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The project “Diversity is Super-City!

” is designed by:
Regional Endeavour for Art, Culture and Health – REACH
funded by: Central European Initiative – CEI,
OSCE Mission to Serbia
Ministry of Culture and Information of Republic of Serbia.

Disclaimer: The views herein expressed are solely those of

the author and contributors and do not necessarily
reflect the official position of the OSCE Mission to Serbia.
created by:
Jelena Jezdović, Tijana Božinović, Milena Todorović
and all participant, partners, experts and supporters involved

designed by:
Dejan Vladisavljević

photos by:
Darko Manasić and Nikola Nikolić

translation assistant:
Dražen Horvatić

we would like to thank all the people involved in this journey that continues

about “REACH”
about the project
experts opinion
artistic approach
artistic residency
“Aleksije the Fool”

Regional Endeavour for Art, Culture and Health – REACH was established in
2008 in Belgrade, Serbia. It is devoted to creation, promotion and improvement of learning and
practices in the field of art, culture and health. REACH mission is creation, development and promo-
tion of civil society, culture, art, and health throughout individual and collective creative and artistic
expression on local, regional and international level. Our main aims and activities are creating, orga-
nizing and delivering local and international trainings, workshops and cultural events in cooperation
with other organisations, institutions and non-formal groups in the field of intercultural dialogue,
culture, art, more specific theatre and performance art, and health. Main objectives are increasing
mobility and exchange between people from Serbia and Europe in the fields of arts, culture and
health. Since 2011 REACH is member of FIRESTARTER* international network of organizations &
informal groups connected to theatre & performance that work in the social field (https://www.face- For more information please do visit REACH Facebook page and REACH YouTube channel:
REACH activities include, but are not limited to:
• education of young people (trainings, workshops, seminars) in the fields of art, civil society
development, intercultural dialogue, human rights, creativity and active participation
• design and management of local, regional and international projects that promote the devel-
opment of artistic, cultural, social and creative competences of children, youth and adults
• developing events, performances and production of work in the area of contemporary arts
and artistic expression
• increase sharing, mobility and exchange of experiences in the fields of arts, culture and
health between young people and artists from Serbia and the rest of Europe
• use of artistic and creative expression as one of main tools to promote empathy and develop
healthy societies
• contribution to sustainable development in field of arts and culture
We believe that individual and collective development and engagement through arts
and creativity can create healthier, happier and better society to live in!
During four years of active work REACH has enabled a large number of young people in their own country and
abroad to experience non-formal education in the field of intercultural dialogue, tolerance and solidarity,
using creative and artistic methodology that enabled them development of creative, interpersonal and social
skills. These are some of our results:
>> created and implemented 6 international projects using non-formal education, arts, theatre and
creativity as a working methodology. This enabled over 130 young people from different countries to meet
Serbia, young people of our country, and to exchange, learn, experience, and discover innovative useful meth-
>> as partners participated in over 15 international projects using non-formal education, arts, theatre
and creativity as a working methodology. This enabled over 60 young people from Serbia to travel abroad,
learn about other cultures, to meet, exchange, learn, experience, and discover innovative useful methodology
5 abou t REA CH

>> local projects using non-formal education, arts, theatre and creativity as a working meth-
odology included so far more than 300 children and youth from different target groups: general
population, young Roma, children and youth without parental care, young people with special

>> organized three conferences, two regional and one local, dealing with issues of inclusion
and employment, which included representatives of civil, government, business sector, European
institutions These conference visited over 250 visitors
>> created and presented to the audience 4 local and 6 international performances in Serbia,
and 6 international performances abroad. 2 performances created with children of first and
second grade of primary school have won two first prizes at the SVURF festival

We invite you to take a look to videos we’ve created so far, so you can get to know more with our
work and projects:

>> Minority Inclusion shouldn’t be Illusion -

>> The Art of Employment, 2015 - ,
>> Youth, Theatre and Intercultural Dialogue, 2015 -
>> Theatre for Roma Inclusion, 2013 -
>> REACH video 2014 -
Intr odu ctio n 6

Serbia is a country where 50 years ago people with different cultural, national and religious
background lived together in peace, respecting one another. Unfortunately, that was a small
period of time in history. In that period of time, at least at the beginning of unification of differ-
ent nationalities of Serbs, Croats and Slovenians, and then when Yugoslavia was formed includ-
ing Slovenia, Croatia, Bosnia and Herzegovina, Montenegro, Serbia, and Macedonia, there was a
glance of unity of nations, cultures, religion that maybe we can even call utopian – at least as an

After that glance of brotherhood and unity, period of nationalism and even hate began. In the
beginning of 90s the period of war came, when intolerance and hostility emerged. People that
once were neighbours started disliking, hating, and killing each other, just because they were
members of different nationalities. At more or less the same time when war started and was
happening in ex Yugoslavia, European Union has officially been formed by signing Maastricht
Treaty in 1993. In one part of Europe nations wanted to live together in one big country, and in
another part they wanted to have their own states. Even here we can already see such a big
diversity on one continent, our continent – Europe.

In the beginning of 2000 war in all ex Yugoslavian countries was already over, with a great loss of
all nations, and maybe some victories. The history will tell. But all of the participants of these
cruel events had more loss than gain – all of us have lost some of our family members, or our
land, or our state of mind, our years of life, and our souls for sure.
There is always a thought in each of us that maybe some things could have been done different-
ly. Maybe if we all of us have tried a bit harder and with a more tolerant approach, with more
understanding of each other’s needs and desires, maybe things would have happen differently.
Maybe there was a way of getting to know each other, respecting each other and dealing with
each other by avoiding using violence and war as solution.
We believe that there is a way of communicating with each other in a more peaceful and sensi-
tive approach and we have found that approach in both art and culture. Throughout the years
we have discovered and we believe that the art and using art and creativity are much healthier
and solvable means of human communication regarding necessity of understanding of each
other different points of views, then use means of communication such can be media or politics.
Therefore we are devoted to exploring and emphasizing the forms of art in order to reach some-
how towards more connected and tolerant yet diverse society. And this is one of the reasons
why and how this project came out.

We find extremely important that we keep on talking about these issues, exploring it again and
again by using a diversity of tools and approaches in order to influence and empower the new
generations and young people towards more peaceful, safer and happier society: to never live
through it again and to never let the evil of war and hate towards another nation just because
it’s not ours happen again.
7 about the proje ct



Nowadays Serbia is a very heterogeneous country ethnically. Among 26 ethnic groups officially 21
have status of national minorities – approximately 1/7 of the entire population by the last census
from 2011. The most numerous are Hungarians (253,899) Bosniaks (145,287) and Roma (147,604),
but also Montenegrins, Croats, Romanians, and Bulgarians. Based on the Law on the Protection of
Rights and Freedoms of National Minorities, created in 2002 minorities are entitled to work on the
fostering of their cultures, by establishing National Minority Councils. When it comes to protection
of national minorities in Serbia, there is a legislative framework for minority policies within National
Minority Councils from 2009, with main focus on integration of minorities into the social and political
life of the country. 2010 first elections for the National Councils were held, through which members
of national minorities express all their rights in the field of culture, education, information and
official use of languages and scripts. However, practice shows that certain regulations and legal
solutions can be improved. There is often a conclusion that there are laws to protect the rights of
national minorities and their integration into society, but they are often not implemented effectively
due to various constraints. Very often the fear of the unknown, lack of information, also not meeting
and knowing each other leads to intolerance and xenophobia between people belonging to differ-
ent national minorities. We strongly believe that the tool that can bring us together and encourage
us to understand and accept each other is – art, and more specifically – theatre.
Theatre is one of the best ways for each person, therefore for minorities as well, to express
themselves because it has a fast and evident transfer to reality and it is an extremely powerful tool
to raise important social issues, such as inclusion, intercultural dialogue and cultural diversity.
about the proje ct 8

In 2014 we have developed and implemented a project “Minority Inclusion shouldn’t be Illusion”.
The main idea of the project was to explore and open issues in a real and concrete way of involve-
ment and inclusion of national minorities in the social, political, economic, and cultural life of Serbia,
region and Central Europe member states. In 2013 amendments to the Law on Protection of Rights
and Freedoms of National Minorities (2002) and the Law on National Councils of National Minorities
were passed. When it comes to the adoption of laws or amendments, one of the fundamental ques-
tions is always – how efficiently they will be applied in practice. The main aim was to explore and
open questions about the process and the importance of the inclusion of national minorities in our
society, throughout activities designed in the form of theatre training and conference. During prepa-
ration period we have witnessed the re-rise of nationalism and xenophobia even in the capital of
Serbia, which is multicultural and is considered to be open for the “others". But practice and recent
events show that unfortunately that is not always the case. For all these reasons, there was a need
and necessity for an open and deep intercultural dialogue and consensus on living together, getting
to know each other and respecting the diversity. This project’s aim was to, through different models
and segments that are a part of a society, which at first glance seem far away from each other; open
questions of rights and obligations of national minorities and their integration by using theatre
methodology and open dialogue. Theatre training "Theatre for Inclusion" has brought together 16
youth workers working with minorities, socially engaged artists and educators from 8 different
countries: Albania, Hungary, Macedonia, Bosnia and Herzegovina, Serbia, Romania, Bulgaria, and
Croatia. Throughout four-day intensive training course using diverse theatre methodologies – image
theatre, site-specific, devising theatre participants, guided by a trainer, they had an opportunity to
explore different perspectives and issues of national minorities’ inclusion, to gain new skills and
together develop a performance regarding the issue. The important goal was also to get to know
each other, so that we can understand it better and continue to act together within society – socially,
politically, economically and culturally. Although the kin states of national minorities in our countrey
are actually our neighbouring countries, we actually know very little about them, we barley commu-
nicate and collaborate with them, so this dialogue was and is necessary for future local and regional
development. Important intercultural aspect of this project was also education of young profession-
als, who gained new tools and acquired new skills that they can use in their further work, both locally
and internationally. Another very important goal was the regional cultural cooperation and artistic
creative process that the participants experienced during the training, which enabled them a closer
and a more direct cultural exchange and learning. We used theatre methodology to explore and
express all these issues. After the intensive training, on the last day of the project activities there
was an interactive conference "Different Models for Inclusion”. The conference’s aim was to bring
together individuals and organizations from different segments of society to mutually contribute to
understanding, learning about the situation of national minorities and improving it. Conference was
opened with a performance that the participants created during the training on the topic of inclu-
sion of national minorities.
The conference included representatives of governmental and European institutions, experts, artis-
tic, cultural, business and NGO sector and was open to the public. More than 70 participants attend-
ed the final event. One of the outcomes and conclusions of the project, that particularly came out
during the conference, was that Serbia has laws to protect the rights of national minorities and their
integration into society, but they are often not implemented effectively due to various constraints,
as well as some understanding of why certain people cannot exercise their basic human rights.
9 abo ut the proj ect

