“Hopeful about being on the right path, concerned about sustainability” – Report on the Independent Cultural Scene of Kosovo

1. Introduction

This report seeks to provide an overview of the current landscape and highlight potential opportunities for future change and innovation within the independent cultural scene of Kosovo. Unlike in other countries in the region, with which it shares many similarities, the independent cultural scene of Europe’s youngest state seems to be uniquely shaped by the country’s ongoing peacebuilding and state building efforts, the impact of privatization policies, and the period of isolation that only ended in January 2024 with the lifting of the EU visa regime. The independent cultural scene as we know it today formed amid the post-war optimism that swept the country in the 2000s, when a new generation of cultural practitioners began revitalizing abandoned places, bringing young people together, and creating programmes (Mišković and Celakoski 2020, 93). Over the last twenty years, the scene grew from artist-driven initiatives, projects and festivals that thrived thanks to the availability of international donor funding (Hasimja 2022, 20). Since the 2010s, a new phase of development has emerged, characterized by the increase in networking, collaboration and recognition of common struggles among the actors on the scene, as well as a growing articulation of the need for reform through advocacy and participation. In 2012, one of the pioneering and most prominent cultural organizations in the country, the Oda Theatre, initiated the establishment of the Network of Independent Organizations of Culture – Cultural Forum, which brought together 22 organizations from all over the country, and soon became the voice of the scene, producing numerous documents and research reports, positioning the independent scene as an actor within the cultural system (1). Though the network ceased to exist due to a lack of funds, it left a valuable legacy by initiating local forums in Peja, Prizren and Mitrovica (Mišković and Celakoski 2020, 114-117; Shporta 2020). Actors participating in these networks, who are often socially engaged in local fights to protect the common good, such as cinemas and cultural heritage, also became partners in local cultural policy-making, instigating various civic-led participative cultural processes and social development on the local level (Ibid.). Concurrently, new cultural spaces emerged, such as Kino Armata, Termokiss, Foundation 17, Lumbardhi Cinema and Jusuf Gervalla Cinema. All of these, covered in this research, opened between 2014 and 2019, bringing fresh dynamics and new actors to the scene, thereby initiating the third and current phase of the scene’s development (Ibid.). The importance of organisational networks for the development of local cultural scenes and their legacies, such as the Cultural Forum, was repeatedly affirmed in the interviews conducted for the purpose of this report. A related positive perspective concerns the ongoing institution building in the field of culture, as well as the current government’s openness towards requests by independent actors, indicating a favourable environment for the scene’s development.

However, a recurring issue that surfaced in the interviews was the use of public space. Stemming from privatization policies, introduced as part of the peacebuilding process, has a significant, if not crucial influence on the development of the civic scene, also contributing to the alienation of citizens from the spaces they inhabit (Augestad Knudsen 2013; Hasimja 2022). Namely, the issue is also perceived as connected to the “bureaucratic expulsion” and dismissal of ethnic Albanians from the public sector and universities by Serbian authorities in the 1990s, but also to the creation of a parallel society and the formation of educational and health institutions through self-organising (Shporta 2020, 109; Sörensen 2009, 190). The remarkable effort to create and sustain this parallel society is frequently referenced as a valuable legacy, shaping contemporary approaches to civic organising in Kosovo. Moreover, the internationally driven processes of state-building, peace-making and privatization were grounded in economic neoliberalism, an approach that persisted after the independence (Augestad Knudsen 203, 289). These privatization processes might have gone largely uncontested were it not for independent cultural organizations, which stood out as some of the few voices challenging the emerging neoliberal consensus, calling for public infrastructure to be repurposed and revitalised. Despite the neglect of the cultural system inherited from the Yugoslav period, the most accessible state-governed cultural spaces remained culture and youth centres, with the Palace of Youth and Sports in Prishtina being the most notable, now hosting the Oda Theatre (Hasimja 2022; Mišković and Celakoski 2020). In addition to these centres, there are numerous culturally significant sites scattered throughout the country whose importance as cultural heritage is often emphasized by independent cultural organisations when mobilizing against privatization and demolition attempts.

Most specific to the Kosovo scene are the citizens’ struggles to defend and preserve old cinemas built in the 1950s, during the process of ‘cinefication’ in Yugoslavia – Kino Lumbardhi in Prizren and Kino Jusuf Gervalla in Peja, which now host some of the country’s most important festivals: Anibar – International Animation Film Festival and Dokufest – International Documentary and Short Film Festival. These cinema halls are closely linked to the emergence of other cultural and social spaces in Kosovo, connecting a new generation of activists and professionals with the buried and forgotten history of these venues (Shporta 2021). By recognizing these cinemas as places of great communal and intimate significance, and drawing on citizens’ memories to mobilize resistance, activists not only succeeded in halting and preventing privatization and demolition but also inspired further actions that demonstrated the strength of the local community (Sutlović 2023, 35). The saving of Lumbardhi cinema in 2014 marked a milestone in the development of Kosovo’s civil society, representing the first time a privatisation process was halted for a public cause in post-war period (Shporta 2020, 115). As the first to challenge the main actors in the process – the Kosovo Privatization Agency – these mobilization efforts empowered citizens and cultural workers to push back against “an elite group of actors who brought about disintegration of public space, and worse” (Dragusha and Rexha 2020a, 134). The growing intensity and frequency of such resistance over the past decade reveal the efforts that extended well beyond the cultural field, reflecting strong cohesion among independent cultural actors across the country (Sutlović 2023, 35).

Today, the increased collaboration, networking, participatory processes and recognition of common struggles represent the key characteristics of Kosovo’s cultural scene (Hasimja 2022, 20). Another notable trend is young people reclaiming abandoned spaces to create programmes, best exemplified by Termokiss, a community-run centre on the outskirts of Prishtina, which since 2016 has demonstrated how an inclusive reflection of the community can be realized in practice (Dragusha and Rexha 2020b, 144). More importantly, this experience galvanized further action, mobilizing organizations and citizens to push for amendments to the Law on Property Regulation, which previously favoured commercial interests over social initiatives. These efforts led to the recognition of such actors as legitimate users of communal and public property (Čukić and Timotijević 2020, 52; Dragusha and Rexha 2020b, 146). These and other examples highlight the existence of a capable, innovative and resilient cultural scene, driven by strong motivation and ability to thrive despite significant challenges (Sutlović 2023, 36).

