An interview with prof. Darija Andovska, composer, pianist and author of orchestral, chamber, solo, vocal, film, theatre and dance music, as well as music for multimedia projects, by Ana Frangovska, art historian and curator.

Darija Andovska is a Macedonian trademark in the field of contemporary music, being a composer, pianist and author of chamber, solo, orchestral, symphonic, choral music as well as film music, theater, dance and multimedia projects. Her works have been performed on festivals and concerts in North Macedonia, Bulgaria, Serbia, Montenegro, Bosnia & Herzegovina, Croatia, Slovenia, Switzerland, Italy, Germany, Georgia, France, England, Ireland, Denmark, Sweden, Norway, Ukraine, Azerbaijan, Austria, Albania, Russia, Mexico, Canada, Poland, Romania, Armenia and the United States of America. Her music has been recorded on CDs and sold in Switzerland, Bosnia & Herzegovina, Italy, North Macedonia, Serbia, Montenegro, Germany, and her scores have been published by Nuova Stradivarius – Italy, Sordino – Switzerland, Association of Composers – North Macedonia. Won several competitions, nominated and awarded as well for film and theater music all over the world. Chosen by MusMA (Music Masters on Air) as one of the best young composers in Europe for 2013/2014. Nominated (2014) and twice awarded (2013, 2015) the “Virtuoso” award for Best Composer in Macedonia. Won the Cultural Honor Award of the City of Zürich – Best Composer in 2014. Macedonian music ambassador for the project CEEC 17+1 between China and central- and east European countries for 2016/2017 and 2018-2020. Awarded state prize “Panche Peshev” 2018 for highest achievements in music art. Andovska is an artistic director of the Days of Macedonian Music festival, under the Association of Composers of Macedonia – SOKOM. Works as professor at the Faculty for music and Faculty for dramatic arts at the State University “Ss. Cyril and Methodius” in Skopje.

Music is also an integral part of the cultural heritage. Very often, contemporary musicians find inspiration in the traditional sounds and intertwine some elements of ethno-folklore in contemporary compositions in order to transmit the spirit of belonging to a certain place. Mrs Andovska being an educator (as a professor at the Academy of Music in Skopje) and an active creator in the field of culture and, as well as being a constructive critic of the Macedonian modern society, is appropriate relevant interlocutor on the topic of our research on shared or disputed inheritance.

We do have heritage that can evoke different – sometimes difficult or competing – views and emotions, depending on the approach and viewpoint. The challenge of dealing with such divergence lies in the attempt to simultaneously convey these different views and voices when presenting this heritage to the public. Do you agree and do you think that this is an essential task when dealing with heritage and histories that speak to different people in different ways?

Darija:  Our heritage is not what we choose it to be. It’s the environment that shapes our thoughts, beliefs, even our taste ever since we were kids, like the environment shapes up and directs the stem cells to develop into different tissues. It’s not about how it is presented to the public, it is already a part of us. The public that doesn’t come with the same heritage, can just observe it and accept it as it is, as a cultural diversity or partly relate to it, if there’s any connection. There’s actually no challenge in this, unless it’s put in the context of daily politics.

When dealing with shared history and heritage, international cooperation has the potential to foster more understanding within and between cultures. Do you agree? What is your personal experience?

Darija: I don’t see why this “shared history” is so prominent in the case of Macedonia. I don’t see any other countries dealing with such a problem or claiming to have shared history. Let’s challenge Greece and Turkey to have a shared history and heritage, or Greece and Bulgaria, or France and Germany, or Serbia and Croatia and Slovenia… let’s stop here. No, it doesn’t have a potential to foster more understanding, but just more oppression towards one of the parties involved.

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“Our heritage is not what we choose it to be. It’s the environment that shapes our thoughts and beliefs”

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Can you think of an example of a case study of shared or contested heritage related to your particular field of interest (ethno-music, history, archaeology, contemporary art, art history etc.) and how would you approach its presentation? 

Darija: These subjects are not in my particular field of interest. I am interested in contemporary music, moreover, ethno-music has, despite some similarities, completely different parameters in each country, so it cannot be construed as “shared” heritage.

In a context of uncertainties and dystopias, what is the role of cultural heritage?

Darija: Cultural heritage is the environment in which we develop.

Can we achieve reconciliation with the help of music (and its differences and similarities) if we place it in a new context?

Darija: There’s no dispute that requires reconciliation in these matters. It’s just different. You cannot reconcile it.

One of the challenges for researchers and practitioners in the field of cultural heritage is to develop more inclusive approaches to share heritage in order to transgress social and national boundaries. Any ideas on how this approach would be implemented into your particular field of interest?

Darija: Yes, it’s a challenge because this approach is artificial. It’s redundant.

“What signifies the national narratives are that they do not include layers; they are one-sided, often chronological and has a sense of a fixed, static, historical truth, about them,” said Anderson in 1991. Do you agree with this citation and why?

Darija: That’s not the case with cultural heritage. Cultural heritage is alive and intertwined in all segments of our day to day life, in one way or another. It’s in the language (the rhythm), it’s in the lullabies, it’s in the anatomy structure and many other aspects.  This sitation may be applicable to some history books.

Another method of challenging the national narrative, regarding shared or contested heritage, would be to go from the particular to the universal. Cornelius Holtorf writes: “(…) the new cultural heritage can transcend cultural particularism by promoting values and virtues derived from humanism and a commitment to global solidarity.” What do you think about this?

Darija: Yes, we can all add up to this and enrich the world, but not on the account of one nation or another.

When we discuss about shared or contested heritage the issue of time is essential, and in extreme cases of recent turmoil, the best method for reconciliation might not be to address the past as individually relatable; but rather that the past should hopefully remain in the past. Do you think that this can be implemented into our context?

Darija: I hope not. Having our own cultural heritage, language, history, etc. is a part of our basic human rights.

***

The interview is conducted within the framework of the project “Shared or contested heritage”, implemented by ALDA Skopje and Forum ZFD. The aim of the project is to improve cross-border cooperation between North Macedonia, Greece and Bulgaria. The project raises awareness of the role of contested histories and shared cultural heritage for the EU integration processes among heritage practitioners and cultural workers. The content of the interview is the sole responsibility of the interviewee and does not always reflect the views and attitudes of ALDA and Forum ZFD.

An interview with Tosho Spiridonov, historian, anthropologist and archaeologist from Sophia, Bulgaria, by Ana Frangovska, art historian and curator

Tosho Spiridonov is a leading expert in the field of ancient Thrace, historical geography, historical ethnography, anthropology, archaeology and has particular expertise in digitisation of cultural and historical heritage. He is an associate professor of history at the Bulgarian Academy of Sciences and director of the National Centre for Digitalisation of the National Scientific Expeditionary Club UNESCO. Mr Spiridonov participated in the creation of numerous projects in the fields of cultural tourism, ethnology and folklore. He was a director at the Museum of History and an expert at the Ministry of Culture.

He has great collaboration with colleagues from North Macedonia, very close exchange with the Faculty of Philosophy at the University “St. Cyril and Methodius”, especially in the field of digitalisation of the cultural heritage and in the creation of a software for the Museums in Macedonia that is ready for implementation.

We do have heritage that can evoke different – sometimes difficult or competing – views and emotions, depending on the approach and viewpoint. The challenge of dealing with such divergence lies in the attempt to simultaneously convey different views and voices when presenting this heritage to the public. Do you agree and do you think that this is an essential task when dealing with heritage and histories that speak to different people in different ways?

Tosho: The answer to all questions related to historical heritage has been and will always be complex. It is complex because it has always been influenced by the political situation, which pursues its own goals, and in the name of which it is ready to ignore the historical truth which in itself is complex. That is why heritage should be seen as something that has two sides. One side is the legacy related to the lives of the people who created it, who actually participated in its creation and used it in their daily lives. The other side is to contextualise the heritage through the perspective present life. The present context dictates to scientists and politicians (because they study, use and present this heritage to today’s people) what exactly to say, how exactly to present heritage, having today’s tasks that they have to solve.That is why the analysis of heritage has two sides that must be clearly defined and presented to the people: in what historical context this heritage was created; how we “read” this legacy today. Without this unity, society will always be subject to the influence of one or the other side of the heritage’s interpretation. That is why I believe that presenting heritage in its integrality is very important for today’s society in order to understand its past and participate in building its future.

Which are peaceful and tolerant ways of reading and presenting facts about  shared or contested history according to you?

Tosho: Reading history has two sides. One side is personal, because everyone reads it, breaking it through their personal history. For example, in Bulgaria I see that there are people who curse the time of socialism, because then the government took away some of their property  or they suffered other type of losses as a result of the system. Others, on the contrary, regret socialism, because this system  gave them the opportunity to study and achieve something in their lives. And although this example is not directly related to heritage, it is indicative of the refraction of common history through personal history. How to read and present historical facts?

The simple answer is – through compromises on both sides, in the name of the future of both parties in the dispute. If there are insurmountable points of contention, they must be set aside. They should be the subject of calm scientific debates and discussions, with all the source materials and evidence on the table. Throughout these discussions, both sides should not be subjected to political and media pressure until a positive result is achieved.