Although there are mechanisms for the protection of minority rights, they are sometimes invisible
to the general public and due to, sometimes, lack of local self-governments capacities, not always
efficient. The representative of the Council of Europe pointed out that the improvement of the situa-
tion of persons belonging to national minorities needs to come from the municipal level. Only in this
way, we are able to examine their problems and then share them with the state authorities. Also it
was pointed out that the mechanisms for achieving and realization of exercising the rights of nation-
al minorities are invisible to the public. For example, Ministry of Culture of Serbia actively cooperates
with the national councils of national minorities, and announces open calls and funds projects for
the improvement of their social position, but the problem is often visibility of these projects to the
general public. General public often does not sees or recognizes the importance of the work of the
national councils of national minorities for the development and promotion of the rights of national
minorities in the fields of culture, education, language and information. Important conclusion raised
during this gathering that these kinds of events are as beneficial for the Serbia as they are for the
region, and are needed for future development, cooperation and networking. More about this proj-
ect you can see on REACH’s YouTube channel:

Project “Minority Inclusion Shouldn’t be Illusion” in 2014 brought us variety of
information, insights and experience, taking into account that it was consisted of artistic training
including 16 participants, performance making, 10 regional speakers on the public regional Confer-
ence and more than 70 visitors. During that project new questions, needs and ideas regarding the
topic emerged to discover deeper relations for better intercultural dialogue and mutual understand-
ing within. Due to previously mentioned, we were truly motivated and we have realized that is
necessary to continue working on the topic of national minority inclusion as this is one of the crucial
issue for all countries in the region, especially considering recent events of migration.
Even though we live together, very often we practice multiculturalism, instead of
interculturalism. Living next to each other, instead of with each other. We can often hear and
witness that violence on national basis is still present. Unfortunately, the fear of the unknown and
the lack of information lead people to situations of xenophobia towards different national minori-
ties. All of these reasons made us continue on contribution of more inclusive and tolerant European
All activities in the previous project were carried out in English language, but using theatre
techniques we have noticed that the language, culture and different customs in this region come
from similar roots, and that this exploration and interaction of cultural heritage similarities and
differences can lead to a closer understanding and acceptance of each other. This is why we wanted
to focus even more on this diversity and how this diversity enriches the whole European culture. The
idea was to achieve a better understanding using transnational performance art because we believe
that in this way tolerance and acceptance can be more sustainable.
11 abo ut the proj ect

So, the project “Diversity is Super-City!” was created and it gathered 16

young artists from Albania, Hungary, FYR Macedonia, Bosnia and Herzegovina, Serbia, Romania,
Bulgaria, Italy, and Croatia to an 8 days residency in Sremski Karlovci, Serbia to work and explore
cultural diversity and intercultural dialogue using performance and theatre arts. The main goal was
to get to know and examine different regional cultures, what the similarities and differences
between them are, and to put this analysis in the form of art. Also, one of the goals was to open
questions of rights and obligations of national minorities and their integration, through different
models and segments that are part of the society and to foster regional cultural cooperation and
artistic creative process which will enable closer and more direct cultural exchange and learning.
The project consisted of a research on the topic, theatre residency, performance, and conference.
The residency had a preparatory phase consisting of a research process and during the implementa-
tion the group was involved in a creative process. During the residency artists were working
on cultural diversity by exploring different languages and cultures, using diverse theatre methodolo-
gies - theatre anthropology, physical theatre, site-specific, image theatre, immersive theatre, perfor-
mance arts, and intercultural dialogue. They were supported by experienced theatre trainers Eman-
uele Nargi, Jelena Jezdović and Tijana Božinović to work on these topics using different theatre te. On
the last day they showcased the immersive performance “Aleksije the Fool” inspired by their
research, creative process and Branko Radičević, famous Serbian poet from Sremski Karlovci city.
This immersive performance opened the conference “Diverse Cities-Happier Society”.

The conference was place for open interactive dialogue where speakers and guests from
Serbia and the region had a possibility to exchange opinions and experiences about the human
rights, minority inclusion and strengthening the position of national minorities within the society.
Conference included experts and participants coming from different sectors of society NGO, Euro-
pean, cultural and public institutions. Speakers at the conference were REACH representatives;
participants of the residency; Mr Emanuele Nargi trainer and expert; Ms Milica Rodic National
Programme Officer for National Minorities Democratisation Department, OSCE Mission to Serbia;
Ms Bahrija Sejfic Assistant Director Office for Human Rights and Rights of National Minorities, Gov-
ernment of the Republic of Croatia; Mr Dusan Janjic Founder and Director Forum for Ethnic Rela-
tions; Ms Milica Petrovic Foundation Manager and Head of Educational Programs, GRUBB Founda-
tion. Some of the conference topics were regional cultural cooperation as necessity of further inclu-
sion, theatre as a toll of acceptance and tolerance, impact of arts and theatre on nowadays contem-
porary society, further development of more tolerant and inclusive Serbian society, regional cooper-
ation and empowerment of the position of national minorities, importance of regional cooperation
in the process of integration, importance of the civil sector in the process inclusion of national
minorities. More than 60 people have visited this regionally important event.

In this publication you will have an insight into the research of the topic of diversity that young
artists prepared during this journey.
about the proje ct 12

“Theatre is a form of knowledge; it should and can also be a means of transforming society.
Theatre can help us build our future, rather than just waiting for it.”, Augusto Boal
There is always big question mark when we think and talk about how, if and when art can make
change, social change in a world. That question will always stay open and can be debated about it
for ages. Often we can not have clear answers, although in nowadays society it is always topic for
research and examinations.
Since we are using theatre in order to develop, express and learn about ourselves, we believe
that it makes changes. First on individual, and then can grow on wider social level as well. And we
have experienced it many times.
Theatre speaks universal language and therefore its powerful tool for any kind of exploration
of social issues and empowerment of each person, general public, and any minority o marginalized
groups. It gives opportunity to engage fully with the issues of discrimination, exclusion, breaking
stereotypes and prejudice and to discover the indicators that lead to this inequality in particular,
which can then stimulate sense of intercultural dialogue, anti-discrimination and meaning and
importance of inclusion and respect of each other. Theatre and creativity are strong tools for change
and social and cultural evolution and therefore can be beneficial especially when dealing with some
delicate issues like intolerance, prejudice, discrimination. Here we will mention just some of the
specific theatre methodologies and tools that we use, and used even in this project.
We often associate socially engaged theatre with XX century, that was born and raised from the
forms of Political Theatre in 1930es and Alternative theatres in 1960es, actually its birth in a way go
back from the Ancient Greek Theatre in 700 BC. Although theatre pieces were in Ancient Greece part
of institutionalized festival Dyonisia, in honour of the god Dionysus, it was also an instrument and a
way of promoting cultural identity and it was important part of citizenship. So therefore even then
the power of theatre and its role in the society were recognized as very important, maybe even more
then now.
Nowadays we have this great opportunity to experience and sense how theatre has been
developing and growing more and more in the terms of approaches and further explorations. We
always refer to some theatre innovators and forms that strongly influenced us, on individual,
personal, emotional level, but also had a huge impact to the society: Augusto Boal - The Theatre of
the Oppressed, Jerzy Grotowski, Eugenio Barba - Theatre Anthroplogy, devising theatre, site-specific,
immersive theatre.
Theatre of the Oppressed was founded in 1950es-1960es in Brazil by the theatre practitioner
and innovator Augusto Boal. He developed specific techniques and form of theatre for social and
political change. It has interactive form and can include anyone, not just actors and artists, regard-
less age, gender, race, religion etc. This theatre is world-renowned artistic and social force that
provokes changes and active role of citizens in reality and society - from individual activism to take
responsibility for ones life the to the construction and development of democracy. This is a form of
interactive theater in which the problem of different types of oppression or injustice by an individual
13 abo ut the proj ect

or community is presented on the scene as unresolved form, where the audience is invited to
intervene and provide suggestions and solutions. Theatre of the Oppressed is recognized by the
United Nations (UNESCO) as an official tool for social change.

Augusto Boal, “Games for Actors and Non Actors” : https://geraldkeaney.files.word-
Eugenio Barba, Italian director, founder of Anthropology Theatre in the middle of 1960es, together
with Jerzy Grotowski, Polish director and theorist, are considered as fathers of contemporary
theatre. They both have developed a totally different approach towards actors, text, materials, and
theatre play. They have developed series of physical exercises that aloud actor and performer to go
much deeper in him/herself and therefore to explore and push its own physical and physiological
boundaries. “Theatre Anthropology is a study of the performer and for the performer. It is a prag-
matic science which becomes useful when it makes the creative process accessible to the scholar
and when it increases the performer’s freedom during the creative process.” E. Barba. Non Western
theatre, more specific Indian Kathakal had a huge impact on Barba and, inspired by their approach
to body-mind techniques he developed his own forms. This was in a way starting point to build
bridges and getting to know East and West cultures through performance. Here is his inspiring book:
Eugenio Barba, “A Guide to Theatre Anthropology”: .

