuits 18. Subaltern perspectives in teaching 19. Methods and modes of subaltern teaching and learning 20. Performative learning: body and movement in education 21. Diffractive pedagogies and imaginaries 22. Material/materiality in artistic and educational practices 23. Community embedded educational cultures 24. Digital pedagogies: closing or opening new doors 25. Politics of care and hospitality 26. Policies of solidarity in a public realm
The suggested topics are here to inspire but are not limiting any contribution that addresses issues relevant to the conference theme.
Gerty Dаmbury, writer, educator and theatre director from Guadalupe, founder of the artistic collective Décoloniser les arts Paris Basma El Husseini, Action for hope, Beirut
Possible topics for all kinds of contributions: 1.Epistemic injustice-a critical perspective of hegemonic knowledge 2.Situatedness in knowledge production: peripheral perspectives 3.Ecology of knowledges and knowledge sharing 4.Arts and subaltern, marginalized, excluded 5.Artistic engagement / collective imaginaries 6.(Un)framing knowledge-Shaking the institution 7.Participatory research: an agenda that shakes academic norms 8.New ethics in cultural communication and collaboration 9.Fairness in international cultural cooperation: questioning North-South relations 10. Fairness in international cultural cooperation: involving "invisible" communities 11. Decolonising cultural policies-introducing plural perspectives in official frameworks 12. Culture of memory: decolonial perspectives and practices in arts and cultural sector 13. Subaltern cultural practices in public and counter-public realms: new models, selforganisation, anti-institutional practices 14. Digital world: is subaltern excluded from techno utopias? 15. Practice-based alternatives for subaltern knowledge production and sharing 16. Arts-based methods and subaltern research (art-based research practice) 17. Subaltern knowledge production and its integration in academic circuits 18. Subaltern perspectives in teaching 19. Methods and modes of subaltern teaching and learning 20. Performative learning: body and movement in education 21. Diffractive pedagogies and imaginaries 22. Material/materiality in artistic and educational practices 23. Community embedded educational cultures 24. Digital pedagogies: closing or opening new doors 25. Politics of care and hospitality 26. Policies of solidarity in a public realm
The suggested topics are here to inspire but are not limiting any contribution that addresses issues relevant to the conference theme.
Research Interests:
Contemporary creative sector endured a lot of problems and challenges during year and a half of the pandemic turbulent presence. Public policies had uneven reactions regarding three different sectors: public cultural sector got most of... more
Contemporary creative sector endured a lot of problems and challenges during year and a half of the pandemic turbulent presence. Public policies had uneven reactions regarding three different sectors: public cultural sector got most of its needs while private and non-profit civil society sector developed lobbying and advocacy actions or used its own strategies to develop resilience and achieve minimal level of sustainability (Dragicevic Sesic and Dragojevic 2005). This paper will present ways and methods of resilience of all three sectors in fighting negative impact of the pandemic. Data were collected from April to September 2020 within the scope of different international and national research projects: (1) Cultural relations platform and University of Sienna, Isernia P. and Lamonica A. - The impact of the Covid-19 pandemic on the cultural sector and its implications for international cultural relations. (A scoping review of the Western Balkan by Dragicevic Sesic M.); (2) Cultural leadership and memory narratives (museums, theatres, etc.) during the pandemic: the digital turn (Dragicevic Sesic M. and Stefanovic M.); (3) research projects on social status of artist done by Independent Cultural Scene of Serbia and Association of visual artists of Serbia (Cveticanin P., Ramujkic V. et al.).
This presentation will focus on bottom-up cultural policies – innovative and unexpected solutions that were developed in public cultural system (museums and theatres), as well as in civil society (visual arts and performing arts independent scenes). Analysing different approaches of cultural organisations in defending public interest and culture as a public value during the pandemic, it will be shown why the autonomy of the cultural sector is a necessary precondition for its development.
Also, the research will analyse how and why the digital turn made a huge impact on cultural practices and how all digital resources and digital competencies had been used for the best during the pandemic by those that had already acquired digital (transmedia) literacy. New reality caused by the pandemic demanded a change of priorities in cultural work, so new horizons of ethics and aesthetics of solidarity, care and hospitality had been opened. This usually refers to civil society and a certain part of public cultural institutions under strong but participative, shared leadership (Dalborg & Löfgren 2016). Institutions adapted, re-positioned, and re-focused their work using diverse digital tools and presenting previously acquired digital archives (such as archive of theatre performances).