Do you engage in cross-border cooperation with professionals from North Macedonia and do you find any difficulties in its realisation?

Tosho: Yes, I have cooperation with colleagues from North Macedonia. So far I have no difficulties in this cooperation – on the contrary, I meet a positive response to our initiatives and I respond alike to their initiatives.

Can you think of an example of a case study of shared or contested heritage related to your particular field of interest (ethno-music, history, archaeology, contemporary art, art history etc.) and how would you approach its presentation?

Tosho: I work in the field of ancient history, historical geography and archaeology. With the DIOS Society and the National Research and Expedition Club – UNESCO – Sofia  we engaged in cooperation with colleagues from the University of Skopje and the archaeological site in Stobi and we jointly developed software for the work of Macedonian museums and it is ready for implementation in practice.

Together with my colleague Svilen Stoyanov we participated in a conference in Ohrid, dedicated to the preservation of cultural heritage in North Macedonia.

I must say that I see small issues pertaining to the lack of geographical coordinates of each archaeological site, which will prevent the localisation of these sites in their exact place on the archaeological map and will make it difficult to work together. However, it opens room for a joint work in which we could cooperate – we can train Macedonian archaeologists to deal with this problem, which is essential in archaeological practice; the same is true of ethnographers and historians.

How we choose to remember the past and how we choose to move forward are the critical issues of today. What does cultural heritage mean in different national and regional contexts? Who can claim it as theirs, and who decides how it is preserved, displayed, or restored? How to share cultural heritage?

Tosho: Remembering the past is a matter of experience, and the experience is either personal or public. The personal experience of the past determines “my” attitude towards this past, which may not coincide with the public one. Social experience depends on many factors, the most important of which is the goal of today’s society and by what means can this goal will be achieved. Public experience forms the national context of cultural heritage, because it determines what selected points of reference in the history of this society will lay in the pursuit of its current goals. The regional context is something else, and it depends on the geographical location, on the local development of the given area and on the relations with the neighbouring areas. One geographical area may be more related or less related to another, and this is the most important factor as we go back in time. It all depends on the geographical location – whether an important trade route passes through a given region, whether the conditions allow a certain craft to develop, whether the region is influenced by this or that neighbouring region.Each region belongs to one or other society/state. All this happened as a consequence of the historical development of the given lands. Therefore, it is the job of this society/state to take into account the interests of each region that has fallen as a result of this historical development in this society/state. In this manner only will it be possible to build a cohesive society – when the interests of each region are taken into account. Neglecting the interests of a region leads to differences in society, which in turn leads to an unstable society. Hence the answer to the question – each region wants to preserve samples of its culture – restored, preserved, displayed. Because the further back in time we go, the greater the differences in cultural development between the different regions we see due to the weaker communications between the different regions of a country.Man has not come up with many different ways to share the patterns of cultural heritage. In summary, these are three ways – research, education and cultural tourism, each has its own specifics and can be considered at length.

“What signifies the national narratives are that they do not include layers; they are one-sided, often chronological and has a sense of a fixed, static, historical truth, about them, said Anderson in 1991.” Do you agree with this citation and why?

Tosho: What Anderson says is mostly about national stories, and it’s true. What is the purpose of these stories? The national narrative has one important task – to unite the people of one territory by telling a chronologically constructed story that tells them the historical truth about themselves. He somewhat ignores the past, because there may be facts that will make one doubt whether this society is really as homogeneous as presented, whether there are no separate groups of people in it who think differently, and so on. In other words – if we start from the rule that the nation is a new stage in the ethnic development of society, it must have its own history; with it begins a new ethnic formation.

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“Remembering the past is a matter of experience, and the experience is either personal or public”

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Another method of challenging the national narrative, regarding shared or contested heritage, would be to go from the particular to the universal. Cornelius Holtorf writes: “(…) the new cultural heritage can transcend cultural particularism by promoting values and virtues derived from humanism and a commitment to global solidarity.” What do you think about this?

Tosho: The national narrative built on humanism and global solidarity is in the same direction as Anderson’s thinking. The same is important for Holtroff – he thinks that in no cultural heritage can be found in the past that would unite the population of a given country in the present. That is why it is important to find a new heritage – these are new “monuments of cultural heritage”, subordinated to humanism, to solidarity between the people in a country. Leaving aside to some extent the specific suggestion of the old monuments, these new “monuments” are universal, and they will unite people in the name of the future goal. These may be brand new monuments, but they may also be some of the past that will receive a new interpretation, subject to the goal – to unite the population around a single red thread – from the past. However, these old monuments must be carefully selected so as not to disturb the feelings of people who perceive them differently.

When we discuss about shared or contested heritage the issue of time is essential, and in extreme cases of recent turmoil, the best method for reconciliation might not be to address the past as individually relatable; but rather that the past should hopefully remain in the past. Do you think that this can be implemented into our context?

Tosho: The past is the past! It must not be distorted or transformed in the light of today’s political or national tasks. Such a transformation will lead to greater complications within the society/state itself and to greater difficulties in solving today’s tasks. A new nation must be built on two main pillars. The first is the past, the second is the future. The past – no matter what it is, is not crucial, it only tells us that a population lived in this area in the past. That is why a certain point in time is chosen, from which the gradual formation of the new nation begins – no matter what the reasons. It is important what the roots are, but more important is what today’s population creates, how they process the knowledge about themselves. It could be as (planting one variety of apple on another tree – a rough but true principle – the roots are old, with their “history”, but the apple already represents a new variety, and this is more important.

Do you think that being more polyvocal, engaging, diverse, (self-)reflective and participatory may solve some of the obstacles on the way of presenting cultural heritage (shared or contested)? 

Tosho: I believe that anyone who deals with cultural heritage and works with good intentions and commitment can solve at least one of the problems. The disputed heritage must be considered in the context of the time in which it was created. At that precise moment it met the requirements of that society. However, viewed in the context of today’s society heritage looks (or presents itself) in a different way. It’s all a matter of how today’s society “sees” this legacy, not what it represented then. In the theory of the ethnos, each new ethnic group is built on the basis of at least two other, relatively different ethnic groups. If we do not recognise these ethnic groups, then obviously we will have difficulties in building “ours”, today’s ethnic group.

Do you think that the realm of words can influence the way the audience read the stories related to heritage (shared or contested)?

Tosho: As is well known, politics is an art of compromise. If the story is written in a way that respects the views of both parties, anyone who reads it can find in it what interests them. Then the cultural heritage will be clearer, understandable and accepted by society.

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The interview is conducted within the framework of the project “Shared or contested heritage”, implemented by ALDA Skopje and Forum ZFD. The aim of the project is to improve cross-border cooperation between North Macedonia, Greece and Bulgaria. The project raises awareness of the role of contested histories and shared cultural heritage for the EU integration processes among heritage practitioners and cultural workers. The content of the interview is the sole responsibility of the interviewee and does not always reflect the views and attitudes of ALDA and Forum ZFD.

Darija: Yes, it’s a challenge because this approach is artificial. It’s redundant.

“What signifies the national narratives are that they do not include layers; they are one-sided, often chronological and has a sense of a fixed, static, historical truth, about them,” said Anderson in 1991. Do you agree with this citation and why?

Darija: That’s not the case with cultural heritage. Cultural heritage is alive and intertwined in all segments of our day to day life, in one way or another. It’s in the language (the rhythm), it’s in the lullabies, it’s in the anatomy structure and many other aspects.  This sitation may be applicable to some history books.

Another method of challenging the national narrative, regarding shared or contested heritage, would be to go from the particular to the universal. Cornelius Holtorf writes: “(…) the new cultural heritage can transcend cultural particularism by promoting values and virtues derived from humanism and a commitment to global solidarity.” What do you think about this?

Darija: Yes, we can all add up to this and enrich the world, but not on the account of one nation or another.

When we discuss about shared or contested heritage the issue of time is essential, and in extreme cases of recent turmoil, the best method for reconciliation might not be to address the past as individually relatable; but rather that the past should hopefully remain in the past. Do you think that this can be implemented into our context?

Darija: I hope not. Having our own cultural heritage, language, history, etc. is a part of our basic human rights.

***

The interview is conducted within the framework of the project “Shared or contested heritage”, implemented by ALDA Skopje and Forum ZFD. The aim of the project is to improve cross-border cooperation between North Macedonia, Greece and Bulgaria. The project raises awareness of the role of contested histories and shared cultural heritage for the EU integration processes among heritage practitioners and cultural workers. The content of the interview is the sole responsibility of the interviewee and does not always reflect the views and attitudes of ALDA and Forum ZFD.

An interview with Sanja Ivanovska Velkoska, archaeologist and conservator in the National Center for conservation of Skopje, interviewed by Ana Frangovska, art historian and curator

Sanja Ivanovska Velkoska is a PhD in archaeology, employed in the National Center for conservation in Skopje. As an expert in the field of archaeology and conservation she has considerable experience as an external consultant for other institutions and sites for protection of cultural heritage. Mrs Ivanovska Velkoska wrote a lot of scientific papers, participated in many scientific conferences and was on a scientific residency in Belgrade, Serbia and Lund, Sweden. Her wide knowledge in protection of cultural heritage in theory and practice makes her an excellent interlocutor on the issues related to shared or contested heritage.