Devising theatre gave opportunity for truly collaborative work and process, that group
people together through individual and collective processes explore some issues, and put them in
the form of art. Site-specific opened a new stage for all theatre scenes – public spaces, it uses non-in-
stitutional spaces as a theatre scene: public square, restaurant, hotel, abounded building. Immer-
sive theatre totally breaks the role of audience like we have used to know. It gives audience opportu-
nity to be free to choose, to get engage, and to discover.

All these mentioned methodologies are trying to get and bring different people and cultures
into productive dialogue with one another on the stage, in the space between the stage and the
audience, and within the audience. What is also very important in all these mentioned theatre forms
that they have a strong impact, and often interact with the audience, like forum, site-specific and
immersive theatre. These forms are in a way trying to break and cross this line between artist and
audience. They are inviting audience to intervene, react, even act and therefore giving them directly
opportunity for something very present, magic, but also important and different – the chance to see
and sense the world and its issues in a some other form that cannot be always described in everyday
life. This is why theatre is so important and this is why is changing the society, and permanently will
– it always open some new door of perspective.
about the proje ct 14
As mentioned above we wanted to approach to the topic of national minority inclusion,
inclusion in general, and diversity from wider perspective. To have at one hand artistic approach,
and on the other to invite all important segments of society to give their point of view and by
doing that to try to enrich, go deeper and have diverse approaches into these topics. This is why
we always had, after theater approach and showcase of performance, an open interactive
dialogue in the form of conference. To give a space for different attitudes, forms and
sectors to exchange ideas and perspectives. Here we present you opinions and
facts of experts, government, European institutions, and organi-
zations dealing with inclusion and arts that were all
part of this journey with us.

Mr Vlado Radulović
Counselor in the Department for Advancement of Minority Rights,
Office for Human and Minority Rights, Government of Serbia


The Republic of Serbia has developed a comprehensive constitutional and legal
framework for the protection of individual and collective rights and freedoms of
national minorities. Being aware of the need for a continuous engagement in
promotion and safeguarding of the rights of national minorities, we have been constantly making
steps towards the advancing of our institutional and legal framework for protection of rights of
national minorities, as well as the efforts for ensuring its implementation.
The Action Plan for Negotiating Chapter 231 identifies the need for improvement of the position of
national minorities and provides for the creation of a special Action Plan for the Realization of the
Rights of National Minorities (hereinafter: the Action Plan).
The Council of Europe (CoE) Framework Convention for the Protection of National Minorities, the
European Charter on Regional or Minority Languages, as well as the Report of Expert Mission of the
European Commission for National Minorities served as a basis for development of this strategic
document. A multi-field Working Group for drafting of the Action Plan was formed. The group was
composed of relevant State and provincial authorities, representatives of the National Councils of
National Minorities (NMCs), the CoE and civil society representatives.

The Action Plan2 consists of 11 chapters, and 115 activities implemented by 80 activity bearers.

I Chapter on Personal status;

II Chapter on Prohibition of discrimination;
III Chapter on Culture and Media;
IV Chapter on Freedom of religion;
V Chapter on The use of language and script;
VI Chapter on Education;
VII Chapter on Democratic participation;
VIII Chapter on Appropriate representation of national minorities in public sector and public
IX Chapter on National Councils of National Minorities;
X Chapter on Economic status of members of minority communities;
XI Chapter on International cooperation.

15 expe rts opin ion

The Council for National Minorities is in charge of the monitoring of the implementation of the
activities envisioned by the Action Plan, in order to achieve full inclusion of national minorities in the
monitoring process, and the full coordination of the work of state authorities, as well as to ensure
the highest level of support for the implementation of the planned activities. The Council for
National Minorities is a working body of the Government of the Republic of Serbia, which includes
competent state authorities and the chairpersons of all National Councils of National Minorities.

Action Plan will provide for a higher level of protection and a full realization of the rights of persons
belonging to national minorities in practice.

Ms Bahrija Sejfić,
Assistant Director, Office for Human Rights and Rights of National Minorities,
Government of the Republic of Croatia


Importance of regional networking during the process of integration

– experiences from the region

Over the last period of time Republic of Croatia has payed attention to respect of both rights and
freedom of members of national minorities as well as the rights secured by the Constitution and the
Constitutional Law on National Minorities. Members of national minorities exercise their rights in
accordance with the highest European standards. The adoption of the Constitutional Law on
National Minorities significantly improved the rights of national minorities and there are continu-
ously being taking measures for its full implementation. There are 22 national minorities in the
Republic of Croatia that are identified, and 19 of which are organized. The amendments of the
Croatian Constitution in June 2010 brought improvement of equality level of members of national
minorities. In historical foundations, instead of 10 indigenous ethnic minorities, all 22 national
minorities are explicitly indicated. In the Republic of Croatia there are 4.284.889 recorded inhabi-
tants of which 328.738 are members of national minorities as follows: Albanians 17.513 (0,41%),
Austrians 297 (0,01%), Bosniaks 31.479 (0,73%), Bulgarians 350 ( 0,01%), Montenegrins 4.517
(0,11%), Czechs 9.641 (0,22%), Hungarians 14.048 (0,33%), Macedonians 4.138 (0,10%), Germans
2.965 (0,07%), Poles 672 (0,02%), Roma 16.975 (0.40%), Romanians 435 (0.01%), Russians 1.279
(0,03%), Ruthenians 1936 (0,05%) Slovaks, 4.753(0,11%), Slovenes 10.517 (0,25%), Serbs 186.633
(4,36%), Italians 17.807 (0,42%), Turks 367 (0,01%), Ukrainians 1.878 (0,04%), Vlachs 29 (0,00) and
Jews 509 ( 0,01%).
From 1991 until today the number of organizations, associations or communities of
members of national minorities has significantly increased. Legislative framework has been
expe rts opin ion 16

deveoped in order to enable national minorities to more effectively exercise their rights, and accord-
ing to previously mentioned, measures have been taken in favor of encouraging the best possible
implementation of the Constitutional Law on National Minorities and other regulations.
In the interest of effective implementation of the rights established in the legal framework appropri-
ate institutional support has been created.
What also contributes improvement of the rights of members of national minorities is the
implementation of international agreements which Republic of Croatia is a part of. The Republic of
Croatia has ratified the Framework Convention for the protection of national minorities and the
European Charter about Regional or Minority Languages, and has concluded bilateral agreements
with Hungary, Italy, Former Republic of Macedonia, Republic of Serbia and Montenegro. Also, the
Croatian government has constituted an agreement with the government of the Czech Republic on
cooperation in the field of culture, education that partly refers to the national minorities in both
countries, and on the other side the agreement with the Republic of Austria on cooperation in the
field of culture and education.
For members of national minorities their participation is particularly important in the deci-
sion-making process. The Republic of Croatia guarantees to the members of national minorities the
right to representation in Croatian Parliament. From a total of eight representatives of national
minorities, Serbian national minority is represented by three advocates, Italian, Hungarian, Czech
and Slovak by one, Albanian, Bosniak, Montenegrin, Macedonian and Slovenian by one, and the Aus-
trians, Germans, Ruthenians, Ukrainians, Jews, Roma, Bulgarians, Russians, Romanians, Poles, Vlachs
and Turks by one advocate.
For the improvement of the rights of national minorities implementation of international
instruments, which Republic of Croatia is a part of, is particularly important, primarily the Framework
Convention for the Protection of National Minorities and the European Charter for Regional or
Minority Languages.
It is necessary to develop cross-border cooperation and to present examples of good practice.
The Croatian Government continued with taking measures aiming at complete realization of rights of
national minorities in all areas. Particular emphasis is put on major activities in the field of further
improvement of the socioeconomic situation of Roma. New National Strategy for Roma Inclusion has
been adopted for the period from 2013 to 2020, as well as the Action Plan for the implementation of
the National Strategy for Roma Inclusion for the period from 2013 to 2015.
By joining the European Union Republic of Croatia has committed itself to respect and protect
human rights and the rights of national minorities.
It is necessary to continuously undertake both measures and activities aimed at combating discrimi-
nation, racism and xenophobia and to focus efforts on improving the situation of human rights.
In the past significant progress has been made in the area of developing tolerance towards
diversity and combating discrimination. A number of seminars, round tables and conferences have
contributed to both gaining and exchanging information of members of national minorities, includ-
ing general public as well, and to the promotion of tolerance and suppression of discrimination.
In behalf of the public event - Regional performance with Conference „Diverse Cities-Happier
Society“ in Sremski Karlovci art promoted culture of diversity, mutual respect and understanding by
using subtle and on the other hand engaging manner. Minorities enrich our society and richness is
exactly in diversity. It is therefore necessary, with appropriate institutional support, to continue to
create conditions for the improvement of their rights, and therefore to integrate minorities with their
Mr Emir Adžović
17 Project coordinator,
Directorate General II, Council of Europe



