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Cultural Diplomacy: Arts, Festivals and Geopolitics

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Cultural Diplomacy: Arts, Festivals and Geopolitics Cultural Diplomacy: Arts, Festivals and Geopolitics Edited by Milena Dragićević Šešić with Ljiljana Rogač Mijatović Nina Mihaljinac Cultural Diplomacy: Arts, Festivals and Geopolitics Published by Creative Europe Desk Serbia Ministry of Culture and Media of Republic of Serbia Faculty of Dramatic Arts in Belgrade, Institute for Teatre Film Radio and Television Special series editor Dimitrije Tadić, Head of Creative Europe Desk Serbia Part of this book is the result of the project "Identity and memory: transcultural texts of dramatic arts and media" no. 178012 of the Faculty of Dramatic Arts in Belgrade, fnanced by the Ministry of Education, Science and Technological Development of Republic of Serbia. CULTURAL DIPLOMACY: Arts, Festivals and Geopolitics Edited by Milena Dragićević Šešić III chapter editor Ljiljana Rogač Mijatović IV chapter editor Nina Mihaljinac Creative Europe Desk Serbia, Faculty of Dramatic Arts in Belgrade, Ministry of Culture and Media Institute for Teatre Film Radio and of Republic of Serbia Television Belgrade, 2017 INTRODUCTION Cultural Diplomacy in Practice: Mira Trailović, BITEF and Geopolitics Milena Dragićević Šešić 11 I CONCEPTS AND POLICIES Since Internationalism: Diplomacy, Ideology, and a Political Agency for Culture Jonathan Vickery 35 Cultural Diplomacy: From Showcase to Intercultural Dialogue Serhan Ada 51 Cultural Diplomacy from Below: Artistic Projects with Refugees and Migrants Monika Mokre 61 Why We Have to Overcome Paternalism in Times of Populism Raphaela Henze 73 Fair Cooperation? Partnership-based Cooperation in Cultural Policy & Cultural Management Annika Hampel 89 Who Holds the Power in Soft Power? Melissa Nisbett 107 5 II FESTIVALS AS PLATFORMS OF CULTURAL DIPLOMACY Arts Festivals are our Voices in Society Hugo de Greef 123 BITEF and cultural diplomacy today Ivan Medenica 127 Festivals as Social Dramas and Metaphors: Between Popular and Subversive Aleksandra Jovićević 133 The Foundation of Bitef (1967) and Cultural Diplomacy of Socialist Yugoslavia Ksenija Radulović 145 BITEF in the New Millennium: From One Crisis to Another Anja Suša 155 Inclusive Practices at the International Performing Arts Festivals (Knowledge Transfer and Agenda Setting in the International Cooperation) Darko Lukić 163 The Dialectics of Cultural Diplomacy. Example of Dubrovnik Summer Festival Ana Žuvela 173 Theatre, Theatre Festivals and Cultural Diplomacy Mike van Graan 185 Transition of the Festival’s Ideas Ivana Stefanović 195 6 III SHIFTING TRENDS IN CULTURAL DIPLOMACY (FROM ARTS TO GASTRO-DIPLOMACY) Implications of Multiple Identity Layers for Cultural Diplomacy of Serbia Ljiljana Rogač Mijatović 203 Cities and Regions in International Cultural Relations: Fostering Cooperation Through Cultural Networks Leda Laggiard 211 Cultural Diplomacy, a Dialogue with the Civil society Biljana Tanurovska Kjulavkovski 221 Contemporary Art Practices in the Conduct of Cultural Diplomacy Milica Savić 229 Gastronomy as a Tool in Cultural Diplomacy and Nation Branding of Serbia Tanja Strugar 241 The Roles and Practices of Fashion in Cultural Diplomacy Mina Popović 251 7 IV CHALLENGES AND PERSPECTIVES OF EUROPEAN AND INTERNATIONAL CULTURAL COOPERATION IN SERBIA Creative Europe Programme as an Instrument of European Cooperation, Internationalisation and Strengthening the Capacity of Cultural Organisations and Institutions in Serbia Dimitrije Tadić 265 Strategic Development of European and International Cultural Cooperation in Serbia Nina Mihaljinac 275 Audiovisual Sector – European and International Cooperation as a Necessity Nevena Negojević 285 Cultural Heritage: Interdisciplinarity, Intersectoral Cooperation and Participation Nikola Krstović 291 Literature and the Martini Principle Beba Stanković 301 Performing Arts: Why are Technologies and Equipment so Important for European and International Cooperation? Jasna Dimitrijević 307 Music: Ethno and/or Contemporary? Aleksandra Paladin 313 Visual Arts: XX Century History as a key Strength Slađana Petrović Varagić 317 Creative Industries Danica Bojić 323 Humanities and Teory of Art: Why We Need Interdisciplinary Teams of Artists and Scientists? Nina Mihaljinac 329 8 V METHODOLOGICAL ANNEX RELATED TO THE SURVEY OF EUROPEAN AND INTERNATIONAL CULTURAL COOPERATION IN SERBIA Distribution of Ministry of Culture and Media of RS funds for international cooperation Milan Đorđević and Nina Mihaljinac Sector for contemporary artistic production and creative industries 337 Cinematography and audiovisual production 337 Visual arts and multimedia 342 Performing arts 345 Music 348 Literary translations 350 Sector for international cooperation, European cooperation and projects 352 Mobility of professionals 