Several key issues can be identified as hindering further development of Kosovo’s cultural scene. These include the uneven application of the recently amended Law on Property Regulation, a persistent climate of corruption and clientelism that continues to favour business interests in the allocation of spaces, a lack of political stability, and frequent snap elections that disrupt continuity in (local) governance (2). Additionally, the lack of systematic archival sources highlights the need for a historiographical approach that would contribute to collective memory – of organizations, the cultural scene, local (micro)histories, and the state – through research, a task increasingly undertaken by independent cultural actors. In contrast, a notable contextual and structural shift has emerged, namely a more culture-friendly climate among national and local authorities. This is most evident in the propulsive development of laws and policies, often through inclusive (though not always meaningful) consultative processes involving independent cultural actors. Most notably, increased cultural budgets have led to a substantial rise in grant funding, particularly with the introduction of three-year funding cycles. These are just some of the issues that arose as the most prominent during semi-structured interviews, conducted on-site with 12 actors from Kosovo’s independent cultural scene, between April 8th and 12th, with an additional Zoom interview on April 23rd. The opportunity to visit these individuals in their work environments, observe their daily practices, and engage both in formal and informal conversations was invaluable, not only for this report but for the researcher on a personal level. We are deeply grateful for their kindness, hospitality and the time they dedicated to sharing their experiences, insights, and reflections. In Prishtina, we spoke to Dren Puka from KCSF – Kosovar Civil Society Foundation, Aurelia Kadriu from Qendra Multimedia/Teatri ODA, Alush Gashi from Kino Armata, Kombëtar Uskana and Ilir Berisha from Defy Them, Guri Shkodra from Stereo Space and, finally, Shpat Shkodra, Elena Morina and Era Qena from Termokiss, and finally, Ajete Kërqeli from Foundation 17. In Peja, we talked to Vullnet Sanaja from Anibar and Fëllanza Taraku from Anibar/Road Fest. In Prizren, we spoke to Leutrim Fishekçiu from Autostrada Biennale, Ares Shporta from Lumbardhi Foundation and Veton Nurkollari from Dokufest.

* ROADMAP

Prishtina:

- KCSF – Kosovar Civil Society Foundation – active for over 25 years, this umbrella association of civil society organizations is dedicated to galvanizing the development of participatory democratic society in Kosovo, through evidence-based policymaking, funding and awarding of grants, and capacity and knowledge-building through training.

- Qendra Multimedia – founded in 2002 by a group of young artists aiming to create an alternative form of art production to address political and social issues, Qendra has been producing innovative theatre performances and other literature and cultural events ever since, with an accent on artistic exchange with international partners.

- Kino Armata – independent cinema and cultural space, opened in 2018 as a place of cultural exchange across the arts, dedicated to promoting alternative culture and social dialogue.

- Defy Them – record label, rehearsal space and small venue, a centre for alternative, punk, rock and metal music, and a passionate advocate for the local music scene, active since the early 2000s, officially in this form since 2018.

- Stereo Space – a group of activists, passionate about music, free expression, and the environment; since 2020, a platform for artists in the service of the community and the sustainability of ‘the house of culture’ in the village.

- Termokiss – an unfinished concrete hall of Termokos heating company, revitalized in 2016 by young activists into a community-run social centre, oriented towards community-building, endorsing principles of horizontality in organizing.

- Foundation 17 – active since 2018 on three locations: Project Space 17, Gallery 17 and Residenza 17, it is dedicated to fostering positive change in society through empowering communities by means of cultural activism, with the strategic priorities of: public space, cultural activism/policymaking/advocacy, environment, gender, community development and cooperation, democracy and human rights.

Peja:

- Anibar – since 2010 organizers of one of the biggest cultural events in the country, Anibar International Animation Festival, which over the years contributed to initiating of animation industry in Kosovo and developing it by promoting animation as an art form and a medium through which to raise awareness for societal issues; organized a campaign Kino për Qytetin! (A Cinema for the City) that mobilized in defence of Kino Jusuf Gervalla from privatization, where it is now active, organising programmes year-round.

- Road Fest – organized in 2021 by young activists with a mission to revitalize and transform the city, Road/Rrugë fest brings together artists, musicians and communities, and creates immersive experiences that leave lasting impacts – through street art and music performances the festival also strives to engage with social and cultural issues, to spark conversations and inspire change.

Prizren:

- Autostrada Biennale – a contemporary art institution, established in 2014, functioning on two levels: as a biennial international contemporary art exhibition taking place since 2017, and as an education, production and exhibition space, located in a former military base, now Innovation and Training Park Prizren; it considers art production as a sustainable form of learning and exchange that will address the needs of communities.

- Foundation Lumbardhi – established in 2015 to meet the demands for the Initiative for the Protection of Lumbardhi Cinema, with a mission to revive the former cinema as an independent cultural institution by preserving its heritage values, developing annual research, educational and cultural programmes, stimulating artistic production, building institutional capacities and increasing civic participation in local development and public decision-making in the field of culture.

- DokuFest – established in 2002 with the vision of reinvigorating cinema and enriching the cultural landscape of Prizren. Over the years, DokuFest evolved into the premier documentary and short film festival in Southeast Europe, earning the status of a BAFTA-qualifying festival for short films and a nominating festival for the European Film Academy. It developed beyond the festival to operate year-round as a film centre that runs the cinema, develops educational programmes, produces, promotes and distributes films in Kosovo and internationally. After facing demolition and privatization attempts on several occasions, in 2014 it persisted thanks to the support of mobilized citizens and organisations from the country and abroad. The remarkable success of saving Kino Lumbardhi made it a symbol of civic resistance in Kosovo, inspiring other actions that demonstrated the strength of the local community.

