Forum Scientiae Oeconomia • Volume 5 (2017) • Special Issue No. 1 ACTIVISM AS A LEADERSHIP STYLE: AN INDEPENDENT CULTURAL ORGANIZATION IN A TROUBLED CONTEXT Milena Dragićević ŠeŠić, Milena Stefanović ABSTRACT 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 based on an interview with Borka Pavicevic and an analysis of the CZKD strategic plan. KEY WORDS leadership, activism, independent cultural organizations. Doi: 10.23762/fSo_vol5sp1_17_3 Milena Dragićević ŠeŠić1 e-mail: msesic@gmail.com Milena Stefanović e-mail: projectmilena@gmail.com University of arts, Belgrade, Serbia 1 Corresponding author introduction This study explores the leadership style portunities that state offered to artists and of Borka Pavićević, a dramaturg, producer, cultural operators, Borka Pavicevic created manager, and a theatre director. Her per- one of the first independent cultural organisonal story reflects well the transforma- zations, Nova Osecajnost (New Sensitivity tion of Serbian and Yugoslav cultural and 1981), which acted more as a cultural cenpolitical space in the second part of the tre rather than just a theatre (It was the first twentieth century until today. Educated as time that a brewery as postindustrial archia dramaturg, she developed her work in the tecture in the center of Belgrade was used Atelje 212 city theatre and within the scope for cultural purposes). However, the disof the international cutting edge theatre solution of Yugoslavia and the rise of nafestival called BITEF (1967). Using first op- tionalism turned her career more towards Paper received: 23 May 2017 • Paper revised: 10 August 2017 • Paper accepted: 20 September 2017 Forum Scientiae Oeconomia • Volume 5 (2017) • Special Issue No. 1 political engagement and political activ- were the key agents of cultural change in ism, participating in the creation of numer- the post-communist time. ous movements and organizations such as The methodology is based on a multi-per“UJDI” (1988)1, “The other Serbia” (1992)2, spective approach. Theoretical research “Belgrade circle” (1992)3, where numer- involved theories on strategic manageous artists and intellectuals had gathered. ment, an adaptable quality management A reason for the creation of the organiza- approach (Dragićević Šešić, Dragojević tions was to unite citizens that do not agree 2005), cultural leadership theories (Adizes with nationalist crime, and Borka Pavicevic 2004), and the concepts of cultural policy, explains: “Nationalism in this environment offering research questions for empirical quickly became populism. Inside the Bel- research. Empirical part of the research is grade circle, we started discussing that we based on interviews with Borka Pavicevic, must include artists, architects, film direc- conducted on different occasions (last two tors in order to create one centre that would on March 28, April 17) and an analysis of lead the resistance against nationalism in the CZKD strategic plan (2011, 2016). The an emotional, catharsis way... The centre main approach would relate to the both should act as a tool for creating catharsis organizational development and a leaderagainst crime, against war.” From that per- ship model, trying to explore their mutual spective, in 1995, the Centre for Cultural interdependence, located in the context of Decontamination was created, as one of cultural transition and social movements. the first organizations that acted as a plat- Additional concern of this study is to exform for assembling artists, intellectuals plore how the story about the CZKD inand cultural activists4. spired other players in the field to be brave Taking the Centre as a case study, re- and active in creating new organizational search focuses on the relation between an forms in the independent stage in Serbia. activist type of organization that organizes a dissident movement in the cultural field 1. the context and the birth and a leadership style of Borka Pavicevic. The hypothesis is that the specific leader- of the CZKD The 1990s were the years of the deepest ship capacities and skills were necessary crises in Serbia’s recent history, marked during these turbulent times, while the mission and activities of the organization with the civil war, ethnic conflicts, hyperinflaconform to the leadership style. We start- tion and political and economic sanctions. ed with the thesis that such organizations The growth of the culture of nationalism (Dragićević Šešić 2013: 158) during those 1 Available