354 International programmes 356 Centre culturel de Serbie 357 Overview of participation cultural organisations from Serbia in the Creative Europe Programme Milan Đorđević European cooperation projects 362 Literary translations 376 European platforms 396 Cross-sectoral strand 396 MEDIA subrpogramme open calls 397 EU prizes and initiatives 399 List of Contributors 401 9 INTORODUCTION 10 Cultural Diplomacy in practice: Mira Trailović, BITEF and geopolitics Milena Dragićević Šešić Introduction: Mira Trailović theatre leadership “I was always led by certain characteristics of my personality that can be considered as positive (…), and they are persistence and optimism. I do not like to leave any job unfnished, I do not like to resign real possibilities that are around us and in the same time I try to keep loyalty. Without loyalty achieved success cannot ofer us real joy.”1 In 2015, bitef festival, the pride of Serbian theatre circles, got a new artistic director Ivan Medenica, who wanted to reposition bitef festival on the world scale. Knowing my text “Te leadership style of Mira Trailović ” (in: Caust, 2013) he proposed to me to organise the conference: Mira Trailović and cultural diplomacy: theatre festivals and geopolitics. From the idea to the realisation, the title of the conference was changed2, but the spirit of Mira Trailović and her contribution to cultural diplomacy through bitef, her activities as the director of Atelje 212 and as the director of the Teatre des Nations in 1982 in Nancy, has been evoked throughout the conference from the introductory speeches of Misha Shvidkoy, Ivan Medenica and myself, till the session: Testimonies that brought on the stage of Atelje 212 her former collaborators with numerous stories related to her visions, ideas and methods of operation –discussing cultural diplomacy in practice. Persistence, optimism and loyalty might be precise words to describe her work in theatre, but not sufcient to understand such a complex personality that had strength and courage to position her small theatre on the world scale, using the BITEF festival as a principal but not the only tool of communication. Tis conference was homage to her achievements, honouring also results that BITEF had in the years that followed, remembering other actors and partners in this endeavour, frst of all, Jovan Ćirilov but also Milan Žmukić and many others (quoting here only those that are not any more among us). Mira Trailović infuence went far beyond the institutions she created as those were inspirational for agents on other artistic scenes (music, visual art, flm, etc.) in Yugoslavia and even for politicians that understood to what extent her visions might be shared within cultural policy and cultural diplomacy. Coming from the generation that was burdened by changing political history and wars, in spite of 1 Quote from the interview with Feliks Pašić, documentary flm “Učesnik i svedok“ (Participant and witness), director Nenad Momčilovič, TV Belgrade 1988. 2 Conference: bitef and cultural diplomacy: theatre and geopolitics, organised by UNESCO Chair in Cultural Policy and Management of University of Arts Belgrade, in partnership with the BITEF festival and the Faculty of Dramatic Arts, was held 1st and 2nd October in Atelje 212, Bitef theatre and Rectorate of the University of Arts. 11 authoritarianism of the system that was dominating in her homeland (she never joined the Communist party), she succeeded to fnd the formula for cohabitation using all possibilities of the system but also inspiring changes within the system, opening spaces for more freedom. Paving the way that led towards important social and cultural changes in Yugoslavia, Mira Trailović introduced the spirit of cosmopolitism, citizenship, urbanity as values. At the same time she was the PR machine capable of spinning and campaigning in the society in which those terms have not been known and in which similar activities in other cultural organisations have been considered blasphemy. Mira Trailović compensated her shortage of political credibility by surrounding herself with those who had that ofcial political authority. She knew that it is important to show that she is close to them (for instance, to call some high ofcial in front of the members of the ensemble) but also to secure their presence on each premiere. She always asked the major of Belgrade to open the festival in order to show that BITEF has it’s political importance, respect and value in society, even outside cultural circles. However, she wanted to be considered above all: the theatre creator, whose major traits are responsibility and critical self-consciousness. She used to say: “Only responsible person does good and achieves good result” (Pašić, 2006: 19). In tandem with Jovan Ćirilov, Mira Trailović had all that was needed for sharp, brave curatorial
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