The outlined traits and trajectories of the Kosovo independent cultural scene were greatly affirmed in the interview with Dren Puka from Kosovar Civil Society Foundation (KCSF), an umbrella organisation dedicated to advancing the development of civil society in the country. The KCSF’s current focus highlights the centrality of the public space as an issue for both civil society and society at large, stressing “the need to elevate it, make it easier to get access, and bring it to the forefront of public interest”. According to Puka, cultural organizations are recognized for their innovativeness, inclusivity, and openness, and particularly for creating horizontal decision-making structures, most distinctively exemplified by Termokiss. These qualities are crucial in resisting “very aggressive market-oriented developments and, instead, putting the community aspect at the forefront”. Moreover, cultural organisations are often the sole providers of cultural content in certain cities, ensuring the vitality of broader arts and culture scene. However, challenges persist at the municipal level, including inadequate capacity, low public sector salaries, and a persistent mindset that sees culture as a luxury, all of which hinders the creation and sustainability of more substantial cultural content. On the national level, by contrast, Puka sees a new momentum with the responsiveness of the Ministry of Culture and the inclusion of a group of highly skilled and knowledgeable people from the independent scene, an opening that, in his view, may pave the way for meaningful progress. Importantly, independent cultural organizations often take up roles traditionally expected of state institutions, which for some reason do not adequately fulfil them, with archiving being a notable example (3). In doing so, they preserve the cultural and historical memory of specific communities, transmitting it to younger generations, making a foundation for future progress. Reflecting further on the issue of public spaces, Puka notices how cultural organizations also underscore the decline of community centres that were widespread as recently as two decades ago, noting that “many of our neighbourhoods had a community centre, and now we just act as if that never happened within our context”. Instead, cafes are now seen as communal spaces, a shift that Puka finds problematic. For him, this distorted understanding of public space highlights the urgency for cultural organizations to continue pressuring state institutions. Without such continuous activity, no meaningful development can be expected.

2. Main Findings

2.1. Underpinning Meanings: Ideas, Values, Sense of Belonging

When examining the core ideas and values guiding the activities of the cultural actors and spaces in focus here, two stand out as particularly salient: reclaiming public space for all and providing space for youth. The first goal highlights the unresolved issue of public space use, which persists regardless of the law change that extended usage rights to civic actors, an improvement over previous legislation that favoured commercial interests. This issue represents a central thread in this report, highlighting how public space remains a contested and politically charged terrain. The second key focus – youth, is especially important in the context of Kosovo, which has the youngest population in Europe, with a median age of 27, 55% of population under 30, and a third under 18 (Kelmendi 2023). This youthful energy is very palpable throughout the independent cultural scene. Many interviewees emphasized the importance of involving youth and children in cultural activities, with the youngest respondent (aged 26) highlighting that some audiences are as young as 8 years old (4).

Kosovo’s youthful population clearly distinguishes it from the other two country cases in this study, Slovenia and Croatia. More broadly, this youth-driven energy can be seen as intrinsic, both to the country and the scene, manifesting in bold, imaginative undertakings: organizing a film festival by individuals who had never attended one, hosting it in a city without a functioning cinema, creating an arts biennale in a city without a gallery, or reactivating a long-abandoned ‘house of culture’ in a village (Autostrada Biennale, Dokufest, Anibar, Sound Space). These efforts exemplify a scene defined by courage and creativity, ready to go after its goals regardless of the challenges. A strong belief in the power of music to drive social change further resonates with the youthful ideals we all once shared, which still exist on Kosovo’s independent scene, regardless of the respondents’ age (Defy Them). The closely connected value of volunteering serves as a mechanism of inclusion, education, recruitment, and engagement with the country’s youthful population, who also make up the primary audience for most of the cultural spaces in focus here. More significantly, in cities such as Prizren and Peja, volunteering at major events like Dokufest and Anibar Festival has played a pivotal role in shaping new generations of cultural workers (5). One of Dokufest’s founders confirms this, noting that the entire cultural scene in Prizren is now largely run by former volunteers, illustrating the transformative impact a single event can have on a city’s cultural infrastructure. These festivals and the opportunities they create serve as an informal civic academy of sorts, educating new generations of active citizens (Shporta 2020, 113).

An intuitive approach and a spirit of spontaneity can further be seen as the main forces shaping Kosovo’s independent scene, across both established and newer organizations, and particularly within the music field. Led by the need for a rehearsal space and a desire to make music, organizations such as Defy Them and Stereo Space grew from this almost organically. Other bands joined in, contributing to and benefiting from a shared rehearsal space, recording studio, and opportunities to teach music while engaging with the local community. According to these organizations, it was their love for music and a commitment to supporting fellow musicians, along with a firm belief in music as a medium for social change, that built their spaces. These and other values, such as reconciliation through artistic exchange and dialogue, horizontal decision-making, community organizing, critical thinking, openness, inclusivity, the creation of safe spaces and a willingness to push boundaries, remain constant in the repertoires of the organizations in focus here. What has changed over time is not these core values, but the context, the world, and the actors themselves.

The interviewed actors expressed a strong identification with their cultural spaces, shaped by a dual attachment: to a specific cultural space, and to a city itself (6). This reflects a strong sense of belonging and affection for one’s hometown and its people, which emerges as a central motivator for cultural engagement, particularly in Prizren and Peja. All respondents strongly identify with the spaces they helped create, while also acknowledging the potential downsides of such deep attachment, the risk that such deep personal attachment could unintentionally limit openness to younger generations. This surprising absence of territoriality, often encountered in more professionalized civil society organizations elsewhere, may stem from a strong emotional connection to one’s city, paired with a sense of duty toward the country’s’ post-war recovery. This impression is further supported by the relative youth of many of the organizations involved, most of which were established in the past ten, seven, or even four years. In contrast, well-established mid-generation organisations, such as Qendra Multimedia or Dokufest, date back to 2002. Younger-generation organizations, on the other hand, may currently be in their ‘golden age’ – not yet faced the need for generational turnover, or with the challenges that come as founding members age and their related life demands shift. Instead, what perhaps characterizes this scene most clearly is its optimism about the near future, encouraged by on-going institution building, increased state funding, a “culture-friendly energy in the parliament”, and political elites who are supportive of culture (Durmuşoğlu 2022).