On 16-17 of November a high level international conference held in Tirana, Albania marked
the finalisation of a joint EU/CoE project on “Promoting human rights and minority protection in
South East Europe”. Implemented during 2014-2016 in seven beneficiaries of the South East Europe
region – Albania, Bosnia and Herzegovina, Croatia, Montenegro, Serbia, “the former Yugoslav Repub-
lic of Macedonia” and Kosovo*, the project aimed at breaking down the barriers for minorities at
local level.
“Promoting Human Rights and Minority Protection in South East Europe” is a Joint Project
funded by the European Union and implemented by the Council of Europe. It has provided a mixture
of policy and grassroots support, based on recommendations from the monitoring bodies of our two
conventions in the field of minority protection. This was the main aim and the biggest success –
bringing European standards and recommendations close to real people who live and deal with the
issues that national minorities face every day, right at the places where they live. Listening to their
voices and combining our efforts, showing how the Council of Europe can add real value and
responses to their needs.
Through direct support to 35 municipalities, the project contributed inter alia to complete
elimination of school dropout for Egyptian pupils in Tivat and modernisation of issuing of municipal
forms and documents in minority languages in Subotica, setup of a training centre for project draft-
ing for national minorities in Gradiska along with training for desk officers in Pula, providing first
ever municipal strategy for inclusion of non-majority communities in Vushtrri as well as pre-qualifica-
tion and employment of women, members of a national minority in Staro Nagoricane.
In addition to support provided at the grassroots level, the Project also supported member
states at the policy level, from preparation of the Action plan for national minorities under Chapter
23 of pre-accession negotiations in Serbia to revisions of the Law on minorities in Albania. The Proj-
ect also contributed to promotion of the first ever report on the state of national minority rights in
Bosnia and Herzegovina and the capacity building of the relevant institutions that deal with report-
ing and policy-making in the field of national minority protection in Montenegro.
One of the keys for success of this regional initiative is the fact that this Project did not try to
impose a one-size-fits-all solution based on models developed outside the Region. The elements of
good practice are bona fide ‘home grown’ projects designed, developed and tested in the region by
people from the region. They have been implemented by local teams formed by mayors, supported
by local experts and monitored and evaluated by representatives of the authorities concerned.
expe rts opin ion 18

The Council of Europe did not impose top-down solutions, because the CoE is driven by the
importance of relating policy to the impact at the individual level – turning “values” into something
practical for individuals. And the best policies are developed on the basis of feedback from those
individuals, through a genuine form of participation. Such models will ultimately save public funds
if applied on a larger regional scale to solve a specific issue – and be sustainable.
You can find more about the project and its results on our Project website, Facebook page, Insta-
gram and Twitter where you can find information about the Project outputs and the links to the
Publication of Elements of Good Practice and the Final Regional Report prepared by the College of
Theatre as a mean of acceptance and tolerance

GRUBB Foundation in its two centers in Serbia encourages regular

education of around 700 Roma children, under the age of 18. The
original connection of education and the performing arts inspired
the emergence of GRUBB musical, which is the result of cooperation
between young Roma and international artists. This kind of mix of
contemporary hip-hop and traditional Roma music gives voice to the Roma, both in Serbia and
internationally. It celebrates Roma culture and encourages young artists to be proud of their roots.
GRUBB unites education, art, culture and social entrepreneurship in order to support long-term
involvement of Roma youth in society.
GRUBB centers

The first center was opened in 2006 in Niš, a city

with a large Roma population. By providing supple-
mentary education in all school subjects, GRUBB
encourages children to successfully complete their
regular schooling. Music and dance workshops
were later added to the curriculum. This proved to
be very popular, so a center in Belgrade was
opened as well. In the following years there were
also launched photography and creative writing
GRUBB works closely with parents, the Roma community and schools. The requirement for children
coming to GRUBB center is that they are attending school regularly. In our centers there are Roma and
non-Roma teachers who are tirelessly trying to support and alleviate social integration.
GRUBB encourages self-confidence, self-esteem and academic achievement of Roma youth and thus
contributes to increasing their employment opportunities.
Diversities are in the basis of our work. Supporting what is different, not in a way to stand out
and to be separated even further from the environment; but on the contrary, that it gets involved in it,
showing off what it could contribute with.
We don't see inclusion as highlighting everything that is wrong in society's attitude towards us, but
rather as working on being the best version of yourselves. Through educational and artistic programs
in our centers in Belgrade and Niš, every day we try to improve the education of young Roma and thus
ensure their continuing social integration. In our centers there is no talking about discrimination, but
rather through concrete work, broadening of horizons, the development of various skills and by
discovering talents that they had no idea that they'd had, school-age Roma are supported to grow into
worthy and proud people who will walk through life upright, educated, accomplished and successful.
19 expe rts opin ion

GRUBB musical

In GRUBB we believe that art is a path to social integration. GRUBB musical was created by
young Roma and internationally renowned artists. This unusual team was led by the world famous
director Serge Denoncourt. By performing in Canada, the United States, Britain and France, the
musical became a great international success. By performing this play, this was the first time in this
way that young people whose voices are rarely heard would be heard. Using choreography, music,
light, video and photography, musical presents their story.
Grubb show, a musical that has toured the world and showed all the diversity and richness of the
Roma heritage, came to life by merging of diversity in our centers. Different experiences of those
who are professionals, artists of international stature, and those who are nonprofessionals; exten-
sive knowledge of some, huge talent of others; the fact that they live in different countries of the
world, which all have their own peculiarities, in different societies, with different worldviews, or
even closer, views of culture and art; the youth of some and the experience of the others, all of this
has resulted in a unique musical-theatrical work that wins all those who have the opportunity to see
it. GRUBB show is performed in the Roma language, and a blend of traditional Roma music and
dance, with modern sounds and dance, make it an authentic and unforgettable experience in the
theater world.
Everyone enters a fraction of what they are, as a representative of their family, their city,
their country, finally, of their people. All of this determines us. And when more people with all these
characteristics get connected around an idea, around one goal, there occurs something that leaves
no one indifferent.
Thanks to the popularity that the GRUBB show has achieved, our children had the opportuni-
ty to perform on another continent, in Canada, in the United States, and again, through introducing
the world at the other side of the ocean with our heritage, our culture, for them certainly exotic and
attractive, we also got to know them, our hosts, their customs. That is always a two-way communica-
tion, and is always as much as accepting as giving, and after such meetings and experiences, we are
all richer and more complete, both as individuals and as a collective. We were also in the Nether-
lands, we had the opportunity to see how they celebrate their national holiday, what kind of food
they eat, what their customs are. However, one does not even need to travel, it is enough to look
around, there are so many differences, diversity, one just needs to be open-hearted, to teach
children from an early age that they are wealth, and not an obstacle.
expe rts opin ion 20

GRUBB projects

Grubb is currently working on various projects. In addition to daily supplementary classes, music
and dance workshops, there are:
GRUBB stories
The first book, GRUBB stories, written by young Roma, was published by Albion Books in 2013.
GRUBB stories II is a book that was published in December 2014 and was translated to English,
German and French by the young from international schools in Serbia. Books are the result of
annual creative writing workshops, initiated in cooperation with First Story, a British charity, which
conducts a pioneering creative writing program in some schools in the UK. These workshops are
held together by a renowned writer and a teacher of Serbian language and are currently being con-
ducted in our centers. Illustrations for the book represent a selection of photos taken at our photo
Pretty Loud
Pretty Loud is a project of writing and performing songs, and is intended exclusively for girls in the
two centers. Guided by experienced colleagues and professionals, girls - participants of the project,
learn all aspects of production including: composing, songwriting, choreography, etc. Participants of
the project proudly speak on behalf of Roma women and become a role model for younger partici-
pants of GRUBB.

GRUBB musical international creative team

GRUBB creative team consists of internationally renowned artists who participated in the creation
of GRUBB musical. They continue to actively participate in our projects and come regularly to
GRUBB centers in order to further inspire our students.
We are therefore talking about children who had been marked from the start, and showing that
they surely can be good students, good writers, photographers, musicians...
When we skip this step of prejudices, and allow ourselves to see and experience all the colors of
another culture without any preconceived ideas, the world becomes a much happier place, and
since there is a lot of diversity around us, we may realize that there are reasons to see ourselves as
a happy society.
21 expe rts opin ion

Emanuele Nargi,
theatre expert



Oscar Wilde:
Almost all work of art are useless for society.
I would answer to him now, imagine then now a world
without Cinema, theatre, dance and music poetry.
No imagination.

We have art not to perish from the truth
Art for Art sake is insufficient.

The function of theatre depends on who you are looking at specifically, it is to entertain, teach,
provoke, and enlighten the audience.
Many times actors do not know but they are using theatre to make it function as a form of type of
therapy for themselves. It is amazing how releasing your emotions through a character can help
For directors and people putting on plays it is a form of self-expression and creativity an outlet for
feelings. It could be used to honor a specific person; it is particularly useful at making things real like
the events in a book or in history. Many people can relate to people better than words on a page.
I like art and I love theatre because it helps me to develop my consciousness to understand why I
am alive.

What it is my body?
What do I have to do to cooperate with the design of the society where we live?

I like to respect the others not for their narcissist deviation of their personalities.

Theatres developed in history not to create to be narcissist. I respect the people that do theatre
because they internally developed.
Theatre is important because it makes people better and it teaches our minds to rest when we are
in silence. Theatre helps us to stop our hearths to gratify the others all the time. Theatre helps
people that have a sexuality perennially un-satisfaction.

People can discover that they have body and they can appreciate that they are alive.

Theatre makes you feel every second like it is a sublime gift. I like to think of getting old, doing
theatre dissolving the superfluous to keep the essential.
expe rts opin ion 22

Theatre and arts works in mysterious ways and that is way is always a struggle to convince politi-
cians for funding, to convince them that the value, the significance and the merit of arts cannot be
judged by the consensus, numbers and popular alone. Arts allow for something that cannot be
defined, we cannot count how many people will be affected. Change people minds. It is a subtle
power that changes the world one perception at a time. Art can be a threat for people that have
Art and theatre can change the way we think, it looks at the world with a critical eye. It opens up
Horizons that are not familiar for us! It challenges the problematic of the world. Theatre works like
the conscious of society, theatre should put audience into doubt. Art and theatre gives voice to

And to the Other, with capital O.

Theatre is like resistance! Art changes thinks in a micro level. It is very different and opposite on how
society works and its economy.

Theatre re-imagines the world and new world as it could be. Arts can go beyond the possible.