at: https://en.wikipedia.org/wiki/ Asyears, the abolishment of self-governance, sociation _ for_Yugoslav_Democratic_Initiative, centralization, and the heavy state-con(accessed 2 June 2017); “), “Belgrade circle” (1992) (http://pescanik.net/filozofija-srbije/, (ac- trol of cultural institutions were the direct cessed 2 June 2017). consequence of the Slobodan Milosevic’s 2 Available at: https://sr.wikipedia.org/sr/ regime. In such political environment, in %D0%94%D1%80%D1%83%D0%B3%D0%B0 1994, the Center for Cultural Decontamina_%D0%A1%D1%80 %D0%B1%D0%B8%D1%98 %D0%B0, (accessed 2 June 2017). tion (CZKD) was founded and opened its 3 Available at: http://pescanik.net/filozofija-srbije/, doors at the “Veljković” Pavilion on Janu(accessed 2 June 2017). ary 1st, 1995 as an independent cultural 4 See more at: http://www.vreme.co.rs/cms/view. php?id=1159816&print=yes, (accessed 2 June institution. The “Veljković” Pavilion was the 2017). 36 Activism as a leadership style: an independent... first private museum of the European art in ated in Serbia after 1995 as parallel, indethe Balkans, built before the World War II. pendent “public” spaces (Dragićević Šešić After the War, the property was “national- 2013: 160). ized” and communist politicians like Mosa Over the course of twenty-two years, the Pijade had their atelier for a certain period Center implemented over 3000 programs, here5. Over the years, the pavilion and the like theater performances, exhibitions, arhouse were ruined. In 1995, the CZKD be- tistic projects, open discussions, lectures, gan rebuilding the space into a “sanctuary protests, conferences and campaigns. for civil society and a symbol of cultural The CZKD has also been a host venue for liberation”6. the collaborative ventures of artists and acThe idea for the establishment of the tivists, public and private sectors, governCentre had developed since the summer ment and non-governmental organizations, of 1993 and in the autumn of 1993/1994, and international and domestic initiatives. specific programs and activities had been implemented as part of a special project 2. organizational capaciof the Belgrade Circle (The Belgrade Circle was a non-governmental organization, es- ties and values Due to the international funding of the tablished in Belgrade in 1992. Initially, the organization hosted lectures and debates CZKD activities, the organization had to with Serbian intellectuals that opposed the develop and establish the practice of stranationalist policies of Slobodan Milosevic) tegic planning. Contrary to other smaller that supported the establishment of the independent cultural organizations in SerCZKD. The idea for the foundation of the bia, the CZKD raised organizational capaCZKD was initiated by a group of individ- bilities and advanced its planning instruual artists, cultural workers and social and ments (i.e. a strategic plan), as an essential political activists such as Borka Pavićević, mechanism of adaptable quality manageAna Miljanić, Mirjana Miočinović, Stojan ment. At the same time, they focused on Cerović, Dubravka Knežević, Violeta Čurćić content, art production and knowledge (on behalf of The Belgrade Circle), Sonja creation, developing their programming Biserko (President of the Helsinki Com- excellence, based on activist values, like mittee for Human Rights in Serbia), Nikola the battle for human rights, race equality Džafo and Dragoslav Krnajski (‘Led Art’ (numerous programs with Roma popula7 Group) and Suzana Jovanović (organizer). tion) , gender equality (collaboration with At the moment of creation, the goal of the CZKD was “to transform a social atmos- 7 Among them was a Medea-Hamlet project, where both professional artists from Burhan phere that was contaminated by orchesRoma Professional Theater (originally from trated nationalism, hatred and destruction”, Skopje, but since the dissolution of Yugoslavia, located in Mulheim, Germany), and Roma amawhile “opposing nationalism, xenophobia, teurs from Belgrade suburbs, played together intolerance, hatred and fear, and to be the an emotional contemporary “coreodrama” place where people come to feel free.” It about life of Roma population or numerous film screenings and debates like the one around the was one of the ten centers that were creAvailable at: http://www.politika.rs/scc/clanak/ 233289/Paviljon-Veljkovic-ostace-centar-zakulturu, (accessed 2 June 2017). 6 Details are available at: http://www.czkd.org, (accessed 2 June 2017). 