Gender and Labor in the Cultural Field in Serbia

U okviru višegodišnjeg nacionalnog projekta „Rodna ravnopravnost za kulturnu raznolikost“ sprovedeno je kvantitativno i kvalitativno istraživanje prepreka za rodnu ravnopravnost u sektoru kulture, umetnosti i kreativnih industrija u Srbiji. Istraživanje je pokušalo da odgovori na sledeća pitanja: Kakvi su uslova rada kulturnih radnica i preduzetnica u kulturnom sektoru? Kakvi su uslovi života zaposlenih angažovanih u kulturnom sektoru u Srbiji? Koji oblici rodne diskriminacije generišu rodne neravnopravnosti u kulturnom životu? Kako možemo doprineti povećanom učešću žena i njihovoj pravednijoj zastupljenosti u kulturnom polju u našem društvu? Studiju su recenzirale dr Vladislava Gordić Petković, redovna profesorka Filozofskog fakulteta, Univerziteta u Novom Sadu, dr Inga Tomić Кoludrović, naučna savetnica i redovna profesorka Institut društvenih znanosti „Ivo Pilar“, ogranak u Splitu i dr Milena Dragićević Šešić, profesorka emerita Univerziteta umetnosti u Beogradu. Ilustracije na koricama rad su Jelene Đorđević, a publikaciju su izdali NKSS i Fakultet umetnosti u Nišu.This book was funded by the International UNESCO Cultural Diversity Fund and co-funded by the Ministry of Culture of the Republic of Serbia and City of Belgrade. It was part of the larger project “Gender Equality Generates Cultural Diversity” aimed to contribute to conditions for a fairer approach that would provide women as creators of cultural expressions with equal opportunities in the cultural field in Serbia, and was chosen in 2020 as one of the 6 best and the only one from Serbia, out of a total of 1,027 projects from around the world. The research tried to answer the following questions: • What are the working conditions of women cultural workers and entrepreneurs in the cultural sector? • What are the living conditions of women employees engaged in the cultural sector in Serbia? • What forms of gender discrimination generate gender inequalities in cultural life? • How can we contribute to the increased participation of women and their fairer representation in the cultural field in our society? The results were published in a publication of almost 250 pages in Serbian and in English

Class in Contemporary Croatian Society: A Post-Bourdieusian Analysis

U ovom članku, na temelju primarnih kvantitativnih i kvalitativnih podataka, analiziramo mnogostruke mehanizme koji proizvode nejednakosti u suvremenom hrvatskom društvu i višedimenzionalnu klasnu strukturu koja iz njih proizlazi. Naš je pristup potaknut koncepcijom Pierrea Bourdieua, koju smo znatno revidirali i prilagodili proučavanju postsocijalističkih društava u jugoistočnoj Europi. U tekstu prikazujemo četiri analitička koraka koja su nas vodila do koncepcije sveukupne društvene nejednakosti kao nejednakosti u društvenim moćima. Ti koraci uključuju: (1) konstrukciju društvenog prostora u Hrvatskoj, (2) identifikaciju ključnih generatora društvenih nejednakosti (eksploatacijskih tržišnih mehanizama i mehanizama društvenog zatvaranja), (3) analizu životnih stilova i povlačenja simboličkih granica te (4) analizu diferencijalnog povezivanja i uspostavljanja društvenih granica. Rezultati pokazuju da se, uzimajući u obzir sveukupnu društvenu nejednakost, u suvremenom hrvatskom društvu mogu uočiti četiri klase i sedam klasnih frakcija: (1) Klasa bogata kapitalima, s dvije frakcije – ekonomskom i političkom; (2) Klasa srednje razine kapitala, s kulturnom i socijalnom frakcijom; (3) Međuklasa, koja dijeli neke objektivne karakteristike s Klasom srednje razine kapitala, a druge s Klasom siromašnom kapitalima, ali ima distinktivni stil života i obrasce diferencijalnog povezivanja te (4) Klasa siromašna kapitalima, u kojoj je moguće razlučiti tri frakcije: agrarnu, rurbanu i manualno-uslužnu. U završnim razmatranjima donosimo sintetski prikaz klasne strukture suvremenog hrvatskog društva, raspravljamo o novom pojmu egzistencijalne klase (konceptualiziranom na temelju naših teorijskih i empirijskih analiza) te objašnjavamo najvažnije značajke vlastitog postbourdieuovskog pristupa.In this article, based on primary quantitative and qualitative data, we analyze the multiple mechanisms generating inequalities in contemporary Croatian society and the multidimensional class structure resulting from them. Our approach has been inspired by Pierre Bourdieu’s conception, which we significantly revised and adapted for studying post-socialist societies in South-East Europe. We present four analytical steps that have led us to the conception of general social inequality as inequality in social powers. These steps include: (1) construction of social space in Croatia; (2) identification of key generators of social inequality (exploitation market mechanisms and mechanisms of social closure); (3) analysis of lifestyles and the drawing of social boundaries; and (4) analysis of differential association and establishment of social boundaries. The results indicate that by taking general social inequality into account, one can distinguish between four classes and seven class fractions in contemporary Croatian society: (1) Capital rich class, with two fractions: economic and political; (2) Class with average capitals, with a cultural and social fraction; (3) Intermediary class, which shares some objective characteristics with the Class with average capitals as well as the Capital poor class, but has a distinctive lifestyle and patterns of differential association; and (4) Capital poor class, in which three fractions can be distinguished: agrarian, rurban, and manual-service. In the concluding section, we present a synthetic depiction of class structure in contemporary Croatian society, discuss the new notion of existential class (a conceptualization based on our empirical and theoretical analyses), and explain the most important characteristics of our post-Bourdieusian approach

