V prispevku sta obravnavani ljudska in narodnozabavna glasba z vidika razvoja njunih simbolnih pomenov za ožjo in širšo skupnost. V središču opazovanja glasbenih zvrsti, ki v sebi združujeta številne ...dihotomije, je prav migriranje oz. prehajanje pomenov, moralnih in estetskih vrednot iz enega obdobja v drugega, iz ene skupnosti v drugo ali iz enega družbenega sloja v drugega. Če je v 20. stoletju ljudska glasba predstavljala eno ključnih narodnoreprezentativnih vsebin, pa je v zadnjih desetletjih ta vloga poleg nje začela pripadati tudi narodnozabavni glasbi, saj je slednjo v svojo agendo začela sprejemati državna politika in jo s tem legitimirala kot nacionalnoreprezentativni simbol.
U radu se na temelju izvornoga arhivskoga gradiva istražuje jedan aspekt
kulturne politike Jugoslavije i Hrvatske prema iseljeništvu – gostovanja glazbenih umjetnika i kulturno-umjetničkih društava u ...zemljama iseljavanja 60-ih i 70-ih godina XX. stoljeća. U kratkom prikazu iseljeničke službe na saveznoj i republičkoj razini daje se uvid
u njezinu ulogu u formiranju i realiziranju te nadzor nad tim dijelom kulturne politike. Nastojanje Jugoslavije da ostvari organizacijski i ideološki nadzor nad tim aktivnostima dodatno je ilustriran primjerima dvojice hrvatskih popularnih pjevača – Ive Robića i Vice Vukova.
Based on the original archives, the paper explores one aspect of the cultural policy of Yugoslavia and Croatia towards emigration—guest appearances by music artists and cultural and artistic societies in the countries of emigration in the 1960s and 1970s. The policy towards emigrants, especially ‘temporary workers abroad’, has been particularly important since the early 1960s, as emigration began to be perceived as a
vital force, for both political and economic reasons. Therefore, the emigration service in the 1960s expanded and operated through several working bodies at the federal and republican levels, and played an essential role in the formation and implementation as well as the supervision of cultural policy towards emigrants. The idea was to maintain and strengthen the influence of self-managing socialist Yugoslavia in the ‘Seventh Republic’, and to neutralise the impact of political émigrés averse to the communist regime as much as possible. Music, as a segment of cultural policy, was a trump card that was known to have good reception with the audience, and guest appearances by musicians—singers and cultural and artistic societies—became very popular and frequent in Western Europe and overseas. Visits thus became a
medium of ideological and promotional activities towards emigrants; organisers, performers, programs, and performances were regularly monitored by the state and Party bodies, diplomatic missions, and the State Security Service. Among the implementers of cultural policy towards emigrants, a significant role was played by the Heritage Foundation of Croatia, which operated according to the instructions of state and Party bodies, but had the best insight into the situation among immigrants and maintained continuous relations with them. Yugoslavia’s efforts to gain organisational and ideological control over
musical guest appearances are further illustrated through the examples of two Croatian popular singers—Ivo Robić and Vice Vukov.
Kulturna prava su jedna od temeljnih ljudskih prava, a odgovornost za kreiranje i provođenje kulturne politike, koja omogućuje njihovu realizaciju, nosi javna vlast. Istraživanje predstavljeno ovim ...radom polazi od pretpostavke da učinkovito upravljanje i osobito planiranje u području kulture moraju omogućiti povezivanje kulture s drugim aspektima društvenog i gospodarskog života, jer se na taj način potiče razvoj lokalne zajednice, što izravno utječe na jačanje nacionalne ekonomije. Zato je cilj istraživanja bio generirati znanstveni pregled utjecaja kulturnih i kreativnih industrija na gospodarstvo i društvo općenito, uz uvažavanje postojećeg pravno legislativnog okvira. Pri tome su korištene odabrane metode iz kvalitativnog metodološkog okvira. Rezultati uključuju potvrdu odgovornosti kulturne politike za realizaciju kulturnih prava, pregled regulatornih akata u kulturi, uvid u evoluciju i obuhvat kulturnih i kreativnih industrija, identifikaciju njihova potencijala te argumentiranje planiranja u kulturi kao polazne pretpostavke učinkovitog upravljanja i razvitka. Ovim radom prezentirano je originalno istraživanje, koje je dovelo do novih spoznaja te kao takvo predstavlja doprinos znanstvenom diskursu o menadžmentu kulturnih i kreativnih industrija, a svoj doprinos daje i kroz podršku profesionalnom djelovanju u smjeru ostvarenja potencijala u ovom području.
