Queerbeograd Cabaret

The clandestine festival QueerBeograd created spaces of critique and transformation in order to foster a politics of interconnectedness. Ivana Marjanovi explores the festival's transnational activist cabaret between 2006 and 2008, which was devised, directed and produced by Jet Moon, a founding member of the QueerBeograd collective. This pioneering study demonstrates how the process of staging QueerBeograd Cabaret created a shared space between queer, anti-fascism and No Borders politics, contributing to the advancement of the intersectionality perspective beyond identity. The study thus investigates historical genealogies of gender and political difference in the former and post-Yugoslav space, bringing these into relation with global social and art movements.

This front line queer theatre tells first hand stories of how it is to be LGBT/Queer in Serbia and reveals the underlying issues of war, closed borders, neofascism and a country in the process of change. Activists turned performers from Queer Beograd Collective, Serbia, crossing borders between nations, cultures, genders and sexualities. Queer Beograd is a radical queer anti-fascist collective formed in 2004, at a time when it was impossible to hold a 'Pride march' in Serbia. our intention was to build a radical queer scene and politics in Beograd from the ground up. We needed a place to be able to meet and express ourselves without the fear of day-to-day violence on the streets. The 'Border Fuckers Cabaret' was developed as part of our festivals: a subcultural theatre that carried our radical politics, using laughter, fun and sexiness to seduce our audiences towards more radical political sensibilities. Here for the first time we present all of the scripts within one collection.

What explains the popularity and widespread appeal of numerous post-Yugoslav feminist and LGBTQ+ festivals in the last decade? This book argues that the millennial generation expresses "reparative politics", as a distinct type of activism, through festivals. Reparative political acting, as identified here, characteristically relies on playfulness and creativity, interpretative (gender) dissent, acceptance of organizational and programmatic messiness and hybridity, belonging, and positive affect. The reparative politics is vital in a context that is marked by an individual and collective trauma of heteropatriarchy, violent breakdown of the common state, and post-transitional economic precarity. The book uses excerpts from programs, interviews and observations collected through the multi-sited ethnographic research. Siročić’s focus on contemporary activism in Southeastern Europe challenges the narrow geopolitical understanding of the recent feminist politics and refutes the common assumptions of a passive millennial generation. Yet, the book’s relevance surpasses its area of study, as it argues against the popular deriding of "artivist" expressions as the "merely cultural" or "merely aesthetic" engagement. In contrast, the book claims that such activities urge a redefined understanding of political agency. Festivals as Reparative Politics demonstrates that contemporary feminist festivals represent a distinct reformulation of contentious politics of gender whose constitutive principles can be exemplary for other types of political engagements.

This book demonstrates how staging QueerBeograd contributed to the advancement of the intersectionality perspective beyond identity.

This volume combines empirically oriented and theoretically grounded reflections upon various forms of LGBT activist engagement to examine how the notion of intersectionality enters the political context of contemporary Serbia and Croatia. By uncovering experiences of multiple oppression and voicing fear and frustration that accompany exclusionary practices, the contributions to this book seek to reinvigorate the critical potential of intersectionality, in order to generate the basis for wider political alliances and solidarities in the post-Yugoslav space. The authors, both activists and academics, challenge the systematic absence of discussions of (post-)Yugoslav LGBT activist initiatives in recent social science scholarship, and show how emancipatory politics of resistance can reshape what is possible to imagine as identity and community in post-war and post-socialist societies. This book will be of interest to scholars and students in the areas of history and politics of Yugoslavia and the post-Yugoslav states, as well as to those working in the fields of political sociology, European studies, social movements, gay and lesbian studies, gender studies, and queer theory and activism.

To what extent is queer anti-identitarian? And how is it experienced by activists at the European level? At queer festivals, activists, artists and participants come together to build new forms of sociability and practice their ideals through anti-binary and inclusive idioms of gender and sexuality. These ideals are moreover channelled through a series of organisational and cultural practices that aim at the emergence of queer as a collective identity. Through the study of festivals in Amsterdam, Berlin, Rome, Copenhagen, and Oslo, Queer Festivals: Challenging Collective Identities in a Transnational Europe thoughtfully analyses the role of activist practices in the building of collective identities for social movement studies as well as the role of festivals as significant repertoires of collective action and sites of identitarian explorations in contemporary Europe.

Cities are both real and imaginary places whose identity is dependent on their distinctive heritage: a network of historically transmitted cultural resources. The essays in this volume, which originate from a lecture series at the Institute of Germanic & Romance Studies, University of London, explore the complex and multi-layered identities of European cities. Themes that run through the essays include: nostalgia for a grander past; location between Eastern and Western ideologies, religions and cultures; and the fluidity and palimpsest quality of city identity. Not only does the book provide different thematic angles and a variety of approaches to the investigation of city identity, it also emphasizes the importance of diverse cultural components. The essays presented here discuss cultural forms as various as music, architecture, literature, journalism, philosophy, television, film, myths, urban planning and the naming of streets.

In Southeast Europe, the Balkans, and Middle East, scholars often refer to the “peaceful coexistence” of various religious and ethnic groups under the Ottoman Empire before ethnonationalist conflicts dissolved that shared space and created legacies of division. Post-Ottoman Coexistence interrogates ways of living together and asks what practices enabled centuries of cooperation and sharing, as well as how and when such sharing was disrupted. Contributors discuss both historical and contemporary practices of coexistence within the context of ethno-national conflict and its aftermath.