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Theory of Institutions and Cultural Policies for Contemporary Performative Practices – Институционална Теорија И Културна Политика У Савременој Перформативној Пракси

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Theory of Institutions and Cultural Policies for Contemporary Performative Practices – Институционална Теорија И Културна Политика У Савременој Перформативној Пракси UNIVERSITY OF ARTS IN BELGRADE FACULTY OF DRAMATIC ARTS THEATRE, FILM, RADIO AND TV Theory of institutions and cultural policies for contemporary performative practices – Институционална теорија и културна политика у савременој перформативној пракси DOCTORAL DISSERTATION CANDIDATE Biljana Tanurovska - Kjulavkovski MENTOR PROFESSOR PhD Milena Dragićević Šešić BELGRADE 2018 Contents Acknowledgements .................................................................................................................... 3 Abstract ...................................................................................................................................... 5 Апстракт ................................................................................................................................... 7 1. Introduction ............................................................................................................................ 9 1.1 Subject of the research ....................................................................................................... 11 1.2 Research question .............................................................................................................. 13 1.3 Goals and hypotheses ......................................................................................................... 14 1.4 Methodology of the research ............................................................................................. 16 1.5 Keywords ........................................................................................................................... 18 1.6 Theoretical framework ....................................................................................................... 18 2. Institutional horizon – Imagining institutions ...................................................................... 21 2.1 Traditional and contemporary cultural institutions ............................................................ 21 2.2 Institution making – past, present, language, imagining, self-instituting .......................... 26 2.2.1 Public sphere and governing ideology ........................................................................... 27 2.2.2 Governing the horizon of institutions through the past and the present ........................ 35 2.3 The language of the (post)institution ................................................................................. 39 2.4 Imagining the future of the (post)institution through the past, the present, and the future 44 2.5 Modelling the institution through visioning ...................................................................... 47 2.6 Post-institution and post-managerial paradigm ................................................................. 58 2.7 Methodology and tactic towards modelling of new institutions – Internalisation of the critique and practices or a parallel agency of change .............................................................. 64 3. Organizing institutional imagination or organizing the (post)institutional paradigm ......... 70 3.1 Organization and institution ............................................................................................... 70 3.2 Strategic planning and decision-making in organizations and institutions ........................ 78 3.2.1 Self-organization as governance and decision-making .................................................. 81 3.3 Models and modes of institutions and organizations in performing arts ........................... 89 3.3.1 General models – standard model and collaborative model .......................................... 91 3.3.2 Standard model (traditional/mainstream, homogenized managerial structure) Traditional or mainstream cultural institution model (homogenized managing structure, standard systematization of working places) ........................................................................... 93 3.3.2.1 Specifics of the standard-vertical-model and its varieties of public, commercial, and independent theatre .................................................................................................................. 95 3.3.2.2 Specific model of a public theatre: Repertoire theatre .............................................. 104 3.3.3 Collaborative model (new models, heterogenic managing structure, self-instituting) . 106 3.3.3.1 Models in the alternative theatre scene “collaborative – horizontal – model” ........ 106 1 3.4 The alternative theatre in Macedonia ............................................................................... 108 4. (One) perspective on performing arts ................................................................................ 113 4.1 Dance, choreography, performance as contexts related notions ...................................... 114 4.2 Dance spectrum – basic differences and specificities ...................................................... 120 4.3 Dance, choreography and performance as notions and fields in Macedonia ................... 131 5. Performing the theoretical tools – The independent sector as a potential for new modelling ................................................................................................................................................ 142 5.1 Independent organizations as temporary zones of critical reflection (case studies of Macedonia and the ex-Yugoslavia region) ............................................................................ 143 5.2 Analysis of the independent sector in culture in the region – new tactics and strategies 158 5.2.1 New tactics and strategies for development in the independent cultural scene ........... 159 5.2.1.1 Creation of new spaces – enhancing the visibility of the independent sector ........... 161 5.2.1.2 Temporary platforms with institutions ....................................................................... 170 5.3 Analyses and outcomes of both approaches (the strategies of creation of spaces and temporary platforms) ............................................................................................................. 175 5.4 New strategic approaches – Legacy converted into new approaches and strategic alliances – networking and co-governing models (case studies and analyses) ..................................... 178 6. Artist driven cultural policies vs top-down policies .......................................................... 196 6.1 General overview of the EU and ex-Yugoslavia policies in dance and performance ..... 196 6.2 Advocacy on regional level and dance policy in Macedonia .......................................... 202 6.3 Cultural policy making and development ........................................................................ 217 6.3.1Participative methodology of policy making ................................................................. 217 6.3.1.1 Macedonia – PPP and mixed or hybrid model .......................................................... 222 6.4 Shared policy for new public culture, or from paternalistic institution to (post)modern institution ............................................................................................................................... 227 6.4.1 From shared policies and participative governance to rhizomatic governance and institution model (imagining) ................................................................................................. 232 7. Performing arts institution – An agent of societal and political transformations .............. 236 (as Conclusion) ...................................................................................................................... 236 7.1 The performing arts institution in Macedonia ................................................................. 238 8. Bibliography ...................................................................................................................... 251 Appendix I ............................................................................................................................. 264 Case Study ............................................................................................................................. 264 REZIME DISERTACIJE NA SRPSKOM JEZIKU .............................................................. 286 Biography ............................................................................................................................... 316 Изјава о ауторству ............................................................................................................. 321 Изјава o истоветности штампане и електронске верзије докторске дисертације / докторског уметничког пројекта .................................................................................... 322 Изјава о коришћењу .......................................................................................................... 323 2 Acknowledgements This thesis was prepared to a large extent as a continuous long-term academic research and working experience of the author in the past ten years. Working precariously to provide for existential needs, but never giving up on the vision and strive to research and reflect through academic work. I have been part of different (advocacy) networks that enabled me to generate and transform the knowledge, which I owe most to the colleagues in Nomad Dance Academy with whom I share the values, visions, and ideas that I have mostly referred to in this thesis. Without their exceptional support, potential
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