The most significant recent innovation in cultural policies, mentioned by the majority of interviewees, is the introduction of three-year funding “for those who have proven themselves in the realization of cultural projects” (Maxharraj 2024). Although released after a series of delays, this long-awaited policy is seen as a vital step towards strengthening the independent cultural scene and enhancing its sustainability. This shift is accompanied with the involvement of independent cultural actors in consultative processes and the creation of a variety of laws to better regulate the cultural field. These developments contribute to a growing sense of what many interviewees described as ‘institutional optimism’(7). More specifically, the new Law on Art and Culture explicitly positions individuals involved in independent culture as equal partners alongside public institutions in shaping cultural life. In the words of the Minister of Culture, Hajrulla Çeku, himself a former member of the independent scene in Prizren and an advocate for Lumbardhi: “We are ambitious in our new cultural policy, we want to see culture with adequate funding, and the artists living with dignity from artistic work” (Maxharraj 2023) (8). Similarly, Prime Minister Albin Kurti, widely perceived as a person genuinely interested in culture, attends events organised by independent cultural organizations, and possesses the political drive to effect change (9). Most importantly, the increase in national budget allocations for culture from 39 to 57 million euros confirms this favourable disposition of the authorities towards culture (Demiri and Kadriu 2022), and was followed by municipalities significantly increasing local cultural budgets. This has resulted in a rapid growth, even skyrocketing, of grants for independent cultural organisations. The question now is how to stabilize such rapid development and make it functional in the long term. The commitment of the current left-leaning government to institutional strengthening seems like a promising effort that may open innovative developmental pathways, signalling the country’s openness to the ‘new’ and the contemporary(10). All of this highlights that a rare window of opportunity is now open to make significant, if not even crucial moves, which may influence broader trajectories of the cultural field for the years to come.

These ‘upward’ developments can, to some extent, be connected to the expressed ‘state of mind’ within independent cultural organizations. Most respondents described their work with rather positive emotions: high levels of energy, inspiration, and a strong drive to make things happen, especially in relation to programme production. Enthusiasm is particularly evident during festival preparations, which in the case of Dokufest were described as feeling “almost like a state of euphoria”. However, without adequate remuneration, such enthusiasm cannot sustain itself in the long run, especially amid increasing precarity, burnout, and mental health issues, all challenges that deteriorated during the pandemic by ‘Zoom fatigue’ (Qendra Multimedia, Anibar). Another form of fatigue stems from the increasing administrative burden, particularly in managing communication with donors and public institutions, often described as disheartening, even disappointing by several interviewees. There is a growing awareness among cultural workers that their jobs may never fully meet their financial needs, especially as they transition from ‘ageing young’ to later life stages. This sobering realization that comfort and financial stability may never be part of the equation makes it challenging to maintain “an evenly distributed motivation across the ranks”, but also drives the actors “to refuse to accept permanent precarity as the only endgame” (Lumbardhi Foundation). All of this calls for a need to rethink and improve the working conditions on the independent cultural scene, to support the well-being and dignity of the individuals who continue to drive the scene forward.

Some cultural actors have found ways to cope with precarity by treating their work on the independent scene as a side job or hobby, while earning their living through other, primary job. This approach turns cultural work into a creative outlet, however still rooted in the organization’s founding values and still oriented toward contributing meaningfully to the community. These actors seek sustainability through a combination of state and local subsidies, social entrepreneurship, tourism, artist volunteerism, and community engagement centred around a space (Sound Space). Others initiate vocational education programmes in fields such as film production or the music industry (Kino Armata). Overall, a broader motivation behind these approaches is the desire to escape the constant pressures of fundraising and donor compliance, which can be exhausting and restrictive. As a result, many actors are exploring alternative economic models that integrate personal goals with long-term cultural commitment. Rather than engaging in day-to-day activities, these innovative models envision more flexible arrangements, allowing actors to stay connected to their organizations and the scene, for instance through advisory bodies and other occasional engagements. This allows individuals to remain connected to their organisations and the scene, while adapting to changing life circumstances.

2.2. Space, Neighbourhood, Community

The cultural spaces occupied by these organizations are generally viewed positively and are considered mostly adequate for their needs, hosting a diverse range of activities and programmes. However, two organisations have raised concerns about serious infrastructure issues, particularly roof leaks that result in damp conditions and pose risks to valuable equipment (Foundation 17, Qendra Multimedia). Specifically, the spaces of Rezidenca 17 and the Palace of Youth and Sports, which hosts Oda Theatre, illustrate some of the challenges. These spaces are either co-governed with the Municipality of Prishtina or entrusted to the organisations for a specified period. Yet, they often require “constant maintenance and patch-ups”, rather than receiving the comprehensive renovations they clearly need. This illustrates a broader pattern on how the municipality approaches cooperation with these organizations – an issue that will be revisited later in the text.

There are, of course, spaces that are undergoing a thorough reconstruction. One notable example is Stereo Space. Initially squatting the ‘house of culture’ and later formalizing their relationship with its owner, the Municipality of Prishtina, Stereo Space is currently undergoing a complete renovation – from new restrooms to a new roof – entirely funded by the municipality(11). Located in a village 4km from the capital, Stereo Space represents an innovative organisational model. Its sustainability is rooted in active community engagement: local residents contribute their time and skills through micro-social entrepreneurship, such as cooking, while artists volunteer to teach guitar lessons to village children. So far, this model has proven functional. In contrast to other co-managed spaces, the municipality here has proven a reliable partner, maintaining the property and making it available to the rural community. Another major development is the long-awaited renovation of Kino Lumbardhi, now set in motion with the support of EU funds. It will include insulation and structural reinforcement of the building, as well as the installation of heating, cooling and air-conditioning systems. The renovation will preserve the building’s heritage qualities, while adapting the space for multipurpose use, including theatre and music performances, as well as archiving and research. The uniqueness and significance of Kino Lumbardhi for the city can hardly be overstated. As noted by Ares Shporta, the cinema arrived in Prizren only 20 years after electricity, transforming the city and its people. It became a place of gathering where local people saw the world for the first time, selling at its peak an astonishing half a million tickets annually in a city of 50 000 people. Beyond its historical role, the cinema is also central to the contemporary cultural identity of Prizren. It is closely tied to Dokufest and stands as a symbol of resistance, as it was there that citizens stood against rapid urban changes that replaced houses from 18th and 19th century houses with hotels and parking lots. As Veton Nurkollari puts it, “the space with its garden attracted us like magnet”, without it Dokufest would not exist. A fully renovated and modernized Kino Lumbardhi, enriched with new content and programmes, is therefore expected to inspire fresh interactions and mark a new chapter in the city’s cultural life.

