13.03.2025. » 12:22
Art as a political game
Over the past two decades in Kosovo, despite extremely unfavorable political, security, and economic circumstances, so-called “cultural cooperation” and “cultural dialogue” have developed, at least on a basic level, between different national communities, primarily Serbs and Albanians. However, this dialogue remains far from serious cultural exchange, as evidenced by its limited and fragmented nature, which mostly operates outside institutional frameworks, creating space for superficial and often inauthentic forms of interaction.
For the Serbian community, both within and outside Kosovo, Albanian culture remains largely unknown, with almost no interest in its deeper study. This is a clear consequence not only of political distancing but also of a failure to recognize cultural value as a means of overcoming ethnic and ideological barriers. On the other hand, the older Albanian generation shows a certain awareness of the importance of Serbian cultural heritage, especially in the context of former Yugoslav culture, but they too remain influenced by collective memory, which has been largely shaped by historical conflict. However, younger Albanians have no basic awareness of the existence of contemporary Serbian art in Kosovo, while Serbian youth possess only a superficial knowledge of fragments of contemporary Albanian culture, limited to elementary information colored by stereotypical perceptions.
From a critical perspective, this “cultural dialogue” is nothing more than a simulacrum—a superficial exchange without real interaction and deeper understanding. Instead of becoming a space for genuine cultural and intellectual exchange, it is often reduced to a gesture with more political than cultural intent. Cultural cooperation, therefore, is unable to overcome the fundamental differences between the peoples—cultural, ethnic, and political. Without a sincere desire for understanding and investment in education that would enable deeper acquaintance with and comprehension of other cultures, this dialogue remains confined within its own limits, insufficiently engaged, and, unfortunately, often recognizable as a manifestation of politics rather than culture. Young Serbs and Albanians living in Kosovo today hardly know each other’s languages, and when they must communicate, they do so exclusively in English. This linguistic barrier further deepens the chasm between the two communities, preventing genuine cultural and social interaction that could contribute to mutual understanding and tension reduction. Unfortunately, language, as a fundamental bearer of cultural identity, becomes yet another factor that fosters distance rather than connection between peoples. Moreover, the conflict in Kosovo, which culminated in 1999, left permanent scars that are still evident at every step. War and violence left deep emotional and psychological wounds on both peoples, creating a lasting atmosphere of distrust and suspicion, which remain deeply rooted in collective consciousness, shaping everyday relations between Serbs and Albanians. Suppressed traumas and memories of past violence are obstacles to any form of sincere dialogue and cooperation, both cultural and political.
In the context of this mutual disconnect and mistrust, cultural cooperation between Serbs and Albanians remains trapped in a vicious cycle. The conflicts of the past, unfortunately, are still present, not only as historical facts but also as obstacles to everyday collaboration and the building of mutual trust.
The non-governmental sector and civil society in Kosovo, in theory, should play a key role in the reconciliation process between Serbs and Albanians, operating outside political frameworks and institutional constraints. Through initiatives that encourage dialogue and trust-building, they would create space for constructive interaction, which is often absent from official political discourse. However, even if they had the resources, potential, and will to do so, they would be negatively targeted by political elites, leading to condemnation by the local community. Therefore, the NGO sector finds it difficult to overcome deep-rooted ethnic and political divisions through its activities, leaving the impact of civil society fragmented and limited. Political and cultural antagonisms that shape social narratives still outweigh abstract reconciliation efforts, rendering many of these initiatives as inauthentic, superficial gestures rather than fundamental changes. In this sense, NGOs barely achieve tangible and lasting effects in the field of cultural exchange, as their activities often remain within the framework of symbolic and sporadic initiatives, insufficient to overcome the existing situation.
In theory, culture and art can serve as bridges between divided peoples. However, in Kosovo, despite their undeniable potential power, these fields remain trapped within political and ethnic frameworks that, instead of connecting them, often only further polarize them. Culture and art should be spaces for reflection and dialogue, but in reality, they are often used as superficial facades that mask deeper, unresolved social traumas. The real influence of culture in Kosovo is limited not only by political constraints but also by cultural skepticism on both sides. The result is often cultural content that aligns with the narratives preferred by political elites, while those highlighting the complexity and multilayered nature of post-conflict society are suppressed. In Kosovo, art and culture often remain in the shadow of geopolitical interests, where cultural initiatives are largely thwarted due to a lack of institutional support and political will.
The real impact of culture and art in Kosovo remains limited, as they are embedded in a broader social and political environment that primarily sees culture as a tool for political confrontation and national self-isolation. Culture could become a space for building lasting peace, but only if it is freed from political shackles and becomes an authentic dialogue between peoples rather than just another form of political gesturing. In this sense, culture and art in Kosovo are still waiting for their true, sincere functions—without masking the real problems, for which only art, in its purest form, is capable of offering answers.
Aleksandar Dunđerin
The author is a writer and program editor at PKC “Akvarijus.”
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