Theatre should teach to cooperate not to compete. Art should celebrate only its author; art should
help to heal. Theatre helps you to face your pain with the objective to expand our consciences and

Let’s open our eyes to theatre and let’s surprise ourselves.

Quotes and inspiration:

Oscar Wilde, Alejandro Jodorowski, Friedrich Nietzsche, Paula Pascual de La Torre, Jelena Jezdović and
all the people/participants involved in the project.


As a part of the process and investigation of the topics of national minority inclusion and diversity
we have invited selected artists to conduct survey and research before they arrive to the Sremski
Karlovci galaxy – as we called it. They had specific tasks and were invited to use all their creativity,
freedom and artistic expression for exploring and accomplishing them. Here are some of their
pieces and results.

Raluca Croitoru, Romania

Map of my moving:
Dražen Horvatić, Serbia
Map of my ancestors moving:
A token of my family tree FmQ010RmlXMXM

Morena Ruggiero, Italy

Adriana Gallo, Italy
25 artisti c appro ach Me, Lili
I was born in Balassagyarmat, Nógrád county in 1989. It’s a small town
of approximately 16000 inhabitants in Northern Hungary. The town lies on the
left bank of the Ipoly river, which marks the state border with Slovakia. At the age of
14 I moved to a students hostel in Pásztó (Nógrád County as well, 10 000 habitants,
lies at the foot of Mátra mountain range) where I attended a French bilingual high
school for 5 years. After school leaving exam I moved to Budapest (Central Hungary,
1,732 million habitants) (capital of Hungary ( 93 030 km’/ 9,897 million habitants) to
learn in ELTE University.
In Budapest I moved to several places during the past 8 yrs I’ve been living here :
Students Hostel in the XII. District, Buda Békásmegyer (suburbs) with 1st love,
Bálint Buda, 2nd District with Bálint Óbuda, III. district after breaking up Érd (agglom-
eration)Back to Pest VIII. district with new love, Kornél but after 1.5 yrs of living
VI. district Pest Rippl- Rónai street where I’ve been living alone for the past 3 years
until now when I’m in the middle of moving again
VII. district, Pest with my Love, Adam but it’s just temporary, we are
planning to move in together in a bigger apartment

Mother, Henrietta (53) :
My mommy was born in Balassagyarmat, lived learned, worked,
raised me and my sister there. Until 2014, when she made a giant
leap and moved to Bavaria, Germany, to a small village, called
Lupburg for financial and love reasons. She lives there happily ever
science and comes to visit 3-4 times a year when the family gathers in

Father, János ( 57):

My dad was born and raised in a small village in Nógrád county: Ipolyvece ( 800
habitants) He went to high-scool in Balassagyarmat, where he met my mom and
after getting married he moved to Balassagyarmat, where he used to live with us
until their divorce in 2005. He moved back to his parents in Ipolyvece, where he lives
ever science but works in Bgyarmat.

Henrietta’s parents, my Szabó grandparents:

Katalin (75) :
My grandma (and also his parents and grandparents) was born in Balassagyarmat. She’s been
living there during her whole life and says she’s gonna die and be buried in this city and she’s
happy with it because she is deeply attached to this place and satisfied with her life there.
Between the age of 15 and 17 she learned and lived in Budapest, but she says she could never get
used to it really (because its smelly and very loud) and missed her hometown during these years.
Ferenc ( 75)
Grandpa was born in the village of Litke, in Nógrád county in 1942. The family moved to Bgyarmat
in ’46, because Greatgrandpa got a job there at the Hungarian State Railways. He went to boarding
school in Budapest from ’56-59. Grandpa Feri stayed in Nagyoroszi during his soldier years between
’62-’64. He travelled a lot due to his work, but stayed in Balassagyarmat where he lives with my
grandma ever science.

János’s parents:
JÁNOS (86):
János grandpa was born in 1930 in Ipolyvece, he started elementary school here ’til 1941, when he
was accepted to another school in Balassagyarmat. He couldn’t finish it, because of the war. He
spent his soldier years in Nagykanizsa between 1951 and ’52. He worked several years in Budapest,
but has always lived (even at the present) in the Selmeci family house in Ipolyvece.
Katalin (78):
She was born in Budapest in 1938. She went to elementary school in: Alsógöd, Vác, Balassagyarmat,
Ipolyvece and lived in Törökbálint, Alsógöd, Vác, Balassagyarmat before her marriage. The family
moved a lot, because Greatgrandfather was a soldier. She went to high school in Balassagyarmat
then started her teaching internship in Szandaváraja but after 2 months she’s been replaced to the
elementary school of Ipolyvece where she’s been teaching for 37 years until her retirement.

Lili Selmeci, Hungary

Lorena Žuvić, Croatia

artisti c appro ach 26


Jonida Sela, Albania


27 artisti c appro ach

Ljubica Damčević, Serbia

artisti c appro ach 28

Explore your neighbor-hood. What are your thoughts about your neighbor?
Do you know him/her/them? What do you think of them?
Then approach to one neighbor, or more than one of them,
and ask them 3 questions:




Draw a map of your neighborhood.

Take a photo in front of your door.

Jonida Sela, Tirana, Albania

I have been living in this neighborhood since 2005, it is near to the center of the city. I like it
very much. I am permanently staying there with my mother and my son. In Tirana neighborhoods
are divided by numbers. This is number 8. There were leaving only people from Tirana by origin in
little villas. Being close to the center of the city some villas now in bad conditions were build
according to the Italian style in 1930. The best part of the villas now were destroyed to build high
buildings. I don’t really know my neighbors, to tell the truth. I know them only by face, we can hardly
greet each other.

Here are some answers they gave me:
29 artisti c appro ach

Angela Dimitrova, Skopje, Macedonia

My neighborhood is surrounded with a lot of buildings, but it also has green areas. Since I
know about myself I have been living there. All of my I spent there and I like it
a lot. I also like it because it is peaceful and not far from the center of the city.
My neighbors are a young couple and they just moved in the building and also had a baby boy. I
don't know them much, but we always say hello to each other.

Boban Kuleski, Skopje, Macedonia

Well for the fact that I’m in a constant moving from Hood to hood I don’t have time to make
a real opinion about the hood where I am. 5 months ago I moved from the east side to the west
side of the city and I am very happy about that because I realize that I like more west side than the
east side. Every time when I move from one to another hood it feels like starting a new life and
that’s a very good feeling for me because I get bored and I’m starting to make comfort zones when
I’m staying in one hood for a long time. I really love my new hood called Vlae in Skopje, Macedonia
where I`m based because it feels like living in some ferry with all those small, tinny streets field
with a lot of trees, flowers, small houses with well decorated yards.

Jovan Cvetkoski, Ohrid, Macedonia

My neighbors in general are kind people with open ideas, but you have also the ones that
are hard core, local patriots and don’t allow anyone in their life, but their “kind”.

Georgi Zhelyazkov, Sofia, Bulgaria

my street my area

my area
artisti c appro ach 30

Adriana Gallo, Bari, Italy

When i’ve drawn my neighborhood i discovered that i don’t know all the name of my neigh-
bours. Since i was a child, called older neighbors Mister and Miss. After that there was no need to
know their names because the only kind of relationships were: “Can i leave mu home’s keys? Do you
have extra eggs? Do you have some milk? Today it’s cold, today it’s hot, no my mother isn’t at home,
don’t close the main door, madame has fallen the clothespin in the balcony”. I don’t know anything
about them. Sometimes I hear them screaming, getting angry, celebrating good events, hosting

Until eleven years old I played with my third floor neighbor. She is one year older than me.
We have celebrated every birthday together. When was snowing we went on terrace to create snow-
men. Every morning we went at school together. Then she started middle school and I became too
young at her eyes. Slowly we stopped staying together. Now she’s living in London and I know about
that from my mother and Facebook.
My mother is the only one who has a kind of friendship with neighbors. I’ve drawn the doors
because I never entered in their apartments. Or dialogues are by the doorstep or from a balcony to
another while hangout the laundry, or in elevator. At the end my neighbors are strangers to me
and me to them. When I think about that I feel sad.

Lili Selmeci, Budapest, Hungary

My neighbor, Csilla:

Csilla moved next door two years ago. We didn’t really chat except for occassions when she
was smoking in front of our doors the same time as I did. Once she asked for my excuse about the
„voices” I can hear from her (the walls are extremely thick, we can hear each other clearly). She said
she was an actress rehearsing a very difficult sex scene. I heard it, sometimes it pissed me off, but I
just turned the music louder. It took me approximately 3 months to find out that it must be her job.
It would make sense, but I’m still not sure. Another time she told me she was living in a long distance
relationship (I never asked her). I was angry with her a lot, especially when she was working late
night and I was desperately trying to get some sleep. She’s a little fragile girl, actually she’s really
cute, I can’t find out about her age she could be 24 or 32 at the same time. I think she likes doing
sports I see her really often leaving her place in training clothes or coming home tired and sweaty.
a cats a kind person.

Ljubica Damčević, Belgrade, Serbia

Since I am a musician and I play the violin and sing every day I guess that I am a very prob-
lematic and noisy neighbor. My neighbors are understandable and tolerate my profession. There-
fore, I can say that I have a good relationship with them. I know a couple of people from my building
and sometimes we also go to have some coffee. Here is one of my neighbours:
31 artisti c appro ach

Raluca Croitoru, Constanta, Romania

My Dutch neighborhood is extremely lively and diversified. I live in the South, because the
rent is cheaper and therefore the neighborhood is mostly populated with immigrants from former
Dutch colonies or Middle East. The majority of them come from Turkey, the Arab countries, India,
Surinam. I have only one direct neighbor, who lives in the apartment downstairs. Her name is
Danique and she is Dutch. However, her parents travelled a lot when she was young, so she grew
up in Bangladesh, Zimbabwe and China. I didn’t know her at all until last week when we accidentally
met. It was my birthday so I invited her to my party and was really glad she actually came. It was
really nice to talk with her and hear about her background, her studies and her interests. I think she
is a very pleasant, smart, independent and open-minded woman, who knows what she wants.
My neighborhood in Constanta is a typically communist looking one, with rows of apartment
blocks on each side of the main boulevard. Each block of apartments has a small garden in front of
it, which is taken care by neighbors. My mum takes care of the garden in front of our flat. The neigh-
borhood is quite green and quiet. I have a very close connection with my neighbors here. I know
most of them since I was young, so whenever we meet we chat and ask about our families. Com-
pared to Rotterdam, I know almost all the neighbors in my parent’s block of flats and I am very fond
of them.