KULTURNA PONUDA I KULTURNA PARTICIPACIJA U CENTRALIZOVANOM KULTURNOM SISTEMU SRBIJE

In this paper, we have analyzed cultural provision and cultural participation in Serbia, as well as measures taken by the Ministry of Culture to decentralize culture. Our research into cultural provision revealed significant differences in the number of cultural institutions, organizations, and associations between Belgrade, Novi Sad, and the rest of the country. Additionally, there are significant disparities in the financial resources allocated to them from the budget and through donations obtained via open calls. As a key contribution to the centralization of culture in the country, we identified the existence of 24 out of 27 national cultural institutions in Belgrade, i.e., 14 out of 17 provincial institutions of Vojvodina in Novi Sad. Although these institutions are funded by taxes paid by all the citizens of Serbia and Vojvodina, their programs are typically only available to those residing in the cities. On the other hand, analyses of cultural participation indicated the dominantly anti-elitist nature of cultural needs, a very low level of cultural habits, and small regional differences in the cultural practices of the citizens of Serbia. This seemingly paradoxical finding that pronounced inequalities in the cultural offering do not have a greater impact on cultural participation – because it is at a very low level in all parts of the country – represents a framework for future strategies of cultural decentralization in Serbia.U ovom tekstu analirali smo kulturnu ponudu i kulturnu participaciju u Srbiji, kao i mere koje preduzima Ministarstvo kulture usmerene na decentralizaciju kulture. Istraživanje kulturne ponude pokazalo je ogromne razlike u pogledu broja kulturnih institucija, organizacija i asocijacija u Beogradu, Novom Sadu i ostatku zemlje, kao i u pogledu finansijskih sredstava koja one dobijaju za redovne programe iz budžeta i kao donacije na konkursima. Kao ključan doprinos centralizaciji kulture u zemlji, identifikovano je postojanje 24 od 27 republičkih ustanova kulture u Beogradu, odnosno 14 od 17 vojvođanskih pokrajinskih institucija u Novom Sadu. Njihovi programi su uglavnom dostupni samo stanovnicima ovih gradova, iako se njihov rad finansira ogromnim sredstvima iz budžeta koje obezbeđuju iz poreza svi građani Srbije, odnosno Vojvodine. S druge strane, analize kulturne participacije pokazale su dominantno anti-elitistički karakter kulturnih potreba, veoma nizak nivo kulturnih navika i male regionalne razlike u kulturnim praksama. Ovaj prividno paradoksalni nalaz, da izrazita nejednakosti u kulturnoj ponudi nema veći uticaj na kulturnu participaciju – zato što se ona u svim delovima zemlje nalazi na veoma niskom nivou – predstavlja okvir za buduće strategije decentralizacije kulture u Srbiji

