ARTS AND CULTURE, ECONOMICS AND WAR

Introduction

This paper reports the findings from a field study undertaken in May 2000 in the Old City of Dubrovnik, a UNESCO World Cultural Heritage Site. Representatives from six major cultural institutions were interviewed to determine the effects of the war in former Yugoslavia in the 1990's on the ability of their organizations to contribute to the revitalization of Dubrovnik's cultural and financial well-being. While the correlation between cultural institutions and cultural life is apparent, the importance of arts and culture to economic vitality is less evident yet of crucial importance.

Culture and Economics

Culture does relate to economics with effects well-documented in many recent studies. Cultural sector activities play a significant role in national economic health, according to recent studies commissioned by the Canadian federal government. For example, a 1995 study reported a total of 840,000 Canadian jobs directly and indirectly related to the arts and culture sector, with a total impact of $37 billion on the Canadian GNP in 1990 (Cheney 11, also see note 1). Further indicators of the importance of "Culture and Economic Development" are found in Part 1, Chapter 1 of the first World Culture Report released by UNESCO in 2000.

Cultural Institutions in Croatia

How can arts and culture -- often regarded as rarified, esoteric pursuits for those blessed with ample income and leisure -- be so important to today's economies? And what are the institutions that dispense this cultural beneficence? To find out, it helps to first answer the question, "What is culture?"

UNESCO has identified nine categories which define culture, listed below with some affiliated Croatian institutions (FCS in Haydon; Schramadie). The wide range of activities illustrates the relevance of the arts and cultural sector to daily life and provides concrete examples of its breadth.

1. cultural heritage - historic and archeological sites and monuments, museums, archival institutions, libraries, visual arts organizations, individual artists, galleries, art schools
2. printed matter and literature - writers, book publishers, newspapers, magazines
3. music - symphony orchestras, composers, music festivals, music schools
4. performing arts - dramatic companies, theatres, drama schools
5. audio media - radio broadcasters, sound recording industry, schools
6. audiovisual media - television stations, film industry, multi-media, schools
7. socio-cultural activities - folk dance and music groups, traditional artisans, craft organizations, open universities
8. sports and games
9. environment and nature - nature reserves, environmental groups.

The Importance of Cultural Institutions in Dubrovnik

Although a small city of around 47,000 people, Dubrovnik is amply supplied with cultural activities and institutions. These include numerous museums, art galleries, an international university centre for higher learning, colleges, art and music schools, theatre companies, a symphony, two state operated libraries and archives, Franciscan and Dominican Monastery libraries, a state run historic conservation and restoration agency, art schools, a nature reserve, antiquities societies, women's creative handiwork self-help society, folk music and dance groups, radio station, television station, multi-media performance arts venues, film clubs, and many other local groups with a cultural orientation.

In terms of cultural heritage the City is wealthy and current issues in sustainable urban tourism are relevant (Venice Plan). The Dubrovnik Summer Festival, a music festival which has been in operation for the past fifty years is a great touristic asset in this regard. However, the prime attraction remains the physical resources of the city itself: the Placa, the main street Stradun, Dominican and Franciscan Monasteries, Rector's Palace, Bell Tower, Orlando's Column and Rose Square, Sponza Palace, and on and on. The Old City in its entirety has been designated a UNESCO World Cultural Heritage Site since 1979. Perched on an outcrop set in the spectacular Adriatic ocean, the potential for economic development of Dubrovnik as a major world destination for cultural tourism is high.

Cultural Tourism and the War: Before and After

The cultural heritage and institutions of Dubrovnik are the primary basis of the economy, as there is little industry or manufacturing in the area (Maroevic, Vierda). That the local economy depends upon tourism is a popular view, reiterated as one engages in casual conversation with shopkeepers, restaurant and hotel owners while strolling through the Old City. After the war, up until the spring of 2000, there have been few tourists, and the repercussions have affected the entire county.

In terms of the tourist industry, Dubrovnik has suffered a succession of devastating events in recent history without fully recovering before the next event occurred: a major earthquake in 1979, the death of Tito and fall of the communist government in 1980, changing political systems, from soft communism to socialism to capitalism, war damage in 1991 and again in 1995, followed by ethnic strife in Kosokov which further destabilized the region in 1999 (Segger, Vierda). This sad litany has left the local tourist economy in tatters.