Cultural rights are one of the fundamental human rights. The responsibility for creating andimplementing cultural policy, which enables their realization, lies with the public authority. Theresearch presented in this paper starts from the assumption that effective management and especiallyplanning in the field of culture must facilitate the bond of culture with other aspects of social andeconomic life, because it encourages local community development, which directly strengthens thenational economy. Therefore, the aim of the research was to generate a scientific overview of theimpact of cultural and creative industries on the economy and society in general, while respectingthe existing legal and legislative framework. Selected methods from the qualitative methodologicalframework were used. The results include confirmation of the responsibility of cultural policy forthe realization of cultural rights, review of regulatory acts in culture, insight into the evolution andcoverage of cultural and creative industries, identification of their potential and argumentation ofcultural planning as a prerequisite for effective management and development. This paper presentsthe original research, which led to new insights and as such represents a contribution to the scientificdiscourse on the management of cultural and creative industries. It also provides contribution toprofessional action aimed to realize the potential in this area.
Rasprave o temeljnoj ulozi umjetničkog muzeja poglavito se vežu za različito shvaćanje prirode umjetnosti—njezine autonomnosti ili instrumentalnosti. Zagovaranje potonjeg u kontekstu demonstracije ...društvene vrijednosti umjetničkog muzeja ili participacije u umjetnosti dovelo je u drugoj polovici 20. stoljeća do potrebe za umjetničkom medijacijom prvenstveno kao edukacijom posjetitelja o važnosti i značenju umjetničkih djela. Međutim, u radu se medijacija u muzejima koji slijede model takozvane „bijele kocke” promatra kroz prizmu komunikacije na izložbi tijekom pojedinačnog posjeta, a u obzir se uzimaju svi izložbeni mediji, od prostora, teksta, do različitih oblika digitalnih sadržaja i tehnologije. Teorijski okvir rada predstavljaju tri načela muzejske medijacije koji uključuju paradigme istraživanja umjetnosti i estetskog iskustva na kojima se temelji muzejska praksa, izložbene medije te paradigme kulturnih politika. Pregledom medijacije na umjetničkim muzejskim izložbama od 30-ih godina 20. stoljeća do danas, u kontekstu tri navedena načela, predlaže se i analiza medijacije kao svojevrsnog alata za određivanje odnosa koje muzeji uspostavljaju između umjetnosti i posjetitelja, a time i njihove društvene uloge.
Kampanja protiv apstrakcije 1962./1963. jedan je od najdrastičnijih pokušaja političke arbitraže i reafirmacije dogmatizma u umjetnosti Jugoslavije. Tadašnji izvori upozoravaju da je upravo enformel ...bio meta tog napada. Suštinska pitanja na koja ovaj članak nastoji odgovoriti jesu: tko, kada i zašto se uključuje u polemiku oko enformela doprinoseći eskalaciji konflikta. Praćenjem zbivanja, koincidencija i usporedbi došlo se do zaključka da je kampanja protiv enformela bila strateški planirana i sinhronizirana akcija jugoslavenskog političkog i kulturnog establišmenta sprovedena prema scenariju političke intervencije u sovjetskoj kulturi, koja joj je neposredno prethodila. Iako kratkotrajna i bez drastičnih posljedica, kampanja u Jugoslaviji rezultirala je presjecanjem razvojnog puta, otupljivanjem kritičke oštrice i marginalizacijom enformelne apstrakcije na institucionalnoj razini.
The campaign against Abstraction in 1962-63 represents one of the most dramatic attempts at political arbitrage and reaffirmation of dogmatism in the history of Yugoslav art. Contemporary sources suggest that the main target of those attacks was – Art Informel. Therefore, the essential questions this article seeks to discuss are the following: who, when and why was involved in the dispute over Art Informel, contributing to the escalation of the conflict. By keeping track of the events, coincidences and parallels, it was concluded that the campaign against Art Informel was a strategically planned and synchronized action of the Yugoslav political and cultural establishment, conducted according to the scenario of political intervention in Soviet culture, which immediately preceded it. Although short-lived and with no drastic consequences, this campaign in Yugoslavia resulted in an obstruction of the developmental path, dulling the critical blade, as well as marginalizing the Art Informel abstraction on the institutional map of meanings.