Dražen Horvatić,Belgrade, Serbia

I love my neighborhood. I have lived here

ever since I was 5 years old and I consider it my
home. I love the streets, the trees, I feel safe and
at peace when I am here. I have many neighbors
here, because I don’t live in the city center so we
all know each other. The thing is, I don’t feel
comfortable talking to them all the time and
since I am an introverted person, I find it strenu-
ous to greet so many people all the time.
There are some people that I always like to see
when I get out of my house. One of them is the
girl I grew up with. She lives in the building right
next to mine, but we don’t see each other that
often since we now live different lives and are
busy all the time. That’s why I decided to ask her
the three questions via Facebook chat.
artisti c appro ach 32

Orecchiette with rabe. Clean the broccoli krompir-paprikas (potato stew) – She cuts
rabe, then chop them roughly and place the potato to squares, cuts the beef, pour
them in a saucepan with salty boiling water. the water over it and let it simmer until the
After 10 minutes add in the same saucepan meet is soft and done... Then she adds the
the orecchiette. Heat the oil and lightly fry carrots and tomato because of the taste and
the garlic in a large pan, add chilli pepper. after 2 hours everything is ready.
After mix orecchiette with rape and oil.

Cuttlefish Caserole cream

33 artisti c appro ach

Aranygaluska - Hungarian Golden Dumpling Gjomleze

(traditional Hungarian dessert consisting of
balls of yeast dough (galuska). The balls are
rolled in molten butter, and then rolled in a
mixture of sugar and crushed nuts (tradition-
ally, walnuts), assembled into layers and
sprinkled with raisins, before being baked till
golden. Arany means gold or golden; galuska
refers to the dumpling nature of the balls of
dough. Aranygaluska may be served with
vanilla custard.)

Tavche gravche - baked beans Menemen

Turli tava
artisti c appro ach 34
too long and sounds
creepy, she says. It’s a term
in several ways, such as: her
ifantilan Cheers!, Bless you!, worst
(infantile) because Good health!, Macedonian word
she doesn’t God bless you! is “SVEKRVA”
understand the use of it To your health! (mother in low)
and because she can never
pronounce it correctly

Vdzashi – Macedonian
Milence (son of a bitch)
(small tablecloath), uthority;
Pushtetar - A
ns fluff,
but pusht mea Rrofs
ble meaning
so it has a dou

Italy: E C'era Un Grillo
Romania: Erkan Oğur pencereden kar geliyor
Serbia: Ajde Jano
Ej dragi, dragi -
Macedonia: Zašto si me majko rodila
Zajdi, zajdi -
Albania: Vinte deti tallaz- tallaz
35 artisti c appro ach
artisti c appro ach 36
Lili Selmeci, Budapest, Hungary artisti c appro ach 38

I would say that what I like in my city and what I don’t like in it, is all connected to people, who live here. I
believe that the energy of people living in a city form the energy and atmosphere of the city itself. My relation-
ship with Budapest is not always clear and easy. Sometimes I feel- especially when I come back from a short
holiday spent at the countryside- that it’s loud, smelly and very crowded. But most of the time I find it a beauti-
ful place to live, with wonderful sights, buildings, fun places to go out, possibilities and really cool people.
Compared to the countryside, where I grew up basically, people of Budapest are much more open minded
even if it feels like they are not open minded at all. For exemple in my hometown (and in several smaller towns
in Hungary) people don’t understand homosexuality and think of it as a sickness. So if you are homosexual in
a small town you have to hide it if you don’t want to be bullied or humiliated on a daily basis. And it’s the same
when you are just a little bit different from the crowd. If you are part of any kinds of minority it is even worse.
It is not tolerated and not accepted most of the time. This is I think the most important thing that I don’t like
about my country and my city. That people react in a blind, agressive way to things they don’t understand, to
all kinds of differences. The xenophobia, racism, sexism that is all around us on a daily basis and it is really
hard to tolerate and turn my head and say „okay, I don’t care I’m not part of any of these unliked groups, for
me it’s easy”. If you are sensitive if you care about others and can’t tolerate injustice it is not easy at all to be
Hungarian. What I also don’t like is the lack of politeness, and not taking care or even paying attention to each
other. You can beautifully observe this very specific Hungarian mentality on public transportation, which is
another very frustrating thing in this city. Not only because it’s very expensive and doesn’t work good, but
people are extremely mean to each other while travelling. They push you, stare at you, step on you without
saying sorry, yell at you for no reason. It’s very hard to stay calm on the metro, especially during rush hour..
Sometimes the pressure in the city (usually before elections, gay pride march, christmas) is so high, that I can
absolutely feel it in my stomach even if I have no frustrations that time. You feel that there is something in the
air that is going to explode soon. And it happens.What I love here, besides the beauty of the city is that though
I wasn’t born here I feel this is my home. I have all my friends here and my love and still I meet wonderful,
interesting people, make new friends. Most of my friends are activists, work or do volunteering at civil organi-
sations, do social work… etc. This way, I don’t feel or suffer that much from the political situation, the tension
and ignorance, because in my environment I don’t meet this kind of attitude that makes me feel hopeless
about this place. I feel the opposite. So to answer another question they are my heroes. These young intellec-
tuals, who stand up, who go out to the streets and try to make a change and help those in need, who are kind
and intelligent and even if they don’t see any change don’t give up and remain hopeful.And the anti-heroes
are mostly our politicians, who spread hate propaganda instead of finding real solutions to our problems here
and start communication. Who are pointing fingers and search for scapegoats all the time. They have huge
responsability on forming people’s opinion. In many smaller towns, villages where there is no access to cultur-
al life, or education people watch TV all the time and they believe all this. That they have to be afraid of
migrants, hate homosexuals, gypsies and jewish people etc. because they cause all this trouble that makes
their life unhappy. And of course there is a lot of people who believe it, maybe I would do that too. Not every-
one, of course. They are brainwashing people and it’s very dangerous. There is always someone else to blame
instead of looking in ourselves and taking responsability. This is actually a really Hungarian way of thinking.
And I really don’t like that. The border of my country and me is the same: it is fear. I think all this hatered,
prejudice and anger that I mentionned above comes from the fear of the unknown. And me, sometimes I’m
so afraid to risk, that I even don’t start doing what I would like to do, I’m afraid of failure and change. Though
I know well that these steps are inevitable, change is important otherwise there’s no improvement, it is stand-
ing in the same place forever and being unhappy about it. For me most of the things I’m proud of, or what I
think were milestones in my life happened after overcoming fear and just doing whatever had to be done.
This is a continuous learning process for me, not to be afraid that much and risk more.
39 artisti c appro ach

Adriana Gallo, Bari, Italy

Here is a video:

border of my country

border of me

Angela Dimitrova, Skopje, Macedonia

Jovan Cvetkoski, Ohrid, Macedonia
I like my city because it has a spirit that I only feel it
when I am there. It has many beautiful places to go I like my city because of its endless natural beauty.
to and feel relaxed and just enjoy the life. I don't like On the other hand, I don’t like my city because of its
my city because it needs to be more clean and more setup, and the way they run it, because people have
other things to be done and invested in. I love my no jobs, they are constantly moving out etc.
country because it has so many beautiful treasures Tose Proeski is my hero because of the generosity,
of nature and people are warm. But there is more kind heart and fascinating voice that could unite
why I don't like my country. It has very big problems people of the Balkans. The anti-heroes of my
and issues that need to be changed and solved, so country are the politicians in general, because of the
we can live in a better country. I don't have any way they are leading our country and the all bad and
particular heroes, but many people inspire me. They inhuman things they’ve done to our nation.
inspire me in their way on how are living their life
and how they deal in a small society as ours is. The
anti-heroes for me are the people who are in power
to influence some other people. Especially the
people from the government or from any political
parties. They are too much involved in every aspects
and fields in Macedonia. People, especially the
young one’s cannot show their potential and achieve
what they dream of just because they are not free.
artisti c appro ach 40

Dražen Horvatić,Belgrade, Serbia

borders of my country

my personal borders
Boban Kuleski, Skopje, Macedonia

I like my country because of the all beautiful nature that we have, because we are on the Balkan :)
I love Balkan people :) we have a lot of opportunities and young people with a lot of possibilities, BUT, there is
a huge BUT, why I don't like my country. I don't like my country because we don't know how to use all that we
have, all of the opportunities and possibilities that we have. I don't like my country because of the system, all
of our politics issues and the "democracy" that we don't/have.
Skopje is the only city in my country that I love very much and the only city where I can imagine myself
living. Actually I love Skopje in the 90's. I was very yang (I was born in 1990) but I have my emotions memory
alive of the time that i use to spent by the summer at my relatives in Skopje.
When I was 18 I moved to Skopje from my home town and I live I Skopje for 8 years. I still live the city
but also there is a very huge BUT why I don't like the city. I get really bored of what is happening in our country
and what government did to our city. Now living in Skopje is like living in some crazy ugly Disneyland with all
that stupid sculptures, monuments, bridges, full if nationalism. Now I feel like a big fish in a very small
aquarium who is becoming smaller and smaller every day. And hopefully I'll move to Lodz, Poland after this
My heroes is my generation, my lovely colorful generation and all of the people with whom I was
fighting for against the system and government. With this you will guess who are my anti heroes.
All of the people in the government, all of the people who are using hate speech, who are full of hate,
nationalism, sexism, LGBTQI phobic etc.
41 artisti c appro ach

Jonida Sela, Tirana, Albania

myself three stones, big stones. with them people

used to sign borders between their properties.
I like my city because when I am here I really feel at home. I like Tirana more because I have a feeling for every
part I have lived or walked through. I don’t hate my country, I hate those that are changing every old part of it
into something new and unknown. This new stuff doesn’t mean anything for me, it destroys memories,
history…Who are the heroes of your country? Anti-heroes? The hero of my country is George Kastrioti
Skëndserbeu, our national hero. As anti- hero I don’t know yet.