The volatility of local government, especially in cases when municipalities co-manage cultural spaces within the same city administration, remains a puzzling phenomenon(12). In some cases, municipalities act as reliable partners (Stereo Space), while in others, organizations have to handle basic maintenance issues, such as repairing a leaking roof despite the building being municipally owned (Oda Theatre/Qendra Multimedia). While municipalities provide rent-free spaces and cover utilities, they sometimes neglect essential costs, such as substantial electricity bills (Defy Them). Although offering free space may suggest an inclusive policy towards independent cultural actors, many users express concerns about losing access or being displaced. Contracts are typically time-limited and based on memorandums of understanding with weak legal foundations. Given the frequency of snap elections in Kosovo, shifts in political leadership could easily tip the balance towards free-market policies and business interests over civic actors in their access to public spaces. These concerns, raised repeatedly in the interviews, once again confirm that access to public space use remains the central and unresolved issue within Kosovo’s civic and cultural sphere.

The vulnerability of independent cultural actors is also evident in their relationship with (local) authorities and the conditions of public space use, pushing them to focus more on their communities and immediate neighbourhoods. Interviews emphasize that sustained, intentional relationship-building within neighbourhoods is key to how these organisations embed themselves in their communities and create lasting impact (Sound Space, Defy Them, Termokiss, Foundation 17, Kino Armata, and others). These close community ties also serve as a defence mechanism against potential evictions and the broader uncertainties of a politically volatile context. The willingness to protect cultural spaces reflects the enduring legacy of the mobilizations to save Kino Lumbardhi, which significantly strengthened citizens’ sense of belonging and agency. Surprisingly, the municipal authorities in Prizren have yet to fully acknowledge and support the vital contributions of both Lumbardhi and the world-renowned Dokufest festival to the city’s cultural positioning and development. Unlike other European cities, such as Berlin, Sarajevo or Rotterdam, where local authorities actively support and contribute to the major festivals, the Prizren authorities remain strangely distant. This lack of engagement overlooks Dokufest’s immense contributions, generating 4 million euros annually for the city while receiving only 70 thousand in subsidies. Beyond its financial impact, Dokufest brings symbolic and cultural value, attracting thousands of people to the city, boosting tourism, showcasing the city’s rich cultural heritage, and enhancing Prizren’s positive international image. Most importantly, it fosters communication with the world by introducing contemporary ideas and engaging the local population in current discourses. This is particularly evident in its long-running educational activities with high school students, which bravely choose complex topics to cover, especially those affecting young women and girls. These deeper, refined aspects are all part of Dokufest’s profound influence on Prizren and its people.

2.2.1. Mapping the Residency Spaces

Another key factor in bringing new knowledge and perspectives, and enhancing communication and exchange with the world, is the availability of residencies. Based on interview statements, the residencies available on the Kosovo independent scene can be grouped into three categories: first, organizations offering residencies, developing residency programmes and having their own accommodation capacities; second, organizations that have the experience of offering residencies, whether through specific projects or informally, yet currently do not systematically engage in the activity; and third, organizations that are open to the idea of residencies but lack sufficient information or knowledge about the format. Two organizations – Autostrada Biennale and Foundation17, belong to the first group. Autostrada Biennale, located in Prizren, has two rooms at its location in Hangars, where it can host up to four artists and provide production space. Foundation 17, based in Prishtina, runs its Rezidenca 17 programme in the house of writer Hivzi Sulejmani, in cooperation with the municipality. It can accommodate up to two people in two rooms, and also offers two collaboration rooms and three studios for a period from one week to six months (13). Belonging to the second group, Qendra Multimedia regularly offers residency programmes for actors, writers and translators, but needs to rent spaces for this purpose. Other organizations, like Lumbardhi, Termokiss and Anibar, have occasionally offered residencies, often hosting people in their private homes or temporary locations. This experience gave them insights into the potential of such programmes, which they are interested in developing further. Lastly, a third group of interviewees openly express their lack of knowledge about the residency format but express interest in learning more. Some interviewees perceive residencies as unsuitable for their type of organisation, often associating them with contemporary arts rather than cultural activism or music. However, in practice, residencies benefit people across various professional fields, as demonstrated by Foundation 17, which “opens their space for local artists, researchers, scientists, activists, whoever is in need of a space to work on a project or initiative”.

Overall, opinions on the need and usefulness of residency programmes are almost unanimously positive. However, it is noteworthy that very few are familiar with the residency programmes already available in the country. A compelling and potentially valuable suggestion emerged, to map the organisations offering residency programmes in Kosovo, whether in their own spaces or elsewhere, and to identify the types of activities or arts they support, as residency programmes often require different working conditions and facilities (Qendra Multimedia/Oda Theatre). Sharing such systematized information, including the details on their availability, could serve as a valuable resource for the cultural scene and potentially inspire other exchange formats. Another suggestion was to create summer residencies in cooperation with the University of Prishtina, as its dormitories are typically vacant over the summer (Defy Them). Overall, the discussions on residencies revealed considerable untapped potential and interest in pursuing such initiatives.

2.3. Contributing to Society

As noted previously, organizations in independent culture are among the most innovative civil society actors in the country, producing very significant cultural content. They push boundaries, introduce new topics, infuse local discourses with the contemporary cultural and artistic trends, and focus on socially engaging and meaningful issues. Some of the topics they focus on include reconciliation, environmental issues, human rights, gender equality, LGBTQI+ issues, inclusion, democracy, community building, queer ecologies, and love, among others. Through their regular activities, cultural organizations promote these issues in the mainstream, initiating discussions and producing critical discourse. For example, Anibar, through its annual festival themes, strives to promote important issues such as isolation, climate change or public space. This approach has proved to be effective, although certain topics, like the one on queer love, provoke backlashes. Namely, at the festival’s opening, the screening of the animated documentary film “Beautiful Woman”, telling the life story of a transgender woman, upset many spirits but also initiated a discussion on queer rights at the local level in Kosovo for the first time (Aliu 2023). This theme was a conscious reaction to the recent rejection by the Kosovo parliament of the new Civil Code, which would have allowed same-sex marriage. By opening the festival with a film about transgender rights, Anibar aimed to reinvigorate the conversation and encourage critical discourse rather than letting the issue be forgotten. Similarly, Qendra Multimedia, with its focus on reconciliation, was one of the first to translate and publish contemporary writers from Serbia, thereby promoting dialogue, cultural exchange, and contributing to democratization efforts. By expanding the Polip festival into an international event and hosting authors and translators from all over Europe, Qendra Multimedia created “a space for reflecting on the role of literature and the changes societies were going through”, thereby fostering a sense of connection and understanding with people elsewhere (14). On the other hand, Foundation 17 has focused on identifying abandoned spaces in Prishtina and beyond that could be repurposed to serve the community. It became an important information point, providing updates on the current status of these spaces and their potential transformation. These are just a few examples of how independent cultural actors intervene and make meaningful contributions to society.