U članku su prezentirani rezultati istraživanja o strukturi komentara sudionika e-savjetovanja o arhivskim propisima i planskim dokumentima u Hrvatskoj. Podatci su prikupljeni metodom kvantitativne ...analize sadržaja pojedinačnih izvješća o provedenim savjetovanjima od 2017. do 2020. godine dostupnih na portalu e-Savjetovanja i popratnih dokumenata. Nakon uvoda i opisa metodologije istraživanja, prezentirani su rezultati istraživanja te se o njima raspravlja. U obliku tabličnih i grafičkih prikaza prezentirani su podatci o statusu komentara (prihvaćeno, djelomično prihvaćeno, neprihvaćeno, primljeno na znanje, neodgovoreno) po pojedinom e-savjetovanju, te prema dvjema skupinama sudionika: stručna arhivska zajednica i stala zainteresirana javnost (prema broju i u postotku). Prihvaćeni i djelomično prihvaćeni komentari analizirani su i sadržajno te pritom razvrstani u dvije osnovne kategorije: tehnički i stručni komentari. S jedne strane, rezultati takve analize mogu se tumačiti kao pokazatelj stupnja kompetentnosti sudionika e-savjetovanja. S druge strane, može ih se smatrati važnim čimbenikom u objašnjavanju ishoda e-savjetovanja, tj. sklonosti zakonodavca da (ne)uvaži zaprimljene prijedloge.
The Bulletin d’ archives from 2021 published the results of a survey on participants in public consultations (e-counsellings) on regulations and planning documents on public archival service in Croatia. The subject was suited for a complete elaboration, since in the period from 2017 to 2020 the competent Ministry of Culture (renamed in July 2020 into Ministry of Culture and Media) had carried out counsellings via the central internet portal on eight legal acts (two laws, five ordinances and one planning document). Apart from the new ordi-nance on registers and other official archival documentation that has yet to be regulated, this constitutes a comprehensive normative and planning framework of the public archival service. Inter alia, the results of that research indicated a rather low level of interest of the general public, as well as the professional archi-val community for the normative infrastructure of the public archival service. The lower turnout was put into context of influences of the e-counsellings that had so far taken place, regarding the formation of the final proposals of legal acts in terms of the level of acceptance of the sent suggestions (comments). Analysis of this segment, i.e. the status with which the comments were marked after the e-counsellings (accepted, partially accepted, not accepted, duly noted, unan-swered) are presented in this paper. This seeks to encourage scientific interest in further research on this topic, especially within the ALM community (archives, libraries, museums). The results of the research show that the Ministry of Culture and Media, as the competent state administration institution, fully or partially accepted 79 or 19.1 % of the total of 412 sent comments. This percentage is slightly lower than the average percentage of accepted and partially accepted comments on e-counsellings at the state level (24 %). Analysis of the structure of comments by two groups of participants (professional archival community, gen-eral public) showed an equal share of accepted and partially accepted comments in the total number of comments submitted by each group (18.8 % of comments of the professional archival community and 20 % of comments of the general public). Accepted and partially accepted comments were also analysed according to their content and classified into two basic categories: technical and profes-sional comments. The share of unaccepted comments turned out to be very high (201 comments or 48.8 %). Nevertheless, as a kind of incentive for participation on future e-counsellings, it should be noted that two thirds of the accepted com-ments are related to professional comments. Although modest in terms of num-ber or percentage (53 comments or 13 % of the total of 412 comments sent to the analysed e-counsellings), this data still reflects the valuable contribution of participants in shaping the normative infrastructure of the archival service, i.e. respect for their competence by the legislator.
U radu se na osnovi arhivske, periodične i bibliotečne građe razmatra uloga i odnos države i umjetnosti u realizaciji velikog broja narudžbi i otkupa likovnih djela za interijere javnih institucija ...na području Hrvatske tijekom 1950-ih i 1960-ih. Predstavljena je uloga državnih upravnih tijela, institucija, udruženja i pravnih akata u odabiru naručenih ili otkupljenih likovnih ostvarenja za javne institucije, kao i utjecaj novih umjetničkih izraza u oblikovanju vizualnog diskursa vladajućih struktura.