As responsibility to change was not a common practice of cultural institutions (in many countries public cultural policies have not imposed or inspired subsidised institutions to adapt their practices in both production and dissemination to the circumstances), it was clearly visible that one part of cultural institutions opted for hibernation, having the pandemic as an excuse. On the other side, both private and civil society sectors had to find methods and forms of practices that can be safe (for both artists and audiences) as there would be no other way of survival for them. The data are showing extreme productivity of film and audio-visual sectors as well as of book publishing during the time of pandemic. However, in some other domains of creative industries, the impact of pandemic was of greater importance (as both market forces and unequal and uneven distribution of public resources (i.e., huge priority in film financing), had contributed to that).
Special attention will be given to innovations in creative work, its ways of organising during the pandemic that was heavily related to self-organisation, peer actions of solidarity and hospitality toward colleagues from independent sector (freelance artists and cultural workers). Although facing huge risks themselves, numerous cultural organisations had offered their skills and expertise as well as their technical, informational, and human resources to others, less fortunate ones. Thus, it can be concluded that the pandemic acted as a catalyser for the best and for the worst in art and creative sector producing on one side ethics of indifference and passivity (hibernation), while, on the other side, ethics and aesthetics of solidarity, care and hospitality.
This presentation will focus on bottom-up cultural policies – innovative and unexpected solutions that were developed in public cultural system (museums and theatres), as well as in civil society (visual arts and performing arts independent scenes). Analysing different approaches of cultural organisations in defending public interest and culture as a public value during the pandemic, it will be shown why the autonomy of the cultural sector is a necessary precondition for its development.
Also, the research will analyse how and why the digital turn made a huge impact on cultural practices and how all digital resources and digital competencies had been used for the best during the pandemic by those that had already acquired digital (transmedia) literacy. New reality caused by the pandemic demanded a change of priorities in cultural work, so new horizons of ethics and aesthetics of solidarity, care and hospitality had been opened. This usually refers to civil society and a certain part of public cultural institutions under strong but participative, shared leadership (Dalborg & Löfgren 2016). Institutions adapted, re-positioned, and re-focused their work using diverse digital tools and presenting previously acquired digital archives (such as archive of theatre performances).
As responsibility to change was not a common practice of cultural institutions (in many countries public cultural policies have not imposed or inspired subsidised institutions to adapt their practices in both production and dissemination to the circumstances), it was clearly visible that one part of cultural institutions opted for hibernation, having the pandemic as an excuse. On the other side, both private and civil society sectors had to find methods and forms of practices that can be safe (for both artists and audiences) as there would be no other way of survival for them. The data are showing extreme productivity of film and audio-visual sectors as well as of book publishing during the time of pandemic. However, in some other domains of creative industries, the impact of pandemic was of greater importance (as both market forces and unequal and uneven distribution of public resources (i.e., huge priority in film financing), had contributed to that).
Special attention will be given to innovations in creative work, its ways of organising during the pandemic that was heavily related to self-organisation, peer actions of solidarity and hospitality toward colleagues from independent sector (freelance artists and cultural workers). Although facing huge risks themselves, numerous cultural organisations had offered their skills and expertise as well as their technical, informational, and human resources to others, less fortunate ones. Thus, it can be concluded that the pandemic acted as a catalyser for the best and for the worst in art and creative sector producing on one side ethics of indifference and passivity (hibernation), while, on the other side, ethics and aesthetics of solidarity, care and hospitality.