Innovation in the educational field represents another significant contribution to society, with independent cultural organisations offering alternative education that supplements university curricula with new content, and provides practical training in fields such as design, dramatic arts and film (Autostrada Biennale, Qendra Multimedia, Defy Them and others). For instance, Autostrada Biennale offers an internship programme that emerged from a need identified during the biennale’s production process. Working with young people, often with strong academic credentials, revealed that many lacked practical, hands-on experience. Recognizing that education in Kosovo and the Balkans, particularly in fields like architecture, design, mechatronics and engineering, is largely theory-based, Autostrada Biennale developed an educational programme to enhance the practical skills necessary for these professions. This programme aims for long-term impact, as demonstrated by the future employment of their interns in various creative agencies and companies involved in furniture or product design. This internship programme not only improves students‘ practical skills but also serves as an effective recruitment mechanism, attracting the most talented individuals to Autostrada.

Education is also a core focus for independent cultural organizations active in music. While functioning as a record label, studio, rehearsal space and small venue, Defy Them considers education as their primary activity. The organisation describes its mission as “having fun with music through socialising,” getting together, sharing knowledge, performance, and more. In their words, “we believe that music and education can contribute to the overall culture of our society, even make changes”. Their goal is to expand this model to other cities in Kosovo. More importantly, their mission embodies the belief that arts, particularly music, can change the world. Their aim is “to be that funnel to invite the people and move together in this journey, where we all try to go through education and keep the music scene alive together, as a community”. Closely tied to this is the role of volunteering that, as briefly mentioned previously in the report, also contains a strong educational component. Beyond developing different skills, volunteering offers hand-on experience in festival production and provides informal education through film clubs and other formats, introducing young people to critical societal issues. Volunteering can serve as an incubator for new cultural activities, as seen with Road Fest in Peja, founded by former volunteers at the Anibar Festival who wanted to provide more cultural activities in their city, and engage youth and children.

Another innovative aspect lies in the development of organisational models through which the independent scene often pursues continuity and sustainability. A notable example is Stereo Space, a cultural centre in a rural area that aims to replicate its model in other villages and abandoned ‘houses of culture’. Their main goal is to bring cultural content to rural communities through a combination of exchange with other independent culture actors, volunteering by artists in exchange for use of spaces, and training the only staff member paid by the municipality – the librarian – to serve as a contact point for the ‘house of culture’. They aim to reverse the current policy of “putting village children on a bus and bringing them to the city to see cultural content,” and instead, “to bring city people and culture to the villages, because this is where they all need to see cultural content”. Another innovative example is Termokiss, a community-run centre operating in close connection with its neighbourhood, endorsing horizontality as a core organising principle. This is evident in its weekly assemblies, where anyone who ‘has been around for at least two months’ can vote (15). This openness and inclusivity contribute to the variety of democratic practices and standards exercised in the country.

A closely related and significant issue is that of ‘safe spaces’. In the interviews, this issue takes on different meanings – from spaces that nurture self-expression for certain social groups, most notably the LGBTIQ+ population, to environments that promote freedom of speech and cultivate a non-judgmental, open, and creative atmosphere free from mainstream societal constraints (16). This issue is, again, most innovatively tackled by Termokiss. What started as an internal effort to address certain challenges and establish a zero-violence organisational policy, has evolved into a model that spread throughout Prishtina’s cultural and party scene. According to the Termokiss community, the principles of horizontality, openness and inclusivity can attract diverse individuals, some of whom may exhibit abusive behaviour, harass others, particularly girls, or make sexist comments. After experiencing such behaviour from a community member, a female member initiated a ‘community accountability process’, which resulted in the expulsion of the offending individual. This experience led to the creation of the Safer Spaces Initiative, a structured procedure for handling similar situations. In the words of Elena Morina, the instigator of the Safer Spaces Initiative, “it is not enough if you just send someone to the police and that is done there, it is a cultural or behavioural change on how you act when someone tells you they have been abused or harassed”. Building on the legacy of Temokiss as a safe space for queer people, the Safer Spaces Initiative was the first to address the issue in a broader, more structural way. Today, at certain events and parties, organizers enforce a set of regulations to make sure that everyone feels safe and comfortable. The visibility of this cultural change across the Prishtina scene, making inappropriate behaviour widely seen as unacceptable, is regarded by the Temokiss community as their contribution to societal change.

Other organisations emphasizing their ‘safe space’ identity, primarily as queer-friendly spaces, include Lumbardhi and Foundation 17. In Prizren, Kino Lumbardhi is one of two recognized safe spaces in the city, the other being a café (17). In Prishtina, Foundation 17 modified certain Zoom activities during the pandemic to ensure an online safe space for the queer community. From its inception, Foundation 17 has identified as a safe space, defining such spaces as “bringing together community, nourishing thinking in a very kind and free way, in the sense of being very open to challenging different perspectives and questions, and pushing boundaries to the topics that we engage with”(17). Overall, the issue of safe space seems to hold an important place on Kosovo’s independent scene. It also may be perceived as a generational issue, with younger actors, mostly in their 20s, being fed up with having to endure harassment at events and parties, determined to dismantle patriarchal organisational culture once and for all. Regardless of the differences in how these actors understand ‘safe space’, this diversity of perspectives still seems very much needed. The emphasis on providing safe spaces, particularly for the LGBTQI+ community, can be seen as reflecting their status in society, presence in the public discourse, and the scarcity of queer-friendly spaces in general. This highlights another way independent cultural organizations challenge mainstream cultural attitudes while providing significant social and cultural content.