On the basis of archival, periodical and library records, the paper examines the role and relationship of state and art in implementation of a large number of commissions and buyouts of artwork for the interiors of public institutions in Croatia during the 1950s and 1960s. The paper discusses the role of state governing bodies, institutions, associations and legal acts in the selection of commissioned or purchased artwork for public institutions, as well as the influence of new artistic expressions in shaping the visual discourse of governing structures.
U članku se na primjeru zbirke/izložbe Komisije za kulturne veze sa inostranstvom
Sto listova jugoslovenske moderne grafike
razmatra način na koji su putujuće izložbe u prvoj polovini 1950-ih ...korištene kao poligon za uspostavljanje i jačanje međudržavničkih i kulturnih veza Federativne Narodne Republike Jugoslavije. Izložba Sto listova jugoslovenske moderne grafike u dvije je istovjetne verzije i pod različitim nazivima od 1953. do 1956. godine simultano gostovala diljem Južne Amerike i Europe (Grčka, Njemačka, Poljska). Na temelju arhivske, bibliotečne i periodičke građe analizira se djelovanje Komisije za kulturne veze sa inostranstvom, svrha, sadržaj i važnost formirane zbirke suvremene jugoslavenske grafike te propagandni karakter i recepcija izložbe u domaćem i inozemnom kontekstu.
The article discusses the collection/exhibition S
to listova jugoslovenske moderne grafike
(
One Hundred Sheets of Modern Yugoslav Graphic Art
) organized by the Commission for Cultural Relations with Foreign Countries (Komisija za kulturne veze s inostranstvom) and the way in which travelling exhibitions of the early 1950s were used as a platform for establishing and strengthening the interstate and cultural ties of the Federal People’s Republic of Yugoslavia. In two identical versions and under different titles, the exhibition Sto listova jugoslovenske moderne grafike was simultaneously hosted throughout South America and Europe (Greece, Germany, Poland) between 1953 and 1956. On the basis of archival and library holdings as well as contemporary periodicals, the paper analyses the activity of the Commission for Cultural Relations with Foreign Countries, as well as the purpose, content and importance of the established collection of contemporary Yugoslav graphic art and the promotional character and reception of the exhibition in local and international context.
U članku su prezentirani rezultati istraživanja o sudionicima savjetovanja s javnošću (e-savjetovanja) o propisima i planskim dokumentima kojima se uređuju organizacija i obavljanje javne arhivske ...službe u Hrvatskoj. Podatci su prikupljeni metodom kvantitativne analize sadržaja pojedinačnih izvješća o provedenim savjetovanjima od 2017. do 2020. godine dostupnih na središnjem mrežnom portalu e-Savjetovanja i popratnih dokumenata. Nakon uvoda slijedi teorijski dio, u kojem je ukratko opisan normativni okvir provedbe e-savjetovanja u Hrvatskoj, arhivski propisi i planski dokument, o kojima je provedeno e-savjetovanje te metodologija istraživanja. Potom su prezentirani rezultati istraživanja te se o njima raspravlja. Prezentirani podatci o broju i strukturi sudionika (fizičke osobe, razne kategorije pravnih osoba) te broju komentara koje upućuju (ukupno i po pojedinom e-savjetovanju) interpretirani su kao važan pokazatelj zainteresiranosti društvene okoline za javnu arhivsku službu, odnosno rad državnih arhiva kojima je njezino obavljanje povjereno. S druge strane, sudjelovanje u e-savjetovanjima pojedinih strukovnih arhivističkih društava, državnih arhiva i njihovih administrativnih i stručnih djelatnika interpretirano je kao pokazatelj zainteresiranosti za jačanje normativne infrastrukture vlastite službe.