5 Paradise hotel, a utopian urbanistic experiment for Bulgarian Roma (2010), long-term New Politics of Solidarity projects that had shown to what extent the stigmatization and discrimination of Roma during the Roma decade became more visible. 37 Forum Scientiae Oeconomia • Volume 5 (2017) • Special Issue No. 1 feminist movements)8, regional truth and socio-political movements, cultural movereconciliation programs (since the first “Tu- ments, artist collectives, independent intelzla in Belgrade” exhibition in 1996)9, social lectuals, artists and cultural operators. Difequality and transitional justice (collabora- ferent forms of partnership were created tion with the “Ignorant master” NGO. This with independent media, such as Radio program relates mostly to the deconstruc- B92, Nasa Borba, Vreme and Danas. Still tion of capitalist neoliberal pressure and its today, Borka Pavicevic writes a weekly impact on transitional Serbian society). column in Danas, and this newspaper Thus, the story of the CZKD and Borka publishes information about the CZKD Pavićević is a story of an activist organiza- activities. Over time, partnerships with nution defined as a meeting ground of ideas merous other social movements and artist (Dragićević Šešić, Dragojević 2005: 149). collectives have developed. These partnerThe philosophy of such an organization ships crossed borders of Serbia by focusis the philosophy of artistic activism and ing on regional organizations that shared social responsibility. Even the premises the same values, such as “Multimedia of the CZKD (hidden courtyard in the city Pristina”, “City form” Tuzla, and “Shadow centre), proves the nature of the organiza- casters” from Zagreb, etc. Thus, through tion commitment and to its larger cultural the New politics of solidarity in culture and activist profile. According to the literature knowledge production project (2011/2012), (Dragićević Šešić, Dragojević 2005: 149), partnering organizations conceptualised most of independent cultural organiza- the new space of freedom in the cities detions use strategies of linkage (network- bating and questioning future of solidarity ing, partnership, decentralisation, and in- and commonalities in the Balkan region ter-sectoral linkage) and strategy of public (That kind of project is financially supaction (public commitment, changing pub- ported by foreign donors, such as a Swiss lic space, lobbying, and advocacy). Re- cultural program, European cultural founsearch showed that all of these are used dation, and EU funds). extensively by the CZKD, not only locally Besides partnering with independent but also internationally, as the CZKD and media and regional organization, the Cenits leader Borka Pavicevic succeeded in tre developed programs and projects with creating strong international lobby for their artists’ collectives as well. Nikola Dzafo support. and “LED art group” marked the first years On the other hand, it could be said that of the CZKD, followed by projects with the CZKD was created as a result of net- “SKART” and “Metaklinika”. working among different agents such as Specifically, important strategy that the CZKD has used since the beginning as 8 Network for East West women, Woman in Black, Centre for Gender studies, Labris, Woman in Ac- part of the social responsibility program is tion the strategy of decentralization. Thus, the 9 Programs such as: Pertej, an exhibition of KosCommunication project (youth photo workovo Albanian artists (1997), Women activists for shops) was implemented in multi-ethnic peace are crossing borders (2002), The Bridge Priština – Belgrade (2008), Panel debates with cities of Subotica, Novi Pazar, Bujanovac Igman initiative (2005),Who is to you Reihl-Kir and Pristina (2007). On each conference (2010). Since 2010, this regional collaboration has mostly developed through art and knowl- or workshop in Belgrade, activists from edge production such as projects with Shadow provinces are invited as partners (“Women casters from Zagreb, related to the traumatic in action” from Velika Plana, “Urban – IN” cultural relations between Serbia and Croatia. 