OBRAZOVANJE KAO ČINILAC RAZVOJA MUZIČKOG UKUSA

In this paper, the influence of the respondents’ level of education, and that of their parents, on the development of musical taste is analyzed. The analyses are based on the survey research into the cultural practices of the citizens of Serbia from 2005, 2010, 2015, and 2017, headed by the author. The introductory part of the text provides a brief overview of the three sociological standpoints on the relation between taste and belonging to social collectives, whose applicability has been tested in the research on cultural practices in Serbia. The following section provides the results of longitudinal research on the manifested preferences for various types of music genres in Serbia and attitudes which the respondents had towards numerous music genres which were analyzed in these studies. In the third part of the paper, following the presentation of the concept of the cultural capital of the French sociologist Pierre Bourdieu, we focus on the research results related to classical music and the opera and explore which social factors influence the formation of esthetic preferences for these music genres. The conclusion contains a brief presentation of the implications of the findings on the activities of audience development for classical music that is mostly studied in the course “Musical Culture” in elementary and secondary schools.U ovom tekstu, baziranom na anketnim istraživanjima kulturnih praksi građana Srbije iz 2005, 2010, 2015. i 2017. godine kojima je rukovodio autor članka, analiziran je uticaj obrazovanja ispitanika i njihovih roditelja na razvoj muzičkog ukusa ispitanika. U uvodnom delu teksta ukratko su izložena tri sociološka stanovišta o odnosu ukusa i pripadnosti društvenim kolektivitetima čiju smo primenljivost testirali u istraživanjima kulturnih praksi u Srbiji. U nastavku su dati rezultati longitudinalnog istraživanja izraženih preferenci za različite tipove muzičkih žanrova u Srbiji i stavova koje su ispitanici imali prema mnogostrukim muzičkim žanrovima koje smo analizirali u ovim studijama. U trećem delu teksta, fokusirali smo se na rezultate istraživanja koji se odnose na klasičnu muziku i operu i analizirali koji društveni činioci utiču na formiranje estetskih preferenci za ove muzičke žanrove u Srbiji. U zaključku je ukratko ukazano na implikacije nalaza za aktivnosti razvoja publike za klasičnu muziku, koja se uglavnom izučava u okviru predmeta „Muzička kultura“ u osnovnim i srednjim školama. Oni se odnose na neophodnost poboljšanja kulturne ponude u lokalnim zajednicama; potrebu da se sa aktivnostima razvoja publike počne rano u detinjstvu i da budu kontinuirane; na važnost toga da učitelji i nastavnici budu svesni simboličkih aspekata muzičkih ukusa koji se odnose na društvene podele; i na fokus na sticanje, kod dece, veština dešifrovanja kulturnih kodova, a ne toliko na usvajanje teorijskih znanja u oblasti istorije umetnosti ili znanja o muzičkim instrumentima.

Nation-Characterology of Dinko Tomasić

Krizmanics R. Nation-Characterology of Dinko Tomasić. In: Spasić I, Cvetičanin P, eds. Us and Them. Symbolic Divisions in Western Balkan Societies. Regional research, Promotion programme, Western Balkan. Belgrade: 978-86-89079-03-6; 2013: 57–72

Cultural events as a tourism product of Vojvodina

A special place among tourist attractions belongs to those from the field of culture and cultural heritage. In last decades cultural tourism faced a rapid growth on global market and therefore became a subject of numerous studies. Culture in Vojvodina has a long and rich tradition. Centuries of cohabitation inducted mutual cultural influences of many nations and resulted in a rich cultural diversity of expressions and their fruitful interaction. Today, there is a vast number of local traditional events and festivals in Vojvodina. Some of them exceeded the local market and expanded through the region and beyond. Events in Vojvodina have significant tourism potential, although a majority has a local character with insignificant or no tourist importance. Most of these events are unsustainable as well as spatially and temporally unsynchronized. Using the results of previous mapping, data collection and focus group research, the aim of this paper is to classify all existing cultural events in Vojvodina and propose the guidelines for their improvement in order to strengthen the cultural identity and cultural tourism product. The proposed steps and guidelines outlined in this paper should lead to improvement of cultural tourism, through strengthening tourism potentials of cultural events in Vojvodina