Ljubica Damčević, Belgrade, Serbia

I still haven't got good borders (boundaries).

borders of my country Books will help me

To be honest, I don’t like Belgrade that much. Yes, there are places that I like, for example, Kalemegdan or
rivers Sava and Danube, or Ada Ciganlija and Košutnjak, but I never felt like I belong there. In my opinion,
citizens make atmosphere of one city, and according to my experience, the situation is getting worse. Old
people are dissatisfied because they are not accepted, grown ups don’t have enough money to feed their
families, young people don’t have jobs. And then, because of all that displeasure, even the air in Belgrade
becomes polluted. There must be something we can do for ourselves and our city. And I hope that things will
be better in the future. Heroes of my country/city are Nemanja Radulović, a young violinist who spreads love
into the world and wants to make Belgrade a better place for young people by promoting classical music. The
second hero is Darko Dožić, my tango teacher who is awakening the consciousness of people by presenting
the tango philosophy. The anti-heroes are politicians. There is no need for further explanations
artisti c appro ach 42

Raluca Croitoru, Constanta, Romania

border country

my border

I like Constanta mostly because it is at the sea-side and thus I can go to the beach during the summer or walk
on the promenade area during off-season. However, I dislike tha fact that there are no major cultural activities
happening in the city except for pop or traditional folk concerts organized by the City Hall. Besides, there is a
lot of corruption from smaller to higher institutional places, which impedes the city to develop further. My
heros are all the activists and artists who try to make a difference by screening interesting films about social
and political issues, by working with less favoritized categories of people such as homeless, rroma, children
from poor families etc. My anti-heroes are definitely politicians and most of the people who are in high posi-
tions of authority and control, but who abusively occupy them and are not interested in anything else than
their own well-being.

Lorena Žuvić, Volosko,Croatia

why do you like your city/country?

everybody answers: sea, nature,climate, friends.

why not?
politicians, high taxes, birocration,passive society

this is the who are the heroes..?

object that represents Tito- because he united 6 different etnical groups
the border of me. it's a Stjepan Radić- because he is a politician like non today-he fought for
bird in a cage, but Croatian interest and position within the Yugoslavia.
with an open door. I like Korade Korlević- because he is a good man, educator, because he devot-
to think that I am free ed his life to science and sharing knowledge with children. he educated
and that I can go wherev- numerous generations of young minds and transfered his passion
er I like and do whatever I toward science to youth. he could have been a really rich man ( in terms
want, but sometimes I realize that system is of money :p), but he chose this path. <3
preventing me and exhausting me.. the antiheroes?
open door, although, represents a hope, a Franjo Tuđman- because he began the process of privatization of nation-
belief that it's possible, and that there is a al companies and sold these companies to his hundred closest friends
way..for me and the rest of the world who and relatives
thinks like me... HDZ
a lot of politicians...
artisti c appro ach

Catch diversity in your city!

How changes in my city changed me?

What can be changed in my city to

make it better? How can I change my

Visiting others: Explore and meet

some other nation/minority in your
city. Get to know him/her/them and
ask them 4 questions:

What is your favorite frustration in this


Are you happy here, and why not?

Can you feel freedom here?

What can be changed here to make

you feel better?
artisti c appro ach 44
Ljubica Damčević, Belgrade, Serbia

I had one Slovenian colleague when I was working in a music school. She was religious and she couldn’t have
a day off for Christmas. And she was begging the principal every year, but the principal didn’t want to let her
because we had a very important meeting every time. Very important… I wouldn’t say so. I’m not sure how the
changes in my city changed me, but I know that on some level we all are connected, so I suppose the changes
in my city had some influence on me. As I told before, the energy of the city is made by its citizens. We cannot
change other people. We can start with ourselves. To have more compassion, empathy, respect and love for
ourselves and then after that for other people. And when we notice a thing we don’t like on other person we
can always ask ourselves – why do I hate that thing on myself? All kinds of judgments and prejudices come
from the inside, so everybody should look down there and work on it. Every day. Every hour. Every second.

I interviewed one Hungarian guy.

1. What is your favorite frustration in this city? - I really cannot feel any kind of frustration in this city. I don’t
feel that I’m being humiliated or isolated only because of my nationality.
2. Are you happy here, and why not? – I’m happy because I was born here and I like this city and environment.
Yes, there are some financial problems, but I guess I’m not the only one with them.
3. Can you feel freedom here? – Yes, I feel free. I’ve never had any kind of problem only because of my nationality.
4. What can be changed here to make you feel better? – I think that the behavior and thinking process of
citizens should be changed, so that they could be more positive towards themselves and others.

Jovan Cvetkoski, Ohrid, Macedonia

Changes in my city changed me in the way that I’m now able to look and think out of the box, not to take
everything for granted, because you’ll face certain consequences. To make the city better first it needs to be
changed the whole setup, and how they lead this city first politicaly and then to have more conection to the
community. I can try and change some things from bad to good throughout theatre, workshops, open and
rational dialogue meetings etc.
1. I asked one member of the minority about her frustration in this city and she said tha she doesn’t have too
much options and opportunities and she’s often thinking about moving to some place else.
2. In certain situations she’s happy because of her family and friends, but on the other hand she’s not happy
with how people live here, and fight everyday for their rights, that are taken away by the government.
3. In moments I think I have more freedom as minority than the people that are originaly from here, but for
the country this is the blind freedom we have these past years, and it’s only to condole them.
4. To make me feel better, this country needs to change a lot of things, first for themselves then for everyone
including the minorities. They need to start thinking more rational, to be more human, not to let their people
die everyday because they don’t have the elementary things to go through one day. And it will make me feel
better when they let go of things for the young ones, and when the young people don’t have to leave this
country for better life.

Georgi Zhelyazkov, Sofia, Bulgaria

I was interviewing Roma boy:
45 artisti c appro ach

Dražen Horvatić,Belgrade, Serbia

The biggest diversity that I see in Belgrade is in public transport. I have to drive everyday at least half
an hour to the city center, and that’s a lot considering that I sometimes go back and fort several times
during the day. There are various people there and if you are open to it, something interesting is
always about to happen.
Whenever my city goes through a change, I feel older and I realize that people younger than me
won’t even remember the small details as I knew them. I feel like time is fleeting and that everything
changes, no matter how big the change is. I consider that to be neither good nor bed, although I am
scared of it some times.
It would be lovely if we could get a metro line. It would solve so many problems and I firmly belive
that it is the only option for a better future of our city. Also, it would be nice if people would learn to
behave in public transport. One of the issues is that it is always crowded by the door and people just
stand there and won’t ever move. I am preparing a small intervention with stickers to put them on
every door of every bus in the city to politely ask people to step away and let others pass through.
-I’ve chosen one of my friends on exchange from Mexico and talked to him. He said that the biggest
problem was the language, but he learned a lot quickly. He thinks that he wouldn’t be able to survive
in Belgrade without Serbian even though a lot of people speak decent English. 1) His biggest initial
frustration was that everything was writ-
ten in the cyrilic letters around the city.
That means that a typical foreigner would
easily get lost. 2) He feels happy here
because the opportunity to study and
learn a lot. 3) He can’t express certain
aspects of his personality, so he feels a bit
contained. 4) Just talking and meeting
new nice people is good enough, and he
feels like the change has to come withing
the individual, it’s all about the attitude.
Public transport in Belgrade

Lorena Žuvić, Volosko,Croatia

I made interview with communal worker that works for 19 years in city cleaning service. He is Roma
and he lived on Kosovo until his 15. Now he is 47. He said that his frustration is when people are ruin
their own town, when they are impolite. He likes Croatia, because of nice women, sea, and fresh air.
He feels fine here because he is paid well, although not enough. His kids are good because they are
going to school. Those kids from his village that are not going to school are often involved in criminal
artisti c appro ach 46

