Decolonising the cultural policy and management curriculum – reflections from practice

Decolonising the curriculum is a global imperative that takes different forms and urgency depending on the context. Developments across the globe such as BlackLivesMatter and student responses to the pandemic and online learning have raised new questions about the curriculum – critically questioning higher education institutions’ plans about not only providing access to resources but about the (cultural) authority of curricula, pedagogical and research practices that are still dominated by Western discourses. This paper examines three experiences of curriculum decolonisation in cultural policy and management, an applied subject that has culture as its object, in three different contexts, Serbia, Puerto Rico and South Africa: namely how the pursuit of a pluriversal knowledge ecology found expression in the curriculum, content and pedagogical practices deployed to deliver locally relevant education; and how educators resolved the ontological and epistemic discontinuities between the standard disciplinary canon and local realities to embed and contextualise the discipline

The politics of performance: transnationalism and its limits in former Yugoslav popular music, 1999–2004

This paper examines transnational relations between the Yugoslav successor states from the point of view of popular music, and demonstrates how transnational musical figures (such as Djordje Balaševi?, Mom?ilo Bajagi?-Bajaga and Ceca Ražnatovi?) are interpreted as symbolic reference points in national ethnopolitical discourse in the process of identity construction. Another symbolic function is served by Serbian turbofolk artists, who in Croatia serve as a cultural resource to distance oneself from a musical genre associated by many urban Croats with the ruralization (and Herzegovinization) of Croatian city space. In addition, value judgements associated with both Serbian and Croatian newly composed folk music provide an insight into the transnational negotiation of conflicting identities in the ex-Yugoslav context. Ultimately the paper shows how the ethnonational boundaries established by nationalizing ideologies created separate cultural spaces which themselves have been transnationalized after Yugoslavia's disintegration

The Film Festival as a Vehicle for Memory Officialization: The Afterlife of WWII in the Yugoslav Documentary and Short Film Festival, 1954–2004

This chapter offers an analysis of the change in programming practices at the Yugoslav Documentary and Short Film Festival, at the time of the major political and ideological transition of the late 1980s/early 1990s in Yugoslavia. The chapter charts the festival’s history from its creation in 1954, until its internationalization in 2004, showing the event’s transition from one that contributed to the creation of the Yugoslav supranational identity, to one that turned instead to the reinforcement of Serbian national identity. In order to demonstrate this development, the analysis focuses on the changes in the approach to World War II (WWII), as the historical event that set the basis of both the creation and the destruction of the supranational socialist Yugoslav myth

Visualising the politics of appearance in times of democratisation: An analysis of the 2010 Belgrade Pride Parade television coverage

The 2010 Belgrade Pride Parade represents a critical moment in the story of Serbia’s democratisation process and highlights the threat that right-wing extremism poses to democratic rights and personal freedoms. Through a focus on patterns of visibility and visuality in the coverage of different protagonists in the streets of Belgrade, we explore the ways in which distinct communities perform their affinities, their right to be seen in public spaces, and rejection of ‘the other’. We conduct a visual framing analysis across four news programmes (RTS, Prva TV, TV B92 and Pink TV), emphasising the stylistic-semiotic choices which work to construct the contested spaces of the city. In shifting attention to how the news images work to create the spaces of political ‘appearance’ and the potentials for political agency through mediated visibility, the article explores the uneasy ambivalence of the democratisation process for authorities and the resulting marginalisation of the lesbian, gay, bisexual and transgender community in news coverage