BALKAN
CULTURAL
CO-OPERATION
CULTURAL
CO-OPERATION
A Brief Summary of Problems and Opportunities for Cultural Cooperation Inside the Balkan Region and Action Plan Proposal
Since the Berlin wall came down, the region has plunged into very turbulent processes of transition. The process of complete change of the economic and social system started in all one-time members of the Eastern block.
Yugoslavia, as a country which used to be the closest to meeting western criteria, plunged into a civil war and broke into six new countries recognized by the UN. All these political, economic and ideological processes certainly determined the conditions for cultural production and cultural events. One of the drastic consequences of the new political situation was the severance of cultural ties in a once-unified cultural area that used to exist in former Yugoslavia. The connections have so far not been restored to their former level.
The cultural policy models in the new countries do not make special mention of support to regional cooperation. On the contrary, by implication, many solutions in these cultural models and official political decisions (the visa system, duty, etc.) actually limit the cooperation.
According to the information obtained by the organizations and cultural institutions consulted, they listed the following problems as the biggest regarding establishing regional connections difficult:
Of course, cultural cooperation always continued in spite of these limitations, as it is impossible to put a complete stop to it, but it was made very difficult to maintain (as the information obtained through the questionnaire demonstrated) between individual artists, NGOs and cultural industries. So, for example, some of the most successful regional contacts and the highest number of projects realized belong to independent theatres such as »Dah« theatre or ERG Status dance troupe, which had lots of performances in the countries of the region during the past few years and contacts with similar organizations. /appendix 1/.
Some of the Cultural Centres in certain towns also had a rich experience in cooperation with Balkan countries, such as the Centres for Contemporary Culture in Vršac and Mostar the »Budo Tomović« Cultural and Information Centre in Podgorica, or PAC Multimedia centre in Skopje. /see appendix 2/.
In this context we should quote Ms Jelka Kebo, director of the Mostar Culture Centre, who is of the opinion that «...culture is the strongest factor of integration we should use in breaking down all the barriers that separate us«.
Unfortunately, even this form of cooperation was in the form of exchange of programmes, while joint cultural production failed to happen. And it was in the answers to the questions in the questionnaires given by the above-mentioned cultural and information centres that the need for »using the opportunities at the sphere of projects of co-production, which would bring the cultures of peoples in this area significantly closer and unite low-budget institutions« was mentioned.
A similar need for the development of »...versatile cultural cooperation in the region«, was also mentioned by the art director of the Atelje 212 Theatre in Belgrade, Ms Jasna Novakov. The theatre's numerous contacts with theatres from Croatia, B-H, and FYR Macedonia in the last couple of years are a confirmation that there is really a lot of room for different forms of cooperation, and not just for occasional visits of theatre companies to neighboring countries. Ms Novakov said: » Even if we don't live in the same country any more, we still have a common or at least very similar cultural area«.
On the basis of the analysis of the mentioned information from the questionnaire and some other sources, we can conclude that the need of artists, organizations and cultural institutions for the establishment of regional cooperation is increasing.
The regional Ex libris competition with the topic of »Bridge« (as a symbol of connecting cultures) organized by BalkanKult in 2002 had a unique exploratory character. On one hand, the objective was to explore just how prepared artists in the Balkans were to join regional projects, and on the other, to see whether the general public was interested in projects of this kind. The realization of the competition confirmed a great readiness to cooperate (431 works by 195 authors were submitted). An exhibition with the works selected was organized and it is currently touring the towns in the region (Belgrade, Novi Sad, Niš, Sarajevo), and the attendance figure shows that the public is very interested in the creative works of artists from the region.
A great need for establishing regional connections was also expressed by numerous institutions, NGOs and festivals from across the region working in other spheres of culture, such as Zagrebfilm and Sarajevo sessions and Sarajevo Winter festivals, Ambrosia and Ars Esencia NGOs of Sarajevo, the Erg Status independent theatre from Serbia. /more in appendix 3/.
There are three main practical reasons motivating the participants in cultural production to regional cooperation:
1. Decades-long cultural unity, or cultural recognition, confirmed by the above-mentioned words of Ms Jasna Novakov.
2. Economic reasons (enlarging the market and increasing the number of consumers).
3. A common approach which makes it easier to win the position for creative work in terms of wider European global processes.
•Appendix
1. Versatile cooperation of independent theatres with similar institutions from B-H, Croatia, Romania, and Slovenia, at festivals at joint performances or workshops.