38 Activism as a leadership style: an independent... from Novi Pazar, “Citizens action for hu- ment, books with state FNRJ stamp as this man rights”, from Pancevo). Further, one was in one moment Mosa Pijade Atelier, perof the latest programs named Studies of sonal family letters etc “, Borka Pavicevic). the Context has been implemented in Sub- The next performance, “Macbeth”, went to otica, Novi Pazar and Nis, where local part- the streets of Belgrade and was performed ners were identified and empowered. in front of police cordons during students The strategy of public commitment is protest in January 1997, showing the suppursued through all programs and their port for the citizens’ protest movements social relevance. There is no single ac- (Dragićević Šešić 2001). tion, concert or exhibition that does not It is evident that selected strategies have social, in addition to artistic, value. It reflect important values underlying the is most visible in the complex programs CZKD, such as social justice, regional recthat combine art productions with panel onciliation, solidarity, empathy, pacifism, debates. The public action called Listen gender equality, inter cultural dialogue, little man is taken as a complex week pro- and the culture of memory. Every program including films, exhibitions, “fashion gram and project, whether related to art or shows”, publications and panel debates. knowledge production, made public effort The most important part of this action was to make changes in Serbian society neca series of site specific performances in essary for democratization. Thus research front of incidental audiences throughout proved that Centre belongs to the activist Belgrade (Dragićević Šešić 1998). type of cultural organizations with approA specific dimension of the CZKD pro- priate strategies and modalities of operagrams relates to cultural policy debates, tions. defining this approach as a bottom up cultural policy (Visnic, Dragojević 2008). 3. leadership Important performative projects of theatre On the independent cultural scene in artists Ana Miljanic and Sonja Vukicevic Serbia, most of the organizations were were always politically relevant. The first created by strong personalities, already one that happened in 1995 was the drama- recognized leaders on the public cultural tization of “Zli dusi” (Dostojevski) which and political scenes (For example, Ljubisa reflected the atmosphere and feelings of Ristic created KPGT after he received nuBelgrade society in that complex socio-po- merous prizes for its mis-en-scenes, Darka litical setting (“We have chosen this text to Radosavljevic created Remont after leavstart our activity because it states that terror ing B 92 cultural program and REX cultural starts not because terrorists and autocrats center, Zoran Pantelic created Kuda.org, are strong but because liberals are weak etc.). Taking Adizes leadership theory into and because Verhovensky claims we are the account (2004), two out of four managoing to destroy everything. This text is the gerial capabilities or roles are necessary to most appropriate to the space of the Pa- be a leader. As regards Borka Pavicevic, it villion. Cleaning the Pavilion, we found the is entrepreneurship (E) and integration (I). whole history of the Veljkovic family, and we According to Adizes theory, entrepreneurimmediately made the first exhibition out of ship means having ideas and capacities to the rejected material. It included the books design and to execute a project. Integraof Madam Stall, the first human rights dec- tion (I) relates to the capacity to create and laration, blue prints about industry develop- sustain teams for a long period of time. 39 Forum Scientiae Oeconomia • Volume 5 (2017) • Special Issue No. 1 Borka Pavicevic, due to her big I, always On the other hand, our previous research gathered a number of partners (organiza- (Dragićević Šešić, Stefanovic 2017) found tions and individuals) around herself, as well that Borka Pavićević represents the examas followers ready also to administer (A) and ple of the transformational leader emergto produce (P) – to execute the idea that was ing in the period when platforms for activcreated and accepted through collaborative ism and art production were in need for and participative processes. At the same stronger support and patronage. Thus, by time, she would join, as an individual and as creating the CZKD, she acted as a visionthe organization, different movements and ary and heroic leader, who strengthened networks, using them but also contributing community spirit and united the voices of to their development. All the networks and dissent, always showing respect to other social movements that were linked to the cultural personalities with leadership caCZKD were attracted by her personal cha- pacities – “bringing” them close to the