Research Interests:
L’objectif principal de cette mission est l’évaluation de l’im- pact du Festival sur le Niger (FSN) et de ses organisations asso- ciées : Fondation Festival sur le Niger (FFSN), Centre Culturel Kôrè (CCK), Institut des Arts et Métiers... more
L’objectif principal de cette mission est l’évaluation de l’im- pact du Festival sur le Niger (FSN) et de ses organisations asso- ciées : Fondation Festival sur le Niger (FFSN), Centre Culturel Kôrè (CCK), Institut des Arts et Métiers Kôrè (IKAM), etc. La recherche a été réalisée d’octobre 2020 à avril 2021 par l’équipe composée de Milena Dragićević Šešić en tant que responsable de recherche et de Maïga Lalla Mariam Haidara en tant que chercheuse de terrain. L’évaluation a principalement utilisé des méthodes de recherche qualitative, se concentrant sur l’impact profond et à long terme (entretiens avec 51 personnes, quatre discussions de groupe comprenant 38 participants et une dis- cussion de groupe en ligne avec 30 participants ; analyse du contenu des programmes, des sites Web et des récits des médias sociaux ; méthodes d’observation et analyse iconologique). Les données quantitatives ont été collectées dans le cadre d’une recherche documentaire, à l’aide de statistiques disponibles, de documents de politique juridique et stratégique, d’études d’impact antérieures et de rapports sur le Festival.
L’organisation Festival sur le Niger n’est pas seulement un festival annuel, mais une grande initiative culturelle, compre- nant la Fondation Festival sur le Niger (FFSN), Le Festival en tant que telle (FSN), le Centre Culturel Kôrè (CCK), l’Institut Kôrè des Arts et Métiers (IKAM), la Caravane Culturelle pour Paix et Circuit mandingue. Le festival agit comme un volant d’inertie pour les changements sociaux, un « réseau » culturel, un incubateur, une plate-forme d’apprentissage et d’éducation et une plate-forme de réunion / discussion. C’est un amplifi- cateur et un catalyseur de différentes pratiques artistiques,
culturelles et socio-économiques. La recherche a montré une contribution extrêmement importante du Festival à différentes couches de la vie sociale et économique, au renforcement du secteur culturel, en particulier des petites organisations cultu- relles entrepreneuriales, des artistes et des entrepreneurs cultu- rels individuels au Mali et au-delà du Mali, dans toute l’Afrique. Son importance supplémentaire réside dans son succès dans la promotion d’un développement endogène, la restructuration et l’approbation du renforcement du secteur culturel au sens large d’une manière éthique, car ses activités, y compris l’entrepre- neuriat, sont basées sur les valeurs traditionnelles de Maaya.
L’organisation Festival sur le Niger n’est pas seulement un festival annuel, mais une grande initiative culturelle, compre- nant la Fondation Festival sur le Niger (FFSN), Le Festival en tant que telle (FSN), le Centre Culturel Kôrè (CCK), l’Institut Kôrè des Arts et Métiers (IKAM), la Caravane Culturelle pour Paix et Circuit mandingue. Le festival agit comme un volant d’inertie pour les changements sociaux, un « réseau » culturel, un incubateur, une plate-forme d’apprentissage et d’éducation et une plate-forme de réunion / discussion. C’est un amplifi- cateur et un catalyseur de différentes pratiques artistiques,
culturelles et socio-économiques. La recherche a montré une contribution extrêmement importante du Festival à différentes couches de la vie sociale et économique, au renforcement du secteur culturel, en particulier des petites organisations cultu- relles entrepreneuriales, des artistes et des entrepreneurs cultu- rels individuels au Mali et au-delà du Mali, dans toute l’Afrique. Son importance supplémentaire réside dans son succès dans la promotion d’un développement endogène, la restructuration et l’approbation du renforcement du secteur culturel au sens large d’une manière éthique, car ses activités, y compris l’entrepre- neuriat, sont basées sur les valeurs traditionnelles de Maaya.
Research Interests:
The main aim of this analysis was evaluation of impact of the Festival sur le Niger (FSN) and its related organisations: Foundation Festival sur le Niger (FFSN), Kôrè Cultural Centre (CCK), Kôrè Institute of Arts and Crafts (IKAM), etc.... more
The main aim of this analysis was evaluation of impact of the Festival sur le Niger (FSN) and its related organisations: Foundation Festival sur le Niger (FFSN), Kôrè Cultural Centre (CCK), Kôrè Institute of Arts and Crafts (IKAM), etc. The research was realised from October 2020 to April 2021 by the team composed of Milena Dragićević Šešić as the research lead, and Maïga Lalla Mariam Haidara as the field researcher. Evaluation mostly used qualitative research methods, focusing on deep and long-term impact (interviews with 51 persons, four focus group discussions including 38 participants, and one online group discussion with 30 participants; content analysis of the programmes, websites, and social media narratives; observation methods and iconological analysis). The quantitative data was collected in desk research, using available statistics, legal and strategic policy documents, previous impact studies and reports about the Festival.
