Topology of Space of the Independent Scenes in Serbia and Macedonia

Abstract

The map based on observations of existing venues and cultural actions/activities that lack a venue, aims to shed light on spatial topology of independent performing arts scenes in two post-Yugoslav countries, Macedonia and Serbia. These contemporary performing arts scenes are similar on the level of development and are marked by ad-hoc production of works, the lack of proper venues for work and presentation, insufficient public visibility, ignorance from the public authorities and non-supportive cultural policies. And while the cultural system in the two countries is dominated by state-funded cultural institutions, largely inherited from Yugoslav socialism, the current political establishments reinforce nationalistic, conservative and patriarchal values as well as populist discourse, which makes the contexts for the development of a independent scene extremely difficult, but challenging at the same time. What's more, while the situation for the independent cultural sector is becoming unbearable (still struggling to establish basic working conditions), the governments of both countries initiate megalomaniac reconstruction projects of both capitals. Following the logic of the heritage of independent cultural actors, being a counter agent to state cultural institutions, the continuous struggle for space appears to be more a struggle for making the invisible and the socially unacknowledged cultural and political practices and ideas visible and thereby approving their existence.

The selection of examples appearing in the map covers heterogeneous statements on the necessity of space, while trying to tackle the notion of space as multifaceted in order to allow us to propose a set of hypothesis on how the availability of spaces might affect the development of independent performing arts scenes.

Notes

1 In the post-Yugoslav space this distinction is still highly relevant, especially due to the unequal access that independent cultural organizations have to public cultural resources, within a cultural system dominated by large public institutions. In addition to that, the organizations we are referring to are dominantly left wing-oriented and perceived as political, due to their ongoing engagement with pressing social questions and critical reflection of the system (see, for example, Sesar 2015; Milohnić 2010).

2 More about the Critical Practice programme is available here: http://criticalpractice-madeinyu. info/about.

3 The state cultural institutions are non-profit, entirely state-funded and characterized by a large number of employees (including permanent ensembles), a division of labour, a lack of flexibility and heavy bureaucracy as well as an exclusive orientation towards the production and presentation of art pieces (see, for example, Milohnić 2010).

4 This is a ‘necessary ghost’ of the acceptable public, the one invoked by the state in the name of the preservation of order. This is the mute, static public (Power 2012: 11).

5 An exception is the Youth Cultural Center in Skopje, which is a publically funded institution and the focal point for most of the initiatives from the independent cultural scene.

6 Additional information is available at: www.belgradewaterfront.com/en.

7 These demands are directed towards ruling elites who do not serve the public interest, but mainly their own and/or private capital interests. Several civic initiatives emerged in order to express their disagreements with these projects, as for example, the initiative Do not drawn Belgrade! / /We do not give Belgrade (Ne da(vi)mo Beograd!), present in the city on various public occasions with provocative messages and statements against the Belgrade Waterfront project.

8 Station – Service for Contemporary Dance (in Serbian Stanica), the organizer of the Kondenz festival, is situated in Magacin, a building owned by the city, which since the allocation in 2007 is in a devastated condition, making working conditions for members of resident organizations as well as performers very hard. The City of Belgrade ignores the demands for reconstruction and clarification of the independent centre status. Moreover, since no contracts were signed, Stanica and the other organizations that share the space are in danger of losing Magacin, while there is no offer by those in power for another space where they can continue working under appropriate working conditions.

9 More information is available at http://jadroasocijacija.org.mk

10 Information retrieved at: www.facebook.com/mobilna.montazna/info?tab=page_info