Counsellings with the public are in the Croatian context a relatively new instrument of public participation in legislating regulations and other general acts whose characteristics and effects have not been scientifically researched in practice to a greater extent. The aim of the paper is to contribute to these perceptions by the elaboration of a subject i.e. analysing the participants of e-counsellings on regulations and planning documents that concern organizing and performance of the public archival service in Croatia. The subject is suited for a complete elaboration, since in the period from 2017 to 2020 the competent Ministry of Culture (renamed in July 2020 Ministry of Culture and Media) had carried out counsellings via the central internet portal on 8 such legal acts (two laws, five ordinances and one planning document). Apart from the new ordinance on evidences that has yet to be regulated, this constitutes a comprehensive normative and planning framework of the public archival service coordinated with changes in the surroundings where public archives work. The data had been gathered by the method of quantitative analysing of the content of individual reports on conducted counsellings available on e-Counselling portal, as well as additional documents. The Data on the number and structure of participants (natural persons, various categories of corporations) and amount of comments they sent (in total and for each e-counselling) are interpreted as an important indicator of the public interest for the public archival service i.e. the work of the state archives who are intrusted with performing it. On the other hand, the participation of individual professional archival societies, state archives and their administrative and professional employees on e-counsellings is interpreted as the indicator of interest for strengthening of normative infrastructure pertaining to their own service. The total of 412 comments was sent to the analysed e-counsellings, submitted by 56 participants. Since individual procedure of e-counselling is conducted for each legal act, the same natural person or corporation can appear as a participant in several counsellings. Therefore, in the total number of 56 participants individual natural persons or corporations were counted more than once, depending on the number of e-counsellings they participated in. Further analysis established that 40 different natural persons and coorporations participated in e-counsellings. The largest number of participants, as far as 30 or 75 %, participated in just one e-counselling. Six participants took part in two counsellings (15 %), whereas three counsellings had three participants (7.5 %). Four counsellings had no participants, whereas only one person (2.5 %) took part in five of them, which is also the largest number of noted participations by the same participant. Research results further show that from the total of 40 various participants of e-councellings 30 of them are natural persons and only 10 corporations. In the process, the natural persons had 43 and the corporations 13 participations. The same number of persons from the professional archival community (administrative and professional employees in archives, state archives and professional archival associations) and persons from social environment i.e. interested public in the broad sense participated in e-counsellings. The former comprises of 21 participants and the latter has 19 of them. The biggest difference between the two groups concerns the number of participations. The professional archival community had 35, whereas other interested public 21 participations. The presented results indicate a rather low level of interest of the general public, as well as the professional archival community, for the normative infrastructure of the public archival service. This conclusion is supported by the comparison of the number of participants from both groups with other relevant data, such as the number of creators of documental and archival records under the jurisdiction of state archives i.e. the number of employees in state archives. The authorised ministry and state archives should use this as the basis for re-examination of the current approach in implementing e-counsellings i.e. encourage them to further motivate the professional community and the general public to participate in this segment of their work. The lower turnout can certainly be put into context of influences of the e-counsellings that had so far taken place, regarding the formation of the final proposals of legal acts in terms of the level of acceptance of the sent suggestions (comments). Analysis of this segment, including the content and types of comments (without arguments, with arguments, technical, professional etc.), is only pointed out in this paper as a subject that warrants separate research.
The article discusses the circumstances of the establishment of the Youth Salon exhibition in the autumn of 1968 and its role in profiling the socio-political identity of young artists in the ...following period. The starting claim is that the current knowledge about how much events related to global and local student protests directly influenced the art scene in socialist Croatia and Yugoslavia is relatively modest, that is, that the connection between a certain type of avant-garde artistic practice and particular historical context is based on general assumptions. In order to clarify these ties, the article reflects on the cultural policy that immediately preceded the rebellious year, which was marked by general reform efforts in socialist Croatia and the Socialist Federal Republic of Yugoslavia in the second half of the 1960s. The social position of young artists became one of the important topics in regard to the reform efforts in the field of culture, as evidenced by the intensity of discussions at the level of the League of Socialist Youth. The text further explains the material and professional working conditions of young artists and the reasons for their dissatisfaction with the cultural and artistic system. Light is shed on events related to student protests at the Academy of Fine Arts in Zagreb in June 1968, which were an immediate occasion for the establishment of the Youth Salon exhibition. The thesis is that the Youth Salon, as a representative type of exhibition organised by the central republican art association (ULUH) and the Central Committee of the League of Socialist Youth, represented a typical parade gesture made by the state, which sought to pacify young people’s dissatisfaction with the general situation in the field of art and culture. As such, the Youth Salon experienced severe criticism in the first years of its existence. It also influenced the politicisation of young artists, who began to engage in criticism of the system as a whole. The controversy over the Youth Salon was also the immediate cause of the identity divergence between the young avant-garde artists, within which two art groups were the leading opponents: the so-called ‘neoplasticists’, gathered around Zagreb’s SC Gallery, and artists gathered in the Art Group ‘Atelier biafra’, who were the initiators and organisers of the Youth Salon in the first years. This antagonism would determine the balance of power on the Croatian art scene in the long run and influence the understanding of the echoes of 1968 in art and culture in general.
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