What is heritage, how does it work and what does it mean for people with different backgrounds?

Sanja: The material and cultural values we inherited from our ancestors and their ancestors are what should be called cultural heritage. Unfortunately, its interpretation in different environments is often characterised with contrasting content.

Do you think that heritage institutions should be more inclusive or exclusive? Is it important to be clear about whose stories are being presented, by whom and for which purposes? Some practices point towards an inclusive approach through the restructuration of institutions and the fostering of supportive leadership. What do you think about this approach?

Sanja: If we want the general population to know what cultural heritage is and to nurture and preserve it unconditionally, then the institutions must make it easier to access and promote it more and in a suitable manner among the wide public. The reasons for presenting cultural heritage are not important at all because it should not be owned at all.

Do you engage in cross-border cooperation with professionals from Greece and Bulgaria and do you find any difficulties in its realisation?

Sanja: In the past, we had a greater institutional cooperation with many neighbouring countries, but that practice has slowly been declining in the last eight years. This is not due to any policies, but is a result of the extremely poor management of the institution in which I work. On a personal level, contacts with colleagues are maintained regularly. Even at my own expense, in my free time I establish connections with countries with which we have not cooperated so far. But all work remains based on a personal incentive or at the level of a small interdisciplinary group that has the idea to bring new techniques, technologies and methods of cultural heritage management from all aspects (pertaining to research work, conservation/restoration, presentation and popularisation).

We do have heritage that can evoke different – sometimes difficult or competing – views and emotions, depending on the approach and viewpoint. The challenge of dealing with such divergence lies in the attempt to simultaneously convey these different views and voices when presenting this heritage to the public. Do you agree and do you think that this is an essential task when dealing with heritage and histories that speak to different people in different ways?

Sanja: Yes, it is in practice, but it should not be. Cultural heritage must never have ethnic, religious, gender or any other contextual framework. On the contrary, I believe that all cultural heritage belongs to each of us, a part of our past and affects our present and future.

Can you think of an example of a case study of shared or contested heritage related to your particular field of interest (ethno-music, history, archaeology, contemporary art, art history etc.) and how would you approach its presentation? 

Sanja: As a SIDA Fellow winner, I participated in an advanced training program on Conservation and Management of Historic Buildings at Lund University in Lund, Sweden, where I presented my case study on “Conservation and Presentation of the South Gate of the Archaeological Site Skopje fortress”. The approach at that time was guided by the principles of Europa Nostra, which have been observed and applied in my professional work regarding the integral protection of archaeological sites as cultural heritage.

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“Cultural heritage should be treated as a precious accomplishment of people’s creativity of a certain time”

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What is the impact of cultural heritage on solving issues related with shared or contested heritage?

Sanja: In practice, none. Theorists can find many points of contact and influences, but the operative is aware that in practice in our country it is just a dead letter on paper.

How we choose to remember the past and how we choose to move forward are the critical issues of today. What does cultural heritage mean in different national and regional contexts? Who can claim it as theirs, and who decides how it is preserved, displayed, or restored? How to share cultural heritage?

Sanja: The meanings are not as important as the approach and the attitude towards cultural heritage. We are aware that cultural heritage as a category of culture is always on the margins in our country. All efforts to amend that are still in the making, while in practice it is shown that various irrelevant populist manifestations receive more publicity, and thus more funds than any project for the protection of cultural heritage.

No one can say that a piece of cultural heritage belongs to someone, unless they personally inherited it from their parents. What we as a society care about belongs to all of us.Popularisation is the most important way to share the value of cultural heritage, and thus to increase interest in it. In a popular existence, any cultural heritage is much easier to manage and can even be made self-sustaining.

“What signifies the national narratives are that they do not include layers; they are one-sided, often chronological and has a sense of a fixed, static, historical truth, about them”, said Anderson in 1991. Do you agree with this citation and why?

Sanja: Unfortunately, this is often the case. However, there are occasional attempts to integrate the cultural heritage, which comprehensively analyses the problems, and hence the reactions to action are interdisciplinary. I repeat, this is very rare, but so far it has proven to be a successful practice. And as long as we keep treating cultural heritage from only one aspect, we will never come up with nearly ideal solutions.

When we discuss about shared or contested heritage the issue of time is essential, and in extreme cases of recent turmoil, the best method for reconciliation might not be to address the past as individually relatable; but rather that the past should hopefully remain in the past. Do you think that this can be implemented into our context?

Sanja: Yes, of course it can.

Do you think that the realm of words can influence the way the audience read the stories related to heritage (shared or contested)?

Sanja: Yes, I think so. As long as we use rich and cumbersome vocabulary with professional terms in cultural heritage stories, our target group will be the only group of people who can understand us. Those who do understand us are usually part of our professional circles or colleagues. In that case, we have completely missed the goal for popularisation of cultural heritage.

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The interview is conducted within the framework of the project “Shared or contested heritage”, implemented by ALDA Skopje and Forum ZFD. The aim of the project is to improve cross-border cooperation between North Macedonia, Greece and Bulgaria. The project raises awareness of the role of contested histories and shared cultural heritage for the EU integration processes among heritage practitioners and cultural workers. The content of the interview is the sole responsibility of the interviewee and does not always reflect the views and attitudes of ALDA and Forum ZFD.

Love is the cure for painful experiences

I come from a small country in Europe, named Bosnia and Herzegovina. We recently started recovering from consequences of the war that happened less than 30 years ago, and never fully got on our feet again.

For a couple of years now, media headlines have been constantly buzzing about the “refugee crisis”, highlighting articles that propagate intolerance and revulsion towards members of such groups, exaggerating and sometimes even falsely presenting possible conflict situations in which migrants were involved (or maybe not?).

I am immensely sorry for we have become insensitive to other people’s misfortune and pain in hard times, neglecting the fact most of us or our families had to run from their home during a (mentioned) war outbreak. We forget so easily what it’s like to leave everything and run away, simply live by running, but run for life… What it’s like to wish to belong somewhere again, to have a constant environment, at least for a while. Overwhelmed with change and fear of attachment, these people are scared to adopt any habits, because they know they will eventually have to leave and start all over.

Imagine everything beginning to seem strange and no longer being sure if you are completely yourself. Like you left little pieces of you along the way. I would start to wonder if I have anything left…

I started to think if there was something we could all do to make their journey a little more bearable. Suddenly, an unexpected joy came into my life – the great joy of meeting and communicating with with those very same people.

Cooperation experience

Interactive workshops started in December 2019, as a part of the IMPACT project funded by the EU Erasmus + program, and implemented as a process of cooperation between the Local Democracy Agency Mostar and the Mostar Youth Theater, of which I am a member (along with more volunteers). We were meeting for five weeks – a total of 15 times for 2 or 3 hours and, simply put, exchanged Love.

Usually, different families would come to each workshop, often there were children, too. But, some of them came two, three or even more times and always begged us to participate and come with us again, when we came to the Salakovac Refugee Camp in a van, in which the number of passengers is limited to seven. Sometimes, one of us, organizers and volunteers, would undertake additional transportation by their personal vehicle, so that no one of the refugees would be disappointed. Read More History of France

At first, it was very difficult sparking them to open up. We did not want to push it, since it’s understandable how painful it can be to talk about everything they’ve run away from, to share shocking experiences that we, especially young ones, have heard only in the stories of the elderly, who took part in the war.

We tried to encourage the conversation with music, dance, jokes and games. On one occasion we placed several objects on the stage. Those were objects commonly seen in one’s home: an undershirt, a pot lid, a coffee cup, one shoe… They were scattered, almost as if someone had left them in such a hurry, grabbing everything he could manage to bring. This shook them, probably revived the memories and they started to speak more honestly and openly about their feelings. We listened, quietly. Because, what clever can be said about the testimony of the man whose brother was killed, in front of his eyes?! That you understand!? His pain??!!
NO, we could, nor say or feel that…

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“The motive that guided us through this whole process is the ideal of equality.”

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Just listen…

From that moment, many encounters, that took place in Studentski hotel Mostar, passed by us listening to these unimaginable experiences, and slowly becoming more aware that it could have befallen any of us. To feel still unhealed scars of their pain, loss and fear, but to be a pillar, a support, a crying shoulder, to someone, without him feeling weaker because of it, is truly a great success and a blessing.

As nights passed by, each one of them burdened my consciousness with the same dream, over and over again. Whenever I wake up, turn around and go back to sleep, it just goes on like someone pressed play. I was waking up visibly tired. War, fear, uncertainty, suspense, danger, escape… The list just went on and on. At least, while sleeping, I felt, at least a part of those intimidating feelings. I realized on some strange level, what it’s like when fear becomes your main actuator, but also a source of inconceivable strength. Helplessness, loss, persecution… All that matters, is to survive and escape.

People often claim that we cannot significantly help a person if we haven’t experienced similar life circumstances on our own. I usually agree with the popular saying about “walking in someone’s shoes first”. But isn’t it even easier for us, young people, who have not yet tasted this torment, to be supportive, to take a part of that pain, which we still don’t understand, onto ourselves, to gift them humanly compassion, a smile, a hug?

We sang together, drew each other, and then rolled in laughter. We played sports with the children and taught them to draw an elephant, a flower, a tree… They showed us their traditional steps in dance. One kind Iraqi gentleman even brought ukulele and performed and old Kurdish song.

Nothing can stop you

Although we often had language barriers, even when there were no translators, we managed to communicate with our hands, eyes, sounds. The result was a magnificent synthesis of many different cultures. While we always organized a snack, toured the city, took them to try delicious cakes – physical and material support could hardly be compared to the strength of the mental help we succeeded to provide, for which they were deeply grateful.

The motive that guided us through this whole process is the ideal of equality. So, during one of the workshops, we were making masks. Whoever wanted his mask to be made, would lie on the nylon and we would start working. That wasn’t a short process. Sometimes it lasted up to 20 minutes or more. Most of the “models” were children who were lying still and patiently all the time. We were delighted with the absence of hyperactivity and the need to constantly provoke someone’s attention, which we almost always encounter among younger ages. When the masks were done, we would explain to them why we made them in the first place:

“Looking at the mask, we can’t conclude anything about the skin color, nationality, religion or any other imaginary traits we associate with people as padlocks of prejudice.”

The message is quite clear. We are all the same kind, we are all human, and we all need Love. It is the source of energy that drives the world and brings together even complete strangers. LET’S JUST LOVE EACH OTHER!! Read Oldest Language in the World

Changing the world

Civic activism at this time, except political turmoil and business scandals, must focus on other burning questions of the community in which it inhabits, without ignoring the above, no matter how much it is subject to insecurity and prejudice by passive citizens and stereotypically, never discussed among them.

From the collected stories and experiences, we decided to make a play and speak publicly about the life of refugees. We hope that with this act we will remind other people to do to others only what they would like to experience on, and in their own skin.

The play is called “GAME”, for many symbolic reasons. The premiere is coming soon and, in the future, we are determined to travel across the world, sharing this painful, but beautiful experience through forms of art, and perform on many famous stages in honor of human compassion and the almightiness of LOVE!

In the end, no matter how small your country might be on the map, you can still make a BIG difference in world becoming a better and a warmer place! Keep on going.

 By: Kljajić Sara

An Interview with Alexandros Stamatiou, photo reporter from Athens, Greece, interviewed by Ana Frangovska, art historian and curator

Alexandros Stamatiou is a photo reporter originating from Athens, Greece.  Mr Stamatiou has an impressive portfolio of photographs and documentary videos relating the political issues of the last few decades in the Balkans: documenting the situations after the wars that happened with the decay of the Socialist Federal Republic of Yugoslavia; the name issue in North Macedonia; Greeks in Albania; coverage of conflicts between Albanian paramilitary troops UCK from Kosovo and authorities in North Macedonia; coverage of NATO’s bombing of Kosovo and Serbia and many others. While recording the moments of history he was arrested and hurt. His photos have been published in a lot of prominent journals and media such as: To Vima, Ta Nea, Eleftherotypia, Epsilon, Kathimerini, Eleftheros Typos,Naftemporiki, Time, Elsevier, Het Parole, Newsweek, Xinhua, New York Times, Frankfurter Allgemeine Zeitung etc. Since 2006 he has been working for the Greek tv documentary show “BALKAN EXPRESS”, broadcasted on the Greek National Television ERT3, which depicts the traditions, music, history and culture of all the countries in the Balkans. Since 2000 he relocated in Skopje while still travelling for his work.

Witnessing and documenting a lot of scenes from our recent Balkan history and hearing a lot of narrative related to culture, geography, decays, wars, conflicts he will attempt to shed some light on the topic of ‘shared or contested heritage’.

We do have heritage that can evoke different – sometimes difficult or competing – views and emotions, depending on the approach and viewpoint. The challenge of dealing with such divergence lies in the attempt to simultaneously convey different views and voices when presenting this heritage to the public. Do you agree and do you think that this is an essential task when dealing with heritage and histories that speak to different people in different ways?

Alexandros: I am well acquainted with the history of our region,  even though my professional experience is in photo reportage. In my opinion, in the last few decades we are witnessing a very serious situation, in which everyone wants to grab some part of history from the other. Instead of building closer cooperation and nurturing coexistence, history is being used as the most dangerous weapon for digging wider discrepancies on the Balkans. The divulged histories are not correct and consolidated according to the facts, but rather tailor-made, one history is served to the Bulgarians, another to the Greeks, a third to the Macedonians. This is shameful and should be stopped. We need to rebuild the broken bridges between the countries and my opinion is that culture and art are the best conductors for strengthening the bonds between our neighbouring countries. I  currently live in Skopje, North Macedonia, I am married to a Macedonian woman, and I am working hard on bringing a lot of Greek artists here, to work closely with the Macedonian ones, in order to help in overcoming the prejudices’ and the political imbalances, since this daily political playing with our people is disgusting.

What does heritage mean to you as an individual and as a citizen of your country and the world?

Alexandros: Cultural heritage is a universal value. I look at everyone’s heritage in the same way, no matter of the origin, country, nation. All is ours; it belongs to the whole of humanity. Once, I had an exhibition in the Museum of photography in Thessaloniki, and an American visitor asked me, where  were my photos taken. I answered that they come from different parts of the world. He said that I need to sort the photos according to the state, nation and geographical territory for better understanding. I neglected the critic coming from him, since for me, everyone in this world is the same, no matter where they come from, or what is their origin. I feel the same whether I am in Greece, North Macedonia, Bulgaria, Kosovo, Serbia, Bosnia, everywhere I have very close friends I feel the same.

How we choose to remember the past and how we choose to move forward are the critical issues of today. What does cultural heritage mean in different national and regional contexts? Who can claim it as theirs, and who decides how it is preserved, displayed, or restored? How to share cultural heritage?

Alexandros: Politicians use the history, culture, cultural heritage for their daily political needs. In the past there were no borders, we were all the same. My father comes from Kallikrateia, Chalkidiki, so according to some parts of history I am a Macedonian. In the past my father’s relatives came from Izmir, Turkey, so there were no clear borders then. After that the borders were made and everyone went mad, grabbing and attempting to take possession of the past, the history, the heritage. I will insist on my opinion that only through culture we can go forward. When I saw how well Greek and Macedonian artists got along (on one residency that I organised) that was the biggest pleasure. Just with the power of the artists and the culture we can show our teeth to the politicians and celebrate humanity. After the signing of the Prespa Agreement, I experienced a very interesting situation, in which many of my friends, Greeks, called me and told me that they do not agree for the Former Yugoslav Republic of Macedonia to be renamed North Macedonia, but should be namedsimply Macedonia. This means that that there is still hope that we can reconnect the broken bridges.

Do you engage in cross-border cooperation with professionals from North Macedonia and do you find any difficulties in its realisation?

Alexandros: Yes, I do have great collaboration with Macedonian colleagues, and I had never had a bad experience until now. Here I feel like home. I use to live in the centre of Athens, here I live in the centre of Skopje, and I feel like a “Skopjanin”. If something bad is happening with or in the city it hurts me because I feel this is my native town.

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“I look at everyone’s heritage in the same way, no matter of the origin, country, nation. It belongs to humanity.”

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Do you think that being more polyvocal, engaging, diverse, (self-)reflective and participatory may solve some of the obstacles on the way of presenting cultural heritage (shared or contested)? 

Alexandros: Yes! I took many photos and recorded documentaries for museums throughout the Balkans, in Croatia, Serbia, North Macedonia, Albania, but at the National Gallery in Sofia, Bulgaria I had one of the most impressive experiences. We met and talked with their director, and I saw a great, positive reaction in his communication, he was a supporter of the idea that we are all the same, mainly humans of the world. He did not care if I spoke Macedonian or Greek, his main interest was to see what we could show to the public. So, accordingly, we organised a great exhibition in their Gallery.

Admittedly, we live in a time of lies, served by the politicians, but the art and artists do and can change the direction of the wind and the atmosphere. I am a photo-reporter that has dealt with politics for 35 years, but now I am fed up of politics.

Can you think of an example of a case study of shared or contested heritage related to your particular field of interest (ethno-music, history, archaeology, contemporary art, art history, photography etc.) and how would you approach its presentation? 

Alexandros: The photography is an artefact, so it helps a lot in confirming cultural heritage or issues regarding shared or contested history. I am very often thrilled by the human eyes, the manner in which they interpret pictures, especially when it’s children’s eyes. Once, I photographed a child refugee from Kosovo, I photographed his emotional eyes. 15 years later, on an exhibition in Skopje, a youngster of about 20 years approached me, and asked if I recognise him. I answered negatively. Then he introduced himself being that refugee child on the photo, and said that I was an inspiration for him and that he is going to be a photographer. He learned to speak French, English, Macedonian and Albanian. So, this is one happy story. There are a lot such examples, good and bad. So, by the help of the photo or video documentation there are facts that cannot be neglected.

“What signifies the national narratives are that they do not include layers; they are one-sided, often chronological and has a sense of a fixed, static, historical truth, about them”, said Anderson in 1991. Do you agree with this citation and why?

Alexandros: I do agree, a multi-layered approach is one of the keys in solving issues related with shared or contested heritage and history. Changes in history are  influenced by politicians, so the best way of adressing the issues are talks with local people from small communities. I have recorded and interviewed many villagers and old people from small communities in a lot of neighbouring Balkan countries, the most interesting thing is that they all share the same history, which is different than the switched and changed one, offered by the states through the educational institutions, as a part of the political agendas.

Another method of challenging the national narrative, regarding shared or contested heritage, would be to go from the particular to the universal. Cornelius Holtorf writes: “(…) the new cultural heritage can transcend cultural particularism by promoting values and virtues derived from humanism and a commitment to global solidarity.” What do you think about this?

Alexandros: I definitely agree with Cornelius Holtorf. We should overcome the bad experiences of our fathers and grandfathers, let the past be the past (there are historians that can sit down, emotionless and discuss the specific and problematic moments arising from using different facts) and we, with the great help of culture, shall keep on being the active creators of the new era of humanism and global solidarity. I don’t say that we should forget about our past and neglect our history, but that this should not be the obstacle for being good neighbours and collaborators, a trap in which we are falling down over and over again for the sake of the daily politics.

When we discuss about shared or contested heritage the issue of time is essential, and in extreme cases of recent turmoil, the best method for reconciliation might not be to address the past as individually relatable; but rather that the past should hopefully remain in the past. Do you think that this can be implemented into our context?

Alexandros: Yes, as I already said, the past should remain in the past, not influencing our contemporary life, and it is only with the help of  culture that we can reconcile, reinforce and strengthen the relations and communications.

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The interview is conducted within the framework of the project “Shared or contested heritage”, implemented by ALDA Skopje and Forum ZFD. The aim of the project is to improve cross-border cooperation between North Macedonia, Greece and Bulgaria. The project raises awareness of the role of contested histories and shared cultural heritage for the EU integration processes among heritage practitioners and cultural workers. The content of the interview is the sole responsibility of the interviewee and does not always reflect the views and attitudes of ALDA and Forum ZFD.

An interview to Aemilia Papaphilippou, visual artist from Athens, Greece, by Ana Frangovska, art historian and curator.

Aemilia Papaphilippou is a contemporary Greek artist. Departing from the survey of her chess continuum, Papaphilippou focuses on the notion of the ubiquitous and perpetual motion via the historical, socio-cultural and anthropological realms. Through her works we can have the affirmative answer to the question:  can contemporary art play a pivotal role in the understanding of our past through our present and future hypostasis? In her artworks she explores the interconnection of realities. One of her essential works is a major intervention set at the public site of the Ancient Agora of Athens, right at the foot of the Parthenon. Following, I will present her elaborated points of view on the topic of Shared or Contested Heritage.

We do have heritage that can evoke different – sometimes difficult or competing – views and emotions, depending on the approach and viewpoint. The challenge of dealing with such divergence lies in the attempt to simultaneously convey these different views and voices when presenting this heritage to the public. Do you agree and do you think that this is an essential task when dealing with heritage and histories that speak to different people in different ways?

Aemilia: The claim and opening sentence of this questionnaire “we do have heritage”, in the plural, suggests that this “heritage” (whatever is meant by that) is a cultural, or actual, property that is shared. Furthermore, it is implied that having different readings of this “heritage”, testifies to the fact that it is indeed shared, and it is only a matter of viewpoints. This however is a slippery road to fallacy; having different opinions upon the subject of “heritage” doesn’t necessarily testify to a shared cultural understanding, nor, of course, to a cultural property that belongs to all the parties involved. One only needs to think of Indonesia and Netherlands for example; many others exist in the history of colonialism. Or Cowboys and Indians to put it lightly. Intertwining pasts do not necessarily lead to a common future- far from it!

What does heritage mean to you as an individual and as a citizen of your country and the world?

Aemilia: Being Greek, and to continue from where I left off in the previous paragraph, I understand Culture as an ongoing process, which is exactly that: a constant cultivation, a culture which breeds the Present, the Now! It is democracy in the making. This process incorporates all kinds of twists and turns yet it keeps reinstituting itself incessantly. When one realises that responsibility and respect comes forth from within, and regardless if one is actually Greek or not, it sheds light on what Socrates meant when saying “Greeks are the ones that partake in the Greek culture”.

Can you think of an example of a case study of shared or contested heritage related to your particular field of interest (ethno-music, history, archaeology, contemporary art, art history etc.) and how would you approach its presentation?

Aemilia: Picasso’s “Les Demoiselles d’Avignon”, created in 1907, and the usage of African masks, (among Asian or Iberian indicatives) in his portrayal of womanhood as the scary, confrontational “Other”. Interestingly enough Picasso’s only portrayal of a western woman is that of Germaine, the woman “responsible” for the death of his very close friend and possibly lover, Casagemas, who committed suicide in 1901 because being impotent Germaine denied to marry him. Picasso, according to Dora Maar, who “devoured” women and changed styles with every next lover, was a repressed homosexual. Interestingly enough this painting which, is probably dealing with Death and the sexual instinct for Life, intertwines genders, social stereotypes, colonialism, diverse cultures and artistic styles in thickly interrelated levels and cannot be truncated into easily digested chunks. However, although “Les Demoiselles d’Avignon” is considered a seminal painting to western contemporary art, we tend to remain at the surface of stylistic introduction to other cultures, (the African masks etc.) while the art market has not allowed a reading on manhood which would destroy the myth of Picasso as the ultimate male and surely reflect upon the value of his paintings.

But I should have first just mentioned the obvious: the ongoing (!) dispute over the Parthenon Marbles known as “the Elgin marbles”, removed between the years 1801 to 1812(!), from the Acropolis, by the Earl of Elgin, and now displayed in the British Museum. Even Lord Byron, his compatriot and contemporary, could see that this was an act of vandalism and looting and wrote about Elgin: “Loathed in Life nor pardoned in the dust…” Let us therefore be reminded that which lies beneath “contested heritage” is always connected with profit. Even though the parties involved may feel as  the protagonists, they may only be the leverage for pushing towards facilitating profit for parties that lay in the dark. In our region, the Balkans, the pressure to “reconfigure” the land has been a plight with no ending. Nowadays, among other things, we read about the energy market and we are entangled in its plot.

In a context of uncertainties and dystopias, what is the role of cultural heritage?

Aemilia: Culture, (which is based on cultural heritage but does not coincide with it) keeps people together as an infrastructure of sorts. It is a signifying system, a way of life that forms both the individual but also the collective and its connectivity.  A sense of identity stems from it while the need for meaning is possibly more important than survival itself. Blood has been shed for centuries by people fighting for what they believe in, yet we remain rather naïve. After all, in our times, technology, Internet and dense interconnectedness of all sorts changes who we are, both on the level of Selfhood but also on the level of Collectiveness.  It is therefore rather redundant to keep talking in terms of “cultural heritage” when Covid-19 has forced us all to realise not only the fragility of Life but how important art and culture, as an ongoing phenomenon, is for our survival.

One of the challenges for researchers and practitioners in the field of cultural heritage is to develop more inclusive approaches to share heritage in order to transgress social and national boundaries. Any idea of how you would implement this into your particular field of interest?

Aemilia: The “inclusive approach”, “transgressing social and national boundaries”, is not a good idea because it ends up being against diversity and variability while subduing conflict and controversy.

Obviously, we tend to undermine what Heraclitus taught us; that “all stems out of war”, meaning that we have to appreciate that in order to move forward we must undergo the dialectic of opposing forces, the Hegelian “thesis, antithesis, synthesis”, and accept the ever-changing flow of becoming. Furthermore, we tend to forget that People incorporate something cultural, which they feel drawn to, because it creates meaning for them. Once they do, they claim it as their own and protect it because it shapes who they are. It is human nature to the extent that even what is recognised as Selfhood is a construct not only on a social level but also on a neurophysiologic level. In this light we should invest in the future, creatively!

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“Culture as an ongoing process which incorporates all kinds of twists and turns, yet it keeps reinstituting itself incessantly”

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What signifies the national narratives are that they do not include layers; they are one-sided, often chronological and has a sense of a fixed, static, historical truth, about them, said Anderson in 1991. Do you agree with this citation and why?

Aemilia: I disagree. Cultural heritage is as much a thing of the past as well as a living corpus that gets to be investigated, or not, by the extent of how we value and understand what has been, in the way we act Here, Now, Today.

Let us not be willing to erase memory, because it is only through dealing with the past that we can possibly evolve into something better in the future. Cultural heritage therefore cannot be considered fixed, but an ongoing process that interprets the past, also through the actions of the present.

Another method of challenging the national narrative, regarding shared or contested heritage, would be to go from the particular to the universal. Cornelius Holtorf writes: “(…) the new cultural heritage can transcend cultural particularism by promoting values and virtues derived from humanism and a commitment to global solidarity.” What do you think about this?

Aemilia: Amused by generalisations of this kind I’m at the same time appalled by where they could lead us. We cannot leap “from the particular to the universal” if we do not understand that what we perceive as a particular given, humanism for example, is not a shared understanding nor a given! For example, human life is not valued by terrorists. “Martyrs” who are not only willing to sacrifice their lives to bring havoc, but are actually proud to spread death, have also an idea of a “universal” that needs to be spread around, this way or the other! Nor are human rights a given, even in societies that have bled in order to defend them.

When we discuss about shared or contested heritage the issue of time is essential, and in extreme cases of recent turmoil, the best method for reconciliation might not be to address the past as individually relatable; but rather that the past should hopefully remain in the past. Do you think that this can be implemented into our context?

Aemilia: No, this is not possible either. Meaning that which informs the present is, partly, that which has already been established in the past. We need to understand that we should invest more in the present and creative processes, and yet at the same time be careful not to popularise the “past” in order to make it agreeable to the wide public or the market. The “past” indeed requires invested time and knowledge and we should be equally unwilling to deconstruct it so as to make it a commodity of sorts, nor think that it can remain dormant and let it “rest in peace”.

Do you think that the realm of words can influence the way the audience read the stories related to heritage (shared or contested)?

Aemilia: No. Words are only words. It is the way that words are used that makes a difference and it is only through communication that we can create common ground. Talking about “audiences” therefore, as is being suggested by the question, implies that “audiences” are rather passive listeners, and take in what is suggested by the “speakers”. However, this is never the case. “Audiences” do not exist passively because they are in reality partly co-authoring what is being put on the table. I, therefore, cannot but wonder: is what is being suggested here some propaganda of sorts?! If that is the case it will instigate further conflict.

When dealing with shared history and heritage international cooperation has the potential to foster more understanding within and between cultures. Do you agree with this? What is your personal experience?

Aemilia: Yes, I agree provided that this is possible. If the cultures involved value dialogue, communication, and the individual as an agent of change, then it “could foster more understanding within and between cultures”. The Galichnik residency in North Macedonia, is such a positive and successful case that I experienced personally. We should however note that heritage or cultural issues are/were not the goal of the residency, although they tended to surface. Making art is/was the goal of the residency; within the western paradigm of what art is about, which already established freedom of expression as a given (a common ground we should not take for granted). However not all cultures are open to that kind of dialogue and exchange.

In this light another incident, that I experienced personally, comes to my mind. I was invited to participate in a workshop in Greece, supposedly aimed at making art interactively. For this workshop, which involved only women Greek and refugees, the Greek women were not only advised by the organisers to be dressed “modestly” (they demanded no sleeveless dresses-it was Summer), but also that we would have to accept to undergo inspection by the refugees’ husbands, or their men kin (brother or whomever was considered “responsible” for them), in order to be allowed to finally interact among us. I declined participating.

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The interview is conducted within the framework of the project “Shared or contested heritage”, implemented by ALDA Skopje and Forum ZFD. The aim of the project is to improve cross-border cooperation between North Macedonia, Greece and Bulgaria. The project raises awareness of the role of contested histories and shared cultural heritage for the EU integration processes among heritage practitioners and cultural workers.  The content of the interview is the sole responsibility of the interviewee and does not always reflect the views and attitudes of ALDA and Forum ZFD.

One thing the covid-19 pandemic has taught us is to be extremely resilient and never give on our projects… quite literally in fact!

We are thus very proud to note that among ALDA’s projects ongoing before the crisis, all 60 of them are active and in line with the foreseen activities, despite some difficulties – mainly logistics.

And in a time in which we are flooded with pessimistic and bad news (not to mention the fake ones), we need to encourage the spread of positive and motivational information, to remember ourselves that good things are also happening in our planet!

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Let’s encourage the spread of positive information… subscribe to our project’s newsletters!

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At ALDA, thanks to our ongoing projects we can definitely provide you with some good piece of information, you just need to choose the topic of your interest and… subscribe to a project’s newsletter!

• [Environment] Skills and competencies equalisation of forestry workers.

Follow our project FOREST and discover how the team of partners involved is acting to reach a European standard of competencies and regulations. SUBSCRIBE to the newsletter and follow #FORESTprojectEU!

• [Migration & Technology] Research on the impact of novel technologies on perception and understanding of migration and security issues in the EU.

The project PERCEPTIONS aims to identify and understand narratives, imaginations and (mis-)perceptions of the EU – held outside of Europe – and the way they are distributed via various channels. Furthermore, it investigates how the information flow might be distorted and how a mismatch of expectations and reality caused by certain narratives might lead to security threats.

Click HERE to subscribe to its NEWSLETTER and follow PERCEPTIONS of Facebook and Twitter!

• [Construction & Innovation] Digitalisation skills in the construction sector. 

ICONS project responds to the skills gap between professionals and non-professionals involved in the operationalization of the Building Information Modeling (BIM). Start receiving its newsletter and be informed on ICONS training courses and the development of a digital app. SUBSCRIBE now and stay tuned!

• [Social inclusion & Women rights] Improvement of gender-responsive public services. 

The project BRIGHT is mobilising international stakeholders and communities to improve the conditions of Romanian and Bulgarian women employed in low standard labour sectors in Southern Italy. SUBSCRIBE to the newsletter, follow BRIGHT on Facebook and LinkedIn and be part of the change!

What is a public policy? How are the decisions taken? Would you be a decision-maker?

If only there was an easy and funny way to find an answer to all these questions. Because public policy is not a game…or wait, maybe it is!

Let us introduce P-CUBE, a new generation project which will let you enter the world of decision-making and literary learning by playing!

Indeed, P-CUBE is a project to design and implement an educational game for teaching public policy theory, with specific emphasis on policy change.

The project aims at improving awareness about the importance of developing multi-disciplinary skills in the policy making field, primarily addressing the youths, but also decision-makers, urban planners, NGOs, CSOs, social workers and scientists. Through the promotion of P-CUBE videogame to such a wider public, the project will contribute dispelling misconceptions and prejudices on the way innovations are put forward in public policies, by presenting the process through an interactive, interesting and yet realistic model.

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A gaming project for youth to understand the world of public policy

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The game will help players to become more familiar with the complexities of public policy making, and thus prove that there are different ways to overcome the obstacles that prevent current governance systems from tackling collective problems.

P-CUBE primarily addresses younger generations, since they will be the one leading and taking key decision in our near future and they need to have the knowledge to understand how such decisions are to be taken.

Don’t miss the opportunity to be part of this great project and.. Play Public Policy!

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The project P-CUBE is an European project funded by the programme ERASMUS+ of the European Commission. The goal of P-CUBE is to build an educational strategy game (the Policy Game) designed to teach the theory and practice of public policy making to different groups of people, principally students. This project is led by Fondazione Politecnico di Milano (Italy) and gather experienced and expert partner, Universitat Autonoma de Barcelona (Spain), Technische Universiteit Delft (Netherlands), Politecnico di Milano (Italy), Université du Luxembourg (Luxembourg), La science pour la démocratie AISBL (Belgium), ALDA (France).

Differently from what all of us was hoping to, the covid-19 emergency has not stopped and neither slowed down. On the opposite, with the cold season coming up, the number of positive cases has started to rise again precipitously all over the globe.

For this reason, which already pushed ALDA to offer a number of free memberships to Municipalities highly affected by the crisis, we decided to postpone the deadline and continue our action of support to local communities.

Indeed, we highly encourage Local Authorities – which are not yet members of ALDA – to apply and benefit from a one-year free membership!

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“We postponed the applications’ deadline to continue our action of support to local communities”

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During our 20 years of activity and thanks to our network counting hundreds of municipalities from all the Union and its Neighbourhood, ALDA could testify how important is for local authorities to enter an international network and establish contacts with different, yet similar, cities and associations.

We strongly believe that partnership is the key ingredient to ensure innovation and prosperity to local communities and that’s what ALDA has been promoting and acting for since its creation.

Being a European Association developing projects and building bridges between civil society and local authorities to find shared solutions to local problems, ALDA wants to assist municipalities as much as possible especially in such a critical moment.

HOW TO APPLY:

Municipalities wishing to apply to this call are requested to fill in the registration form by December 31st, 2020, including precise information regarding:

• number of inhabitants
• number of infected people
• number of COVID-19-related deaths
• main affected sectors (education, tourism, agriculture, industry…)

You will also be requested to upload a text file describing at least one example of good practice that the Municipality has put in place in order to contain and fight the disease and the social and medical effects of it – highlighting, if possible, the cooperation that was established with the local Civil Society.

Let’s #stayEUnited and be resilient, together!

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To have an overview of ALDA membership’s benefits, READ THE NEWS of the previous call for applications

An interview to Svetla Petrova, chief curator in the Archaeological Museum in Sandanski, (Bulgaria), interviewed by Ana Frangovska, art historian and curator.

Svetla Petrova is a PhD in archaeology and chief curator in the Archaeological Museum in Sandanski, Bulgaria. Her principal subjects are archaeology and world history, a specialist in ancient, late antique and early Byzantine Archaeology. She works on the organisation of exhibitions, scientific conferences, protection of cultural heritage, archaeological studies, excavations, as well as museum funds. Mrs Petrova used to be a member of the department of classical archaeology and a deputy head of the National Archaeological Institute and Museum, Bulgarian Academy of Sciences, as well as inspector at the National Institute of Cultural Monuments. She has a competence in developmentand realisation of projects related to the ancient, late ancient and early Byzantine architecture and urban planning, early Christian Archaeology and basilica construction. She maintains excellent cooperation with Greece as well as with North Macedonia. Her professionalism and positive experience in cross-border cooperation makes her a very relevant speaker on the questions related to  ‘shared or contested heritage’.

What is heritage, how does it work and what does it mean for people with different backgrounds?

Svetla: Inheritance is what our ancestors left us with – material goods, historical memory, archaeological artefacts. When we speak about historical and archaeological heritage, it represents the ancestral memory of the people from a particular country or territory, shown through the artefacts. In any case, a person’s origin should not be relevant to the concept of heritage – it should be defined as national/ancestral memory.

Do you think that heritage institutions should be more inclusive or exclusive? Is it important to be clear about whose stories are being presented, by whom and for which purposes? Some practices point towards an inclusive approach through the restructuration of institutions and the fostering of supportive leadership.  What do you think about this approach?

Svetla: Archaeological and historical past are above all cultural, therefore the institutions dealing with Bulgarian national heritage – museums and institutes, ministry of culture; universities and the Bulgarian Academy of Sciences act also as foundations. They are all committed to preserving the national cultural heritage. When the institutions operate efficiently, there is no need for them to be restructured, and it shouldn’t be a question of leadership therein, but only consideration of historical and archaeological data and facts.

Do you engage in cross-border cooperation with professionals from North Macedonia and do you find any difficulties in its realisation?

Svetla: Of course, I have cross-border cooperation with colleagues from North Macedonia in the field of archaeology – the ancient and early Byzantine eras. I have no problems and difficulties with the communication and realisation of our projects.

We do have heritage that can evoke different – sometimes difficult or competing – views and emotions, depending on the approach and viewpoint. The challenge of dealing with such divergence lies in the attempt to simultaneously convey different views and voices when presenting this heritage to the public. Do you agree and do you think that this is an essential task when dealing with heritage and histories that speak to different people in different ways?

Svetla: There may be some discrepancies. Stories are intertwined in the Balkans, but I don’t think that should disturb us. Historical facts are clear and should not be interpreted for one cause or another.

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“A person’s origin should not be relevant to the concept of heritage – it should be defined as national/ancestral memory”

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Can you think of an example of a case study of shared or contested heritage related to your particular field of interest (ethno-music, history, archaeology, contemporary art, art history etc.) and how would you approach its presentation? 

Svetla: So far, I have no case of controversial results in my scientific field – Roman and early Christian/early Byzantine archaeology.

In a context of uncertainties and dystopias, what is the role of cultural heritage?

Svetla: I don’t see any uncertainty or discrepancy from their usual places in the area where I work.

One of the challenges for researchers and practitioners in the field of cultural heritage is to develop more inclusive approaches to share heritage in order to transgress social and national boundaries. Any ideas on how this approach could be implemented into your particular field of interest?

Svetla: Since my field of work pertains to an era when modern social and national borders did not exist, I have no problems in the study of the historical and archaeological heritage of that period. I think historical facts should be interpreted correctly. For archaeology, no such problem exists.

What signifies the national narratives are that they do not include layers; they are one-sided, often chronological and has a sense of a fixed, static, historical truth, about them, said Anderson in 1991. Do you agree with this citation and why?

Svetla: I disagree, because national narratives are part of the ancestral memory of a given historical moment and there is no way, in my opinion, that they could be one-sided.

When we discuss about shared or contested heritage the issue of time is essential, and in extreme cases of recent turmoil, the best method for reconciliation might not be to address the past as individually relatable; but rather that the past should hopefully remain in the past. Do you think that this can be implemented into our context?

Svetla: The past always remains the past and cannot be interpreted as the present. In any event, as part of the cultural national heritage, it should have some impact. The past is marked by facts that, in our context, such as scientific activity, should not be distorted or adjusted to a particular situation. Cultural heritage, as a generic memory of a people, also determines its history. In the field of Roman and early Byzantine history and archaeology, I do not believe that adjustment or distortion of cultural heritage and identity can be applied, so far at least, it has never been the case.

Do you think that the realm of words can influence the way the audience read the stories related to heritage (shared or contested)?

Svetla: Words always influence if, of course, they are used accurately, clearly and correctly. Therefore, inordinate speaking in the field of cultural heritage, respectively, ancestral memory can lead to distortion and gross historical errors.

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The interview is conducted within the framework of the project “Shared or contested heritage”, implemented by ALDA Skopje and Forum ZFD. The aim of the project is to improve cross-border cooperation between North Macedonia, Greece and Bulgaria. The project raises awareness of the role of contested histories and shared cultural heritage for the EU integration processes among heritage practitioners and cultural workers.  The content of the interview is the sole responsibility of the interviewee and does not always reflect the views and attitudes of ALDA and Forum ZFD.

An interview to Kristiyan Kovachev, historian, guest lecturer and PhD candidate from the South-West University “Neofit Rilski” in Blagoevgrad, Bulgaria Interviewed by Ana Frangovska, art historian and curator.

Kristiyan Kovachev is a guest lecturer at the Southwestern University “Neofit Rilski” of Blagoevgrad, Bulgaria. He conducts seminars in Anthropology of the Middle Ages, Cultural Anthropology and Theory of Culture. He participated in the organisation and logistics of the conference “Culture, heritage and tourism for small towns” (2019) and was part of the team working on the project “Field archaeological excavations along the route of the Struma Motorway, lot 3.2 …” conducted by the Bulgarian Academy of Sciences. He has a Master’s degree in “Medieval Bulgaria: State, Society, Culture” from the Sofia University St. Kliment Ohridski. As a historian whose PhD thesis is related with medieval Ohrid, he is a very relevant  interlocutor in the framework of our project “Shared or contested heritage“.

We do have heritage that can evoke different – sometimes difficult or competing – views and emotions, depending on the approach and viewpoint. The challenge of dealing with such divergence lies in the attempt to simultaneously convey these different views and voices when presenting this heritage to the public. Do you agree and do you think that this is an essential task when dealing with heritage and histories that speak to different people in different ways?

Kristiyan: Yes, I think so. I think that this is an essential task that could be solved scientifically – beyond the emotional – by presenting those “alternative stories” (outside the official national narrative) that complement definitions such as “shared history”, “common heritage”, and so on.

Do you engage in cross-border cooperation with professionals from North Macedonia and do you find any difficulties in its realisation?

Kristiyan: Yes, I do. My doctoral thesis is related to medieval Ohrid and I am in constant communication with representatives of the University of Skopje, the Macedonian Academy of Sciences and Arts, the Institute of National History in Skopje, various museums and the Macedonian Orthodox Church. I haven’t encountered any difficulties in our collaboration.

Have you worked on collaborative projects dealing with shared memories and histories?

Kristiyan: Yes. In 2018 I participated in a project related to the study of the process of construction of the popular historical narrative in Bulgaria and North Macedonia.

Can you suggest some new and creative approaches for the presentation of  facts relating to shared or contested heritage?

Kristiyan: Firstly, a good approach is to shift the focus – from the great national stories to the daily life of ordinary people – how they lived and thought the world around them. Currently, many researchers tend to focus not so much on the study of politics and wars (glorious victories and great kings) whereas on culture, placing the research focal point on “microhistory.”

Can you think of an example of a case study of shared or contested heritage related to your particular field of interest (ethno-music, history, archaeology, contemporary art, art history etc.) and how would you approach its presentation? 

Kristiyan: Ohrid, which I am exploring, is a disputed area between Bulgarians, Macedonians, Serbs and Albanians. Serbian claims to Ohrid provoked Ivan Snegaroff to write “History of the Ohrid Archbishopric” in 1924. Today Ohrid is within the borders of the Republic of North Macedonia. However, Bulgarians (including some historians) insist that Ohrid is Bulgarian territory. In 2019, Albanian flags were placed on key historical sites in Ohrid. All this shows us that Ohrid is a disputed territory. At the same time, however, we can talk about Ohrid in a different way. The cultural heritage of Ohrid, which is a sacred place for Bulgarians and Macedonians, would benefit from a new reading as a “shared Balkan” and “shared European” heritage, without distorting historical facts and without opposing the countries’ interests in their current borders. This would be possible by presenting the “alternative story” – the one that will not divide us as for example, the history of art and culture. However, this could happen by adapting the modern Western conceptions of nations as “imagined communities”” (according to Benedict Anderson) and as a product of the 18th-19th centuries. Excluding nationalist discourse, medieval Ohrid can be seen as a place of contact between East and West, which is also depicted in its image system (frescoes, icons etc.).

How we choose to remember the past and how we choose to move forward are the critical issues of today. What does cultural heritage mean in different national and regional contexts? Who can claim it as theirs, and who decides how it is preserved, displayed, or restored? How to share cultural heritage?

Kristiyan: In a national context, cultural heritage is thought of as something to be proud of. This is a relic left from the past to commemorate the glorious history of ancestors. It is used by the national governments as a tool for the formation of national consciousness, especially among adolescents. In the textbooks they are described as “strongholds of Bulgarian spirit” or “fortresses of Macedonianism”. Excursions are often made there with the task of consolidating the official national narrative in the students. In a supranational context, cultural heritage can unite the communities. In this regard, the attempt of the Council of Europe to develop Cultural Routes is indicative. They act as channels for intercultural dialogue and promote a better knowledge and understanding of European shared cultural heritage.

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“Reviewing cultural heritage, a good approach is to shift the focus: from the great national stories to the daily life of ordinary people”

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Another method of challenging the national narrative, regarding shared or contested heritage, would be to go from the particular to the universal. Cornelius Holtorf writes: “(…) the new cultural heritage can transcend cultural particularism by promoting values and virtues derived from humanism and a commitment to global solidarity.” What do you think about this?

Kristiyan: Yes, I think so. A good opportunity in this direction is the development of global networks for shared cultural heritage, which will strengthen universal values.

When we discuss about shared or contested heritage the issue of time is essential, and in extreme cases of recent turmoil, the best method for reconciliation might not be to address the past as individually relatable; but rather that the past should hopefully remain in the past. Do you think that this can be implemented into our context?

Kristiyan: I think not. In my opinion, this will be the case as long as the political discourse dictates how to talk about the past. This will be the case until the past ceases to be used by politics to argue current policies.

What signifies the national narratives are that they do not include layers; they are one-sided, often chronological and has a sense of a fixed, static, historical truth, about them, said Anderson in 1991. Do you agree or not and why?

Kristiyan: I agree. In the national historical narrative, there is always a victorious country whose history is presented chronologically in its “rise” to a glorious empire. This historical truth is fixed in the memory of the collective. It cannot be disputed. Any different story (from the established narrative) is perceived as an attempt to falsify the story.

Do you think that being more polyvocal, engaging, diverse, (self-)reflective and participatory may solve some of the obstacles on the way of presenting cultural heritage (shared or contested)? 

Kristiyan: I hope so. However, solving these problems must become a cause. And the whole group, in this case the “historical guild”, must be involved in this cause. And its task is not easy – to talk about the past as it is, without additional embellishments influenced by current politics and nationalism. “Sine ira et studio”!

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The interview is conducted within the framework of the project “Shared or contested heritage”, implemented by ALDA Skopje and Forum ZFD. The aim of the project is to improve cross-border cooperation between North Macedonia, Greece and Bulgaria. The project raises awareness of the role of contested histories and shared cultural heritage for the EU integration processes among heritage practitioners and cultural workers.  The content of the interview is the sole responsibility of the interviewee and does not always reflect the views and attitudes of ALDA and Forum ZFD.

An interview with Bojana Janeva Shemova, art historian and curator at the Museum of Contemporary Art in Skopje, Interviewed by Ana Frangovska, art historian and curator

Bojana Janeva Shemova is an art historian and curator at the Museum of Contemporary Art in Skopje. Her interests extend to the fields of individual identity of the artist and social interactions as building blocks of society. Mrs Shemova also works as an independent curator, realizing and organizing many manifestations and exhibitions locally and internationally. In 2009 she curated the Macedonian participation at the Venice Biennale with the art project “Fifty-fifty” by the artist Goce Nanevski. Since 2012 she is a co-founder of “Ars Acta-Institute for Arts and Culture”, Skopje. She first specialized in Byzantine art history, and then, in 2010, completed her Master’s degree on “Art and Cultural Heritage, Cultural Policy, Management and Education” at the University of Maastricht. Currently, her work is mostly focused on the field of contemporary art and contemporary culture. Her passion for cultural heritage is derived from her professional experience as well as its application through the touristic tours she offers in Skopje. For the purpose of this interview, Mrs Shemova will reflect on the topic “Common or disputed heritage”.

What is heritage, how does it work and what does it mean for people with different backgrounds?

Bojana: Heritage, and in particular cultural heritage has a broad scope of meanings and levels of importance to different social, cultural and ethnic groups; and it can have a different interpretation depending on a personal approach. It has an enormous role in defining self-identification as well as on the conception of a national narrative, and in the creation of a sense of belonging, which has been very often used as a “tool” in political outwitting. The main mechanism of cultural heritage development is the social selection and the community’s way of passing it on from generation to generation.

Do you think that heritage institutions should be more inclusive or exclusive? Is it important to be clear about whose stories are being presented, by whom and for which purposes? Some practices point towards an inclusive approach through the restructuration of institutions and the fostering of supportive leadership. What do you think about this approach?

Bojana: Of course, there is notable world-wide reconsideration of the narratives and position stands that have been prevailing for quite some time. One of the most important examples is the re-conceptualisation of the MOMA New York collection by including more indigenous and black artists.

It seems as an important decision because everywhere in the world it is deemed as a starting position of the institutions’ cultural identity and political inclinations. I believe that there is a lot of work to be done in the field of restructuring the institutions towards more inclusive programs of underrepresented groups.

Do you engage in cross-border cooperation with professionals from Greece and Bulgaria and do you find any difficulties in its realisation?

Bojana: As a curator in the Museum of Contemporary Art in Skopje, I will point out that in 2019 for the first time after a long hiatus; a collection from artists of the Thessaloniki Museum of Contemporary Art was finally presented in our museum. This event represented a great success since we had not seen works from Greek artists in a long time.

We do have heritage that can evoke different – sometimes difficult or competing – views and emotions, depending on the approach and viewpoint. The challenge of dealing with such divergence lies in the attempt to simultaneously convey these different views and voices when presenting this heritage to the public. Do you agree and do you think that this is an essential task when dealing with heritage and histories that speak to different people in different ways?

Bojana: It can be, but what is fundamental when dealing with cultural heritage is to take into consideration all of the aspects and stories behind it. Also, to be ready for controversial reactions, because one of the keycomponents of rethinking cultural heritage is that it takes time.

Can you think of an example of a case study of shared or contested heritage related to your particular field of interest (ethno-music, history, archaeology, contemporary art, art history etc.) and how would you approach its presentation?

Bojana: The contemporary art field is in its basis above and beyond the national agendas and historical connotations. My approach to these topics is firstly focused on the universal, human ideas, then on the national characteristics. This is why in the field of contemporary culture, very often there are examples of international manifestations that are celebrating universal qualities and values.

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Dealing with cultural heritage means taking into consideration all aspects and stories behind a landmark and be ready for controversial reactions

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What is the impact of Cultural Heritage on solving issues related with shared or contested history?

Bojana: Cultural heritage has enormous importance in the contested history among different countries. Especially in the countries that have overlapping history. One of the peculiar examples for me is the naming of the medieval King Marko, with different nouns Krale Marko by Macedonians, Krali Marko by the Bulgarians and Kraljevic Marko by the Serbians. We all believe that he was part of our history, which he was, because of the geo-political positions at that time.

How we choose to remember the past and how we choose to move forward are the critical issues of today. What does cultural heritage mean in different national and regional contexts? Who can claim it as theirs, and who decides how it is preserved, displayed, or restored? How to share cultural heritage?

Bojana: Nowadays, the importance of certain aspects of cultural heritage  depends a great deal on the political agendas of the country. We are witnessing changes in narratives, overlapping with the changes of Governments. This is obvious especially in the young countries like ours, who are still in the formative period of  their national pride and sense of belonging through the different parts of the oral and written heritage.

“What signifies the national narratives are that they do not include layers; they are one-sided, often chronological and has a sense of a fixed, static, historical truth, about them”, said Anderson in 1991. Do you agree with this citation and why?

Bojana: Sadly, I do agree that this has been the case in the past and still is today. Maybe, it is finally time to rethink the possibilities of multilayered and open-minded views on history.

When we discuss about shared or contested heritage the issue of time is essential, and in extreme cases of recent turmoil, the best method for reconciliation might not be to address the past as individually relatable; but rather that the past should hopefully remain in the past. Do you think that this can be implemented into our context?

Bojana: I completely agree that the past should remain in the past, especially now when the whole world is infected with globalization and interconnectedness among people. However, in our context I believe that this process will go slowly and with difficulty, considering the social, economic and political strong agendas of the different sides.

Do you think that the realm of words can influence the way the audience read the stories related to heritage (shared or contested)?

Bojana: I do. Not only the realm of words, but also the visual imagery has a strong impact on this process.

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The interview is conducted within the framework of the project “Shared or contested heritage”, implemented by ALDA Skopje and Forum ZFD. The aim of the project is to improve cross-border cooperation between North Macedonia, Greece and Bulgaria. The project raises awareness of the role of contested histories and shared cultural heritage for the EU integration processes among heritage practitioners and cultural workers. The content of the interview is the sole responsibility of the interview and does not always reflect the views and attitudes of ALDA and Forum ZFD.