Lili Selmeci, Budapest, Hungary

Sometimes I have the feeling that nothing changes here really. But of course there are visible changes in city life,
improvements. As there are more and more foreign people who come to Bp for a holiday, or to study, work and
live here there are more and more places, attractions, pubs, restaurants that are made to fulfill international
needs. It makes me feel I’m part of Europe really and helps me look at my city with a fresh eye, to find the values
of the city, the beauties of it again that I got used to so much. It is nice to have people from all kinds of different
places here, they leave their marks here, little pieces of their cultures. Usually when we go out with friends we
meet young people from abroad who stay with us, chat and party with us and share their stories and different
attitudes. These are usually really refreshing experiences. It is also very interesting (sometimes very sad) to hear
how people see our nation from the outside.
Just a little more kindness, respect of each other would make a change I think. Helping strangers, not to be
ignorant, not to judge immediately. Treat each other the way we would like to be treated in a similar situation.
Starting conversations and listening, trying to hear what the other says, trying to understand ourselves and each
other. Make only one step if you can’tmake more because it’s still more than nothing. We could make our living
space more confortable and our lives easier. I chose Romain Savary to answer these questions, he is a 36 year
old French guy, good friend of my boyfriend and I, who moved to Budapest 10 years ago.
First, I would like to say that it sounds a bit opposite "favourite" and "frustration" . To be frustrated is not a so
pleasant feeling. So, if you really mean it like that, with this "opposition", I would say Hungarian girls with their
incredible beauty and their fashion for clothes which is sometimes for some of them, too short, too open and
too vulgar. But if you mean by this first question, what is my "biggest" frustration in this city, I would say the
langage. But it's really personal . Ok, Hungarian is a super hard langage to learn but it's a long time that I have
been here, so it is my fault that I don't speak Hungarian. Maybe it's because I don't understand everything
around me that I don't feel so frustrated in this city (so many locals told me that). In a more "every day routine"
way, I can have sometimes little frustrations too. They are not big but can be emphasize by my own personal
frustrations. Exemples of this "routine" frustrations : Hungarian who stay on the left on the highway or on the
escalators, not letting the faster people to overtake them. Another exemple : the customer service in Hungary
which is definitely not the best even if it has really improved in the last 5 years. And of course the politics, its
system and how it brainwashes a big part of the Hungarians frustrates me a lot. But because of my level of
hungarian language and because I don't know enough on this subject, I can't speak about it deeply.
First, I would like to say I think that the happiness of someone starts inside himself first. If you are not happy in
the place A, there's a lot of chance that you won't be happy in the place B. Without going into the extremes,
because if you feel good in a place A and you have to go in a place B where there's war, no access to water, food
and electricity, there's a lot of chance that you are going to feel bad. That's why I feel good here, a bit different
from home so it's interesting but I am still in Europe, it's a secure feeling. There's no war, the weather is good,
this capital city is beautiful and fits me personally by its size, its power, its energy. So, yes I am happy here.
Actually the first 2 years here were so happy that the feeling of freedom was always here with me. I felt freedom
here because of my own life experience. I mean, at this moment of my life I would have felt freedom in Budapest,
Madrid, Sarajevo, Riga or Berlin (just to stay in Europe). More precisely I felt more freedom than in France about
the regard of the others on myself. I have the impression that the people here stare at you less than in France. I
could feel freedom also by the fact of living in a capital (which never happen to me before), access to a lot of
services (to go to the restaurant in the middle of the afternoon is impossible in France's countryside cities). In
fact I feel as free as in France, just my problem with the language can sometimes makes me feel not free and
dependent of Timi or friends if I want to do big "administrative" things, like buying a property for exemple. So,
yes I can feel freedom here. The politics. And with a new "better" political system will comes better administra-
tion, education and health system, moral and ethics.
47 artisti c appro ach

Jonida Sela, Tirana, Albania

I haven’t change I have been adapted, to reality and diversity. It is turned to normal now.
In my city I would change infrastructure and order.

Edmond Prifti, 40, Romanian minority in Albania

Which is the best frustration for you in this city? The chaotic part of this city. There are so many natural
monuments around this city that nobody visits and nobody knows. We miss parks. Politics and the way politi-
cians talk are a big frustration to me. Murder news. I think we are the only country that doesn’t consider tourism
and archeology.
Are you happy here and why not?
I would had chose Bucharest to live happily, it spreads more positive energy than Tirana.
Can you feel freedom here?
What can be changed here to make you feel better?
All the things I mentioned in the first question.

Raluca Croitoru, Constanta, Romania

I am not sure I can easily pinpoint the influence of the changes in my city upon my way of being. I believe the
most important change was the fall of communism, which happened around the same time I was born. This
made it possible to grow up with freedom of expression and personal judgment upon moral issues.
Moreover, I was able to walk freely, spend time with my neighbors and friends, visit other cities and countries.
Being part of the EU made also a tremendous difference in terms of mobility and exchange. All in all, I
consider that being able to travel to other places and interact with different cultures shaped more of my
personality than the constant changing of my city in a pseudo-capitalistic one. I strongly believe that
mentalities can change through education and culture. With this in mind, I think that having more
independent and experimental events in my hometown would make a tremendous difference in a longer
time period. I hope that at a point I will be able to run an independent artist space in Constanta, in order to
do workshops, screenings, public talks, exhibitions etc. I also consider that empowering women is of vital
importance. My city is quite conservative and men are also quite misogynistic, which in turn affects the
behaviour of women and their entitlement to basic human rights and higher education.
artisti c appro ach 48
1. What is your favorite frustration in this city?
Nilgun: It bothers me that most people don’t know about tatars, but I like to tell them about our history
Erkut: The prejudice that most people have around Turkish. For example that they don’t drink alcohol. I like to
surprise them.
2. Are you happy here, and why not?
Nilgun: I am in between. Having nomad ancestors, I start feeling annoyed if I stay too much someplace.
(I moved a lot even with the apartments)
Erkut: I am happy here because people here are more open minded that people in my homecountry.
3. Can you feel freedom here?
Nilgun: for me, I felt more freedom in Belgium and France than here. I think I feel pressure more from my com-
munity. Being a small community there are certain rules people expect you to respect and if you don’t, you
are seen as a shame. It's also from Romanians that are as a people more conservative than the
Western Europeans.
Erkut: Yes, I can freely express myself and I have freedom to do whatever I want to do. There are things
that I can do here and not in Turkey. There you cannot express yourself freely.
4. What can be changed here to make you feel better?
Nilgun: My definition of integration is different than that of my community. They make differences such as
"the Romanians". We all are Romanians since we were born here and had little or no contact with our roots.
It would be great to leave this kind of definitions aside.
Erkut: If salaries would be higher it would be easier to travel to my country and other countries as well.
When we all arrived to Sremski Karlovci,
in Serbia, the city of wine, culture and
spiritualty, we immediately experienced
the glance of interculturalism and
cultural heritage, because at that time
there was Groždjenbal - Grape Ball,
the festival that celebrates the wine and
grapes, through diversity of events:
concerts, workshops and showcase of
traditional food, crafts and wines.
artisti c reside ncy 50
51 artisti c reside ncy

_CrEaTiVe pRoCeSs_sOlO PeRfOrMaNcEs
artisti c reside ncy 52

a woman.

Adriana Gallo, Italy

Georgi Zhelyazkov, Bulgaria

bones are bones and you won't find a million a fossil record
53 artisti c reside ncy

It's been three days now,

the sea is slowly turning me to stone
as I wait.

Rebeka Đaramati, Croatia

cuckoo sings

close to the rock

girl of the villages

violet flower

listen to us

and tell to her

girl of the villages

like two hands

full and full

of flowers and basil

like a dew

artisti c reside ncy 54 live in a modern society and be

challenged every day..

Dražen Horvatić, Serbia

It was raining. She woke

up and thought to
herself, “Just another
day. Everything’s the
same”. She put on her
black dress and a

Ljubica Damčević, Serbia

55 artisti c reside ncy

a Rugg
iero, It





Lili Selmeci, Budapest, Hungary

artisti c reside ncy 56

Lorena Žuvić, Croatia

If I had an eagle's wings,

I would rise and fly on them,
To our shores, to our own parts
It is dark here, dark surrounds me,
Dark covers all the earth,
Here are frost and snow and ashes

Jovan Cvetkoski, Macedonia

57 artisti c reside ncy

Boban Kuleski, Macedonia

Wheel, wheel and wheel again,

Please turn around one more time
Turn around the wheel of life
To get back my years of youth.

Raluca Croitoru, Romania

artisti c reside ncy 58

Artists’ material, research and solos were start-
ing point for creative process of final performance. By
using diverse theatre methodologies: theatre anthro-
pology, physical theatre, devising theatre, site-specific,
image theatre, immersive theatre, performance arts,
and intercultural dialogue we were exploring the issues
of national minority inclusion and cultural diversity.
Theatre trainers Emanuele Nargi, Tijana Božinović, and
Jelena Jezdović supported artists in their personal and
collective process of exploring these issues and creat-
ing an immersive performance.
59 artisti c reside ncy


inspired by the solos, researches, creative process, and Branko Radičević, Serbian poet from
Sremski Karlovci city

research on Branko Radičević artists conducted during residency in

Sremski Karlovci, exploring the city and talking to the local people

Discover Branko Radičević poem

Find out one specific detail from Brankos life and his personality
Find out something about Brankos habits
Find out how he looked like – his physical characteristics
perfo rman ce 62
On the last day of the
63 residency 01st October,
2016 artists showcased
the performance “Alek-
sije the Fool” to the
public. The performance
was happening in the
“Hostel of Diversity” (Eco
Centre Radulovacki) and
it gathered characters:
workers of the hostel,
conference organizers
and Branko Radičević
fans coming from all over
the region and Europe to
the conference dedicated
to Branko. During perfor-
mance they get to know
each other, their different
cultures through languag-
es, songs, and rituals.
Their stories led them to
that particular place of
diversities and similari-
perfo rman ce 64
65 perfo rman ce
perfo rman ce 66

For the end we are presenting you the music that inspired us during this journey.
One part of this playlist is music that artists were inspired by during their research and creation of solos,
traditional songs from Italy, Croatia, Bulgaria, Serbia, Hungary, Macedonia, Albania, and Romania.
The other part is music from the final performance “Aleksije the Fool”

Enjoy listening.
67 perfo rman ce

Final immersive performance “Aleksije the Fool” opened the conference “Diverse
Cities-Happier Society”. The conference was a place for open dialogue where speakers and
guests from Serbia and the region had a possibility to exchange opinions and experiences
about the human rights, minority inclusion and the role of art in the society. Conference
included experts and participants coming from different sectors of society NGO, European,
cultural and public institutions. More than 60 people have visited this event where art and
dialogue met and celebrated diversity.
The project “Diversity is Super-City!” is designed by:
Regional Endeavour for Art, Culture and Health – REACH
funded by: Central European Initiative – CEI,
Ministry of Culture and Information of Republic of Serbia
OSCE Mission to Serbia