The Festival sur le Niger is not only an annual festival, but a large cultural initiative, comprising Foundation Festival sur le Niger (FFSN), Festival itself (FSN), Kôrè Cultural Centre (CCK), Kôrè Institute of Arts and Crafts (IKAM), Cultural Caravan for Peace, and the Mandingue Circuit. The organisation acts as a flywheel for social changes, a cultural “network”, an incubator, learning and education platform, and a meeting / discussion platform. It is an amplifier and catalyser of different artistic, cultural, and socio-economic practices. This research has shown an extremely important contribution of the FFSN to different layers of social and economic life, to the strengthening of the cultural sector, especially small entrepreneurial cultural organisations, artists and individual cultural entrepreneurs in Mali and beyond Mali, throughout Africa. Its additional importance lies in its success in creating endogenous development, re-structuring and endorsing the strengthening of the wider cultural sector in an ethical (fair) manner, as its activities, including entrepreneurship, are based on traditional Maaya values.
The Festival sur le Niger is not only an annual festival, but a large cultural initiative, comprising Foundation Festival sur le Niger (FFSN), Festival itself (FSN), Kôrè Cultural Centre (CCK), Kôrè Institute of Arts and Crafts (IKAM), Cultural Caravan for Peace, and the Mandingue Circuit. The organisation acts as a flywheel for social changes, a cultural “network”, an incubator, learning and education platform, and a meeting / discussion platform. It is an amplifier and catalyser of different artistic, cultural, and socio-economic practices. This research has shown an extremely important contribution of the FFSN to different layers of social and economic life, to the strengthening of the cultural sector, especially small entrepreneurial cultural organisations, artists and individual cultural entrepreneurs in Mali and beyond Mali, throughout Africa. Its additional importance lies in its success in creating endogenous development, re-structuring and endorsing the strengthening of the wider cultural sector in an ethical (fair) manner, as its activities, including entrepreneurship, are based on traditional Maaya values.
Research Interests:
Art and activism in the 90s, in Serbia... Artist Vesna Pavlović started her career as a member of an artivistic group Škart together with two students of architecture, Djordje Balmazović and Dragan Protić. Although a student of camera at... more
Art and activism in the 90s, in Serbia...
Artist Vesna Pavlović started her career as a member of an artivistic group Škart together with two students of architecture, Djordje Balmazović and Dragan Protić. Although a student of camera at the Faculty of Dramatic Arts, her contribution was much more than simple photo journalism. It was a photo activism including self-performative actions enabling not only visibility but a self-production of memory of the actions of Škart group that comprises public art performances and events. Further, her work was linked to Radio B92. Radio B92 was a symbol and a key platform of artistic activism during the 1990s in Serbia. Among other forms of media expressions, it used numerous jingles specially produced as a form of sound art activist actions. Throughout the text we have selected those that are complementary to the visual expressions of the Vesna Pavlović’s works. Although still present in individual and collective memories, those jingles have not been included in cultural memory (Asman, 2011), as the radio B92 has been privatized and today is functioning under the name “Play radio” neglecting its own institutional memory. These jingles resonate with Vesna Pavlović’s photos as a counterpoint of rebellious movements in Serbia of the 1990s.
Artist Vesna Pavlović started her career as a member of an artivistic group Škart together with two students of architecture, Djordje Balmazović and Dragan Protić. Although a student of camera at the Faculty of Dramatic Arts, her contribution was much more than simple photo journalism. It was a photo activism including self-performative actions enabling not only visibility but a self-production of memory of the actions of Škart group that comprises public art performances and events. Further, her work was linked to Radio B92. Radio B92 was a symbol and a key platform of artistic activism during the 1990s in Serbia. Among other forms of media expressions, it used numerous jingles specially produced as a form of sound art activist actions. Throughout the text we have selected those that are complementary to the visual expressions of the Vesna Pavlović’s works. Although still present in individual and collective memories, those jingles have not been included in cultural memory (Asman, 2011), as the radio B92 has been privatized and today is functioning under the name “Play radio” neglecting its own institutional memory. These jingles resonate with Vesna Pavlović’s photos as a counterpoint of rebellious movements in Serbia of the 1990s.