3. Concluding Remarks

This research into Kosovo’s independent cultural scene reveals a young, vibrant and capable community, optimistic about the future and eager to engage with and contribute to its surroundings. The openness to new and contemporary ideas, the relative absence of constraints and, most importantly, the current window of opportunity to shape the developmental trajectories of the independent cultural field make this a particularly favourable moment for effecting change. The institutional construction of the system, currently led by the government, openly supports the independent scene and recognizes its substantial contributions and vast potential for society. The achievements of reputable mid-generation organizations, such as Oda Theatre or Dokufest, have paved the way for newer organizations founded within the last decade. These new organisations have opened new spaces and brought fresh dynamics to the scene. Some of the contributions from these organizations include horizontal decision making, provision of safe spaces, community organizing, openness and inclusivity, and the introduction of new themes that effectively push boundaries. In many ways, Kosovo’s independent cultural scene functions as a civic academy, fulfilling an important educational and developmental role in society. Overall, the interviewed cultural actors express strong motivation, enthusiasm and high energy regarding programme production, revealing the vitality of the scene and its untapped potential for further growth.

However, the relations with authorities, particularly at the local level, offer less reason for optimism. Access to public space remains a central issue for Kosovo’s social and cultural actors, raising concerns among the users of these spaces. Political volatility and the climate of corruption and clientelism at the local level increase these concerns, as cultural organizations fear displacement and uncertain futures. The local authorities’ inconsistent approach towards cultural organizations – acting as reliable partners one moment and precarious the next – further raises doubts about long-term prospects. These apprehensions are well-founded, as cultural actors fear that a shift in political power towards authorities prioritizing commercial interests over civic engagement could drastically alter their situation.

On the other hand, institutionalisation in culture, evident in new laws, increased funding and diversification of funding mechanisms, offers reasons for optimism. The expansion of national and local cultural budgets has resulted in larger grants for independent cultural organizations. However, the pace and scale of this growth also raise questions about long-term sustainability. At the same time, this situation presents an opportunity to take strategic actions that could have a lasting impact. The recommendations in this report emphasize the importance of the current supportive political environment in strengthening Kosovo's independent cultural scene.

Overall, the combination of opportunities and challenges facing Kosovo’s independent scene leaves its participants with mixed feelings – hopeful about being on the right path, yet concerned about sustainability. Despite these uncertainties, the scene is brimming with imaginative visions for the future. Defy Them envisions a large, multifunctional venue in the city centre, capable of hosting big bands, theatre plays, poetry readings and other arts. Stereo Space aims to revitalize the ‘house of culture’ in a neighbouring village and replicate this model elsewhere to benefit other rural communities. Kino Armata strives to establish a significant educational institution, the Centre for Music and Film, while Dokufest dream of establishing a Department for Film Directing in Prizren. Recognizing the healing power of the arts and the need for more cultural content in their city, Anibar envision a year-round festival and plan to repurpose abandoned spaces for public use (19). Similarly, Oda Theatre aspires to renovate the Palace of Youth and Sports, transforming it into a more functional place for creative work. The Termokiss community seeks stronger community ties, more horizontal organizing, more events offerings, and an expansion of similar spaces worldwide. This blend of aspirations and dreams reflects the vibrant and ambitious nature of Kosovo’s independent scene, highlighting its potential to drive cultural and social change.

Based on these insights, our aim is to propose recommendations for practical application and further research. These recommendations encompass a range of activities tailored to different audiences. They include educational activities for public administration and the general public, efforts to enrich collective memory through archival and research endeavours, and the creation of networks or platforms to enhance advocacy, among others.

Regardless of on-going institutional developments in the cultural field, Kosovo’s independent scene, currently in a ‘flourishing phase’, could benefit from increased support, both from local authorities and within the scene itself. Two potential strategies come to mind: First, educational and informative activities aimed at local administrations could help mitigate the current lack of reliability in partnerships. Establishing effective communication channels and involving public officials in the activities of the independent cultural sector could enhance their understanding of its modus operandi and achievements. Many organizations find it exhausting to repeatedly explain their missions and objectives, highlighting the need for education among both public officials and the broader public. Second, these educational efforts would be bolstered by the establishment of a unified political subject representing the scene. While previous initiatives like the Cultural Forum and various local forums have dissolved despite achieving commendable results, a crucial need remains for a representative collectivity, a network or platform, that would advocate the needs of the scene. Given the current ‘window of opportunity’, such political cohesion could have a lasting influence, charting new directions and going beyond the frameworks set by the EU acquis and other established models. This issue prompts further exploration and envisioning of the goals to pursue.

As stated above, the historical absence of institutionalization in culture may be seen as an additional incentive to forge innovative developmental trajectories, particularly in the current political climate, receptive to the ‘new’ and the contemporary. An attempt to stabilize rapid growth, ensure long-term functionality and chart future paths would require a certain degree of consensus within the cultural scene, fostered through assemblies or similar forums. Involving highly capable actors from the region and beyond, spanning humanities, social sciences and the arts, may contribute to and enrich such processes.

This research has identified the inconsistent approach of municipalities towards different actors in Kosovo’s independent cultural scene, oscillating between reliability and precariousness. This puzzling arbitrariness may stem from broader issues of local corruption and clientelism. To counteract this and advocate for transparency and equal treatment, continuing with the established practices of collective bottom-up action seem essential. Concurrently, establishing a network or platform could help address other pressing needs, such as capacity-building, knowledge exchange and improving working conditions.

While many organizations in Kosovo are relatively young, with many of the most active ones founded in the past decade, they still face challenges similar to those experienced by older scenes in the region. Currently, Kosovo’s independent scene remains vibrant, inclusive and eager to engage youth while addressing their interests. However, it also includes the ‘aging young’ and older generations, whose changing needs are not sufficiently met, highlighting the need to improve working conditions.