Center. The first exhibition devoted to Mira risma and professional credibility. According to Adizes theory, in order to Trailovic, a theater director and founder of function and grow, the team must have all the Atelje 212 and BITEF festival, to a cerfour capacities in place. As regards Borka tain extent proves that she was for Borka Pavicevic as a leader, research identi- Pavicevic a “role-model”, mentor, woman fied two characteristics (E and I) as most that had strength and courage to be entreprominent and dominant. Her participation preneurial, innovative and even subversive, in the creation of numerous movements in the time of the bureaucratic socialism and organizations proves her capability to (Dragićević Šešić 2012). As Sheryl Sandcreate not only one but several teams in berg (2013) states, it is extremely important order to implement her numerous diversi- for a woman-leader to take responsibility fied ideas, from politics and social debates for other women, as “women are better off to artistic projects. As a theatre person, than ever. We stand on the shoulders of the Borka Pavicevic is well aware about the im- women who came before us, women who portance of production in order to create had to fight for the rights that we now take credibility and respect of a cultural institu- for granted.” That is the reason why Borka tion. At the same time, she understands the Pavicevic also takes responsibility to keep importance of institutional memory for the memories of those brave personalities: sustainability of the organization. In one of from all those that created Serbian “modthe interviews, she pointed out that it was erna” (men and women), to Mira Trailovic, her personal initiative to create documen- Mirjana Miocinovic theater scholar that left tation and archive for every organization or university due to its “neutrality” during war project she participated in, as well as to cre- times, and Latinka Perovic, contested poliate memory events, anniversaries, homage tician-dissident in 1970` and controversial and commemorations for lost comrades. historian today, fighting to reveal and conThat proves an Adizes theory that a good front negative past. leader, besides characteristic in capital letConclusions ters, should have other characteristics at An independent stage in Serbia had least in certain amount (small letters), in orevolved in last 25 years, building leadership der to be able to delegate to collaborators and organisational competencies, widenand to appreciate their contribution in these ing a scope of activities and adapting them domains. 40 Activism as a leadership style: an independent... to the local context (Cvetičanin 2011). HowNGO leadership imposes the need for ever, some researchers identified the lack both individual attributes and contextual of organizational structure that will ensure relevance (Hailey, James 2004: 343). As the survival of eventual leadership loss as we could investigate, an effective and a main weakness of the CZKD (Skoko 2011: resilient leader such as Borka, balances 15). The structure of the organization relies numerous pressures from different sides, too much on present personnel, their skills but always keeps her individual identity and strong points, which risks destabili- and values. Using an adaptable quality zation every time when there is a change management approach in understanding in human resource. Further, a particularly organizational culture, philosophy and its devastating scenario that could be imag- strategies, as well as an Adizes theory on ined if the director (Borka Pavicevic) left the leadership, we have concluded that Bororganization is the conclusion of the analy- ka Pavicevic as a leader – founder of the sis mentioned. Our analysis today, based CZKD is a rare example of transformational on the assumption that NGOs are mostly leader of an activist cultural organization, project-based organization and that their who goes beyond her personal interests in flexible organizational structure is better linking movements, art collectives, media suited for the turbulent circumstances in in creating a multileveled network of indiwhich they operate in the Balkans, does viduals and organizations around similar not see that as an ultimate threat. The team, values and aspirations. art collectives and social movements that Using once more the words of Hailey gravitate around the CZKD today, are well and James, “unless systems and processintegrated within the strategic vision and es to support this work are put in place, the values of the organization, but at the same apocryphal warning “trees die from the top” time, they have a lot of autonomy in creat- will have more than a grain of truth in it.” ing and developing projects that they are Independent organisations and their leadpersonally interested in. That makes them ers in the troubled world of populist cultural loyal participants and partners in the devel- policies of today, do brave and important opment of the CZKD and real stakeholders work and they deserve support, especially that in future might guarantee the continua- if persisting in civil society unfriendly contion of the Centre work. text, from Serbia to Russia, from Turkey to The story of the CZKD and success of its Trump US, already threatening the cultural leader Borka Pavicevic, which was proved scene of dissent. by numerous international awards, was inspirational for many cultural activists and references artists that created their own organizations Adizes, I.K. (2004), Leading the leaders: How to enrich your style of management with or without her help. She has shown and handle people whose style is difthat it is possible to sustain for a long time ferent from yours, Santa Barbara: The not only an organization but an institution Adizes Publishing Institute. with its space, and to keep its autonomy Compendium of cultural policies and till today10. trends in Europe, available at: http:// 10 Throughout Eastern Europe many organizations www.culturalpolicies.net/web/index.php, that were created by the help of Soros founda(accessed 2 June 2017). tion in the 1990s, are closed now or have lost Cvetičanin P. (2011), Vaninstitucionalni aktheir autonomy (i.e. the Soros Centre for conteri kulturne politike u Srbiji, Crnoj Gori temporary arts or Open clubs in Serbia). 41 Forum Scientiae Oeconomia • Volume 5 (2017) • Special Issue No. 1 i Makedoniji, Kultura, 130: 265-290. Sandberg, S. (2013), Lean in: Women, Cvetičanin, P. (Ed.) (2012), Social and culwork, and the will to lead, New York: Altural capital in Serbia, Centre for Emfred A. Knopf. pirical Cultural Studies of South-East Skoko, M. (2011), Strategic analysis-CZKD, Europe. Cultural management, student paper, Dragićević Šešić, M. (2013), The role of culBelgrade-Lyon: Belgrade University of ture in democratic transition: Southeast Arts/University of Lyon. European experience of civic cultural Visnic, E., Dragojevic, S. (2008), A bottom organizations, Zbornik radova Fakulteta up approach to cultural policy making, dramskih umetnosti, 23: 157-167. Bucharest: Smart printing Bucharest. Dragićević Šešić, M. (2012), The leadership style of Mira Trailović: An enterpreneurial Milena Dragićević Šešić is a former presispirit in a bureaucratic world, in: J. Caust dent of the University of arts, Belgrade, (Ed.), Arts leadership: International case where she now holds the UneSCo Chair in Cultural Policy and Management. She studies, Prahran: Tilde University Press. Dragićević Šešić, M. (2001), Carnivaliza- is the author of 16 books and 150 essays, tion of protest, New Theatre Quarterly, translated in 17 languages. expert in cultural policy and management for the eU, Cambridge, no. 65. european Cultural foundation, Council of Dragićević Šešić, M. (1998), Nevidljivo pozorište na ulicama Beograda, Bel- europe, UneSCo. She has guest lectured grade: Zbornik Fakulteta dramskih umet- at numerous universities (lyon, grenoble, Moscow, Budapest, Cracow, CUnY and Conosti. Dragićević Šešić M., Dragojević S. (2005), lumbia University nY, University of Buffalo, Art management in turbulent times: Jyvaskyla, vilnius, lasalle Singapore). Adaptable quality management, Amster- Milena Stefanović is a PhD candidate and dam: Boekman Studies. a lecturer at the University of arts, Belgrade. Hailey, J., James, R. (2004), “Trees die from graduated in Philosophy and holds a Master the top”: International perspectives on in public administration from SDa Bocconi NGO leadership development, Voluntas: (Milan, italy). lecturer and contributor in International Journal of Voluntary and training and education projects for cultural Nonprofit Organizations, 15(4): 343-353. professionals. research interests include: Mojic, D. (2003), Leadership styles of the cultural policy, cultural diplomacy, memory managers in Serbia, Belgrade: Cigoja studies, leadership in culture. She serves as stampa. vice President of the forum for culture at the european Movement in Serbia. 42