In fact, the appeal of Dubrovnik as a centre for cultural tourism had been declining for some years, even before the war. Vjekoslav Vierda, Director of the Institute for the Restoration of Dubrovnik cautions against relying on tourists statistics gathered prior to the formation of the Croatian Republic in 1990 (see note 2). He believes that "the last good year" for tourism in Dubrovnik was actually 1985, and reports that a type of cultural tourism was envisioned during the soft communist regime. This early plan proposed devitalization of the city core, in that residents were planned to be relocated to apartments outside of the Old City in order to avoid "difficulties" when locals and international tourists mixed. In fact 250 new apartments were actually built and the "resettlement" commenced. The goal was an historic urban core which was itself an "empty museum," devoid of Croatian families, some whom resided there for centuries. Instead, the Old City was planned to be used exclusively for tourist holiday apartments, hotels and museums -- the cultural tourism component. Fortunately, the plan did not proceed further, and the UN Plan for the South Adriatic and the detailed "Implementational Town Plan for the Historic City Centre of Dubrovnik" (Letunic 45-70) in the 1980's steered the Old City towards a mixed-use "living city," where the needs of local residents and tourist are balanced (see note 3).

To focus on the Croatia-Serbia War, the 1991 shelling of Dubrovnik followed by further hostilities in 1995 are reflected in statistics from the Dubrovnik Tourist Board. For example, in 1990 there were 756,800 tourists, with visitors staying six nights on average. For the period of active war and immediate post war recovery, from 1991 to 1996, tourism statistics were not even kept. From 1996 to 1998 tourism was estimated to drop 70% compared to before the war (Dragicevic). In 1999, with disturbances in nearby Kosokov, the City had a total of 124,435 visitors, staying four nights on average. This represents a drop in visitors of 84% with tourists staying for less time! (Giron). The effect on the local economy of the Old City is observed in hotels with half of the rooms closed, and beautifully laid outdoor dining tables on the Stradun, waiting for customers who do not materialize. The war has negatively affected the cultural tourism industry in Dubrovnik, and economic recovery has not yet begun, although early predictions for 2000 are positive.

METHODOLOGY

Given that the cultural attractions of Dubrovnik are its primary asset, it is relevant to look at the role of cultural institutions in revitalizing the Old City after the war. Representatives of six major institutions were interviewed on this topic in May of 2000. The results are given below, with a section on each institution: three from the cultural heritage sector -- Dubrovnik Museum, Dubrovnik Library, and the Institute for the Restoration of Dubrovnik; one from performing arts -- Marin Drzic Theatre; one from audiovisual media -- Art Workshop Lazareti; and one from the socio-cultural sector -- the Inter-University Centre of Dubrovnik. The sample is not representative, but does include some of the major institutions. Selection was based primarily on the basis of interest and availability (see note 4). The interviews provide the general source of information for this section, unless otherwise referenced.

Following the findings from individual institutions, an analysis is made of the effect of the war on the ability of the organizations to contribute to a new, vibrant life for the Old City of Dubrovnik at the turn of the 21rst century. Data are analyzed by observing the real-life effects of the war on the institutions' current day-to-day operations. From this perspective, significant trends in institutional policies are traced back and identified (see note 5). Conclusions follow.

MUSEUM OF DUBROVNIK - RECTORS PALACE
DUBROVACKI MUZEJ - KNEZEV DVOR

Description

The Rector's Palace is one of six museums constituting the Museum of Dubrovnik. Others are ethnological, archaeological, maritime, new history, and one small museum in the house of a famous Dubrovnik Renaissance writer, Marin Drzic. The Rector's Palace is unique in that the building itself is a valuable artifact, described as "one of the most outstanding monuments of secular architecture ... on the entire Adriatic Coast," (Letunik 71). Some of the second floor rooms are used for permanent exhibition of furnishings and artifacts belonging to the Rector, or ruler, of the Republic of Dubrovnik when the palace functioned as the seat of government from the 14th to 19th centuries. Many more artifacts are stored in ground floor rooms, due to lack of storage space -- a common feature of the Dubrovnik Museums in general (see note 6).

The Rector's Palace suffered little damage during the war, except for a small hole in the roof and some pock-marks from shelling of the front columns. It has been, however, severely damaged throughout it's history by earthquake and explosion, resulting in it's present day appearance of a mix of medieval, Renaissance and Baroque styles. Characterized by a central courtyard with arched porticos on two floors, the Rector's Palace attracts tourist visits by simply opening the doors. Vesna Gozze, curator, was interviewed about changes since the war.

Changes to Mandate

There have been no changes to Dubrovnik Museum missions or goals since the war, since policies are set by the National Museums Council, under the Ministry of Culture. This is typical of cultural institutions in Croatia, which are governed by laws passed when the Republic was formed (Schramadei). Tasks of the institution, thus, depend on its type -- library, archive, museum, theatre, etc. In the case of museums, the