2. The Mostar Centre for Culture reported cooperation with artists and institutions from the whole region, through art exhibitions, plays, the Altermedia radio festival, panel discussions and promotions of new books.
The Centre for Contemporary Culture in Vršac organized five biennials of young artists from Yugoslavia, the Balkans and Central Europe.
PAC Multimedia of Skopje organized the 2000 Balkan Art Generator-an exhibition of works by Balkan artists in Brussels, in cooperation with Centres for Contemporary Art from Serbia, B-H, Croatia, Albania, Romania, Turkey and FYR Macedonia.
3. «There is enthusiasm of similar/the same organizations and individuals in the region and readiness to realize joint projects. Our experience in this kind of project is very positive, so that in our work we insist on creating new, and if possible, joint projects. « (Elvir Sahić, director of Ambrosia NGO, Sarajevo).
»Regional ties have great influence on the quality of sensibility and artistic style, and the awareness of cultural, traditional, sociological, intermedial and other aspects of the influences present in the region«. (Director of Erg Status, Boris Čakširan)
An Action Plan Proposal
Cultural cooperation in Balkans represents a unique opportunity for stimulation of creative potential in the region and the exchange of existing cultural programmes, to create more diversified cultural life. The main idea is to provide a favorable environment for building “cultural bridges” through increased mobility of people, flow of ideas and expertise.
The Balkan cooperation is much more than an exchange of concrete projects; it has a large-scale and comprehensive mission. One of the main objectives is the establishment of long-term contacts and creation of opportunities for developing cultural life. It is thus necessary that all projects within its framework contain elements of “good practice”, i.e. have the so-called “snowball effect”. Also, sufficient media coverage would be of importance for the successes of this endeavor.
The cultural cooperation in the Balkan region should be realized through three wide multilateral ”umbrella” programmes, developed and structured on following premises:
1. “The People-to-People” programme
- This programme is to be created for general public to provide cultural links and mutual recognition.
2. “The Artists-to-Artists” programme
-This programme would primarily provide an exchange of experiences, ideas, education and training to the professionals (artists, professors, cultural practitioners) in the sphere of culture.
3. “The Artists-to-People” programme (a promotion of inter-regional cultural co-production)
- In the framework of this interactive program professionals would represent their results and concrete project to the public.
It is evident that all three programmes are overlapping and complementing each other. It is almost impossible to make a strict division into three separate fields of cultural cooperation.
1.”People-to-People”
This programme should help the largest possible audiences in the region to get acquainted with the culture and cultural diversity with the intention to get “everybody” involved.
Suggestions for achieving ‘‘good practice’’ within the framework of this programme:
• Making cultural handbooks about the Balkans on the all Balkans languages.
• Creating a database of the websites containing information on cultural events in the region – a calendar of cultural events, which would help artists and practitioners in the field and cultural institutions to keep the public better informed.
• Using already existing cultural events and festivals (visual and performing arts, music, film and other activities) in the region to present the work of artists.
2.”Artists – to – artists”
This programme should encourage artists, cultural practitioners and theoreticians, as well as cultural institutions, to meet and to exchange their experiences and knowledge. Special emphasis should be put on the cooperation and exchange between educational institutions in the field of culture (schools and universities), and particularly on programmes for post-graduate and specialist studies.
Suggested forms of ''good practice'' within the framework of this programme:
• Participation of artists and cultural practitioners in regional seminars, workshops and artistic residencies for the purpose of education and widening knowledge of contemporary culture (film, music, performing and visual arts).
• Providing to trainers and professional p0ssibility of personal improvement and exchange of information in their respective fields (e.g. the education of choreographers, professional animators, etc.).
• Cooperation of Art school and Universities and exchange of postgraduate students and lecturers.
3. “Artists-to-People”
The main idea of this programme is to organize joint work and cooperation of artists, cultural practitioners, institutions and cultural industries in production and presentation of the works.
Suggested examples of establishing ''good practice'' include:
• Regional cooperation and promotion of the joint work of artists, cultural practitioners, managers of art colonies, exhibitions, festivals
• Regional programmes of co-production in the following field - performing and visual arts, music, film and media.
• Presentation of the works created in cooperation followed by discussions and round tables with the participation of public.
Undoubtedly this need for establishing cultural cooperation will in time increasingly be realized in a more concrete manner, since the Balkans are characterized by significant resources in the sphere of culture: great individual creative potential, a developed network of cultural institutions and real potential for development regional cultural industries.
Published: 2003-05-14
Updated: 2003-11-10
Copyright © 2003 BalkanKult. All Rights Reserved.
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