Further development of research and archival activities is essential for the future advancement of Kosovo’s independent scene – a deep understanding of organisational history and its evolving connection to a city over time, especially in the absence of specialized research institutions focused on memory culture. Without this, it can be difficult to determine “where to start from, what kind of position to take, what kind of institution to become, what kind of practice to develop” (Foundation Lumbardhi). Establishing research and archival practices is therefore essential for the growth of the cultural sector, allowing cultural organizations to fill the gaps left by state institutions. Independent cultural organizations often play a pivotal role in uncovering buried memories and displaying them for future generations. Collaborating on research projects with scientific and other institutions, both local and international, is necessary to support this mission.

Finally, regarding residency programmes, this research highlights the need for cultural organizations to access more information on available opportunities, objectives, cultural and artistic activities, and funding. Dialogue with municipalities, who often own these spaces, is essential for their renovation and repurposing for cultural exchanges. Additionally, the cultural workers suggest developing a comprehensive national database (20) on cultural policies and infrastructure, particularly residencies, with details on accommodation and work-related capacities to enhance cooperation and resource utilisation.

Footnotes:

(1) For a historical overview of cultural landscape in Kosovo, see Shporta, 2020. Conveniences of State-Building. Articulating Cultural Policies in Kosovo. Available at: https://www.degruyter.com/document/doi/10.1515/9783110682823-013/html (accessed 24/05/2024).

(2) As illustrated by Guri Shkodra from Stereo Space, regarding the centrality of the public space issue for Kosovo’s civil society: “There is a huge fight between the people who see a lot of commercial value there, and us who just want to use it for public needs. I think the law here basically puts that on auction somehow, and then of course the ones with the money, they always win”.

(3) The importance of systematized, well-researched organisational history for organisational development was raised by Ares Shporta; “We started to try out and build the whole programmatic approach to memory because there are no real museums, or research institutions, or any kind of institution that does any kind of work in memory, and this is really confusing because you don't know where to start from, what kind of position to take, what kind of institution to become, what kind of practice to develop”.

(4) In Kosovo, it is not uncommon for individuals to join an organization as early as age 16 and, by the age of 22, take on leadership roles such as festival director, as in the case of Anibar. Moreover, when discussing youth involvement in Kosovo, it typically refers to individuals in high school or early adolescence up to the age of 25, rather than the EU statistical framework which defines youth as those under 35 – a definition more applicable in the other two country cases covered by this research.

(5) In the words of Fëllanza Taraku, project manager at Anibar and organizer of Road Fest, she recalls being aware of Anibar from a very young age, and eagerly anticipating the moment when she would be old enough to volunteer at the festival.

(6)For instance, in Prishtina, there are people with Termokiss tattoos.

(7) Some of the recently adopted laws include the Law on Art and Culture and the Law on Cinematography, among others, with several additional laws currently in preparation.

(8) “Initiative for Protection of Lumbardhi Cinema”, signed by more than 50 organizations, illustrates the importance of this cinema for the cultural identity of Prizren and Kosovo. Available at: https://www.ecmandryshe.org/repository/docs/Joint_Statement_LUMBARDHI.pdf (accessed 24/05/2024).

(9) As expressed in the informal conversations during the field research at several locations. Many participants mentioned personal connections and friendships with members of the current political elite. In addition to cultural activism, there is also a generational link through shared school attendance.

(10) This insight comes from informal conversations with actors on the independent cultural scene.

(11) During the Yugoslav socialist period, ‘houses of culture’ were built throughout the country, bringing arts, culture, and entertainment to local communities. Although in certain countries some of these still function to an extent, in Kosovo the houses of culture fell into disuse and neglect since the 1990s. Several hundred of these cultural centres, built in the 1970s and 1980s, exist in Kosovo (Haxhiaj 2024).

(12) By contrast, municipalities exhibit a strikingly different approach toward international actors. For instance, in cooperation with Manifesta, the Municipality of Prishtina demonstrated strong partnership by allowing the Hivzi Sulejmani Library to host a new interdisciplinary institution, the Centre for Narrative Practice, and providing substantial public funding. This treatment was met with criticism by a segment of the local cultural scene (Sutlović 2023).

(13) The programmes run by Foundation 17 include the Infrared residency, which focuses on environmental issues; the Matanë exchange residency in collaboration with Shkodra, Albania; and Kontrapunkt, Skopje, with plans to expand it to other countries of the region; and the Styria Artist in Residence Programme in Graz, Austria. Foundation 17 is continuously on the lookout for new opportunities for collaboration to develop similar exchange formats with other countries. For more, see: https://foundation17.org/spaces-of-shtatembedhjete/rezidenca-17/ (accessed 24/05/2024).

(14) For more on the Polip festival, which has seen 13 editions to date, see: https://qendra.org/en/polip-international-literature-festival-2023/ (accessed 24/05/2024).

(15) Or as they jokingly put it, “you are only a member if you clean the bathrooms – twice!”. Equal participation in cleaning duties by everyone involved is an important principle within the Termokiss community.

(16) For instance, Road Fest sees the provision of safe space as one of their objectives. As explained by Fëllanza Taraku, “we provided safe space for everyone to come, to feel free and safe to say something and don’t get judged, where there is no wrong or right. It is also a place where young people can help each other make decisions, ask questions, be informed. It is a trust space as well”.

(17) According to a survey by the queer platform "Dylvberizm".

(18) As further explained by Ajete Kerqeli, a co-founder of Foundation 17, “the concept of safe space relates to the idea that it is open to the different groups, queer community, women, other marginalized groups, in the sense it doesn't have restrictions in terms of the content it brings in, everyone can come and do their own thing and present their own thing as long as it aligns with our overall values as an organization... so in that sense it's a safe space for everyone to come express their opinion, express themselves, run their own thing and be who they are without the fear. In other words, it is a space that offers the opportunity for everyone to express what they sort of lack in other mediums or spaces, formal educational system, university or public space.”

(19) Or, as beautifully formulated by Vullnet Sanaja, “there are so many abandoned spaces in the city where people can interact, where art can be produced. I mean, it has such a healing component to it, it opens up people. Sometimes it is like people die without even dying. Like when you see people just mindlessly walking when they could actually be doing so many things if the space was somehow faster available, and the arts, creativity and like would be open for this. And I think that's possible, all the resources are already here”.

(20) Given the lack of information on these issues, it could be highly beneficial to develop a country profile at the Compendium of Cultural Policies for Kosovo (for more see: https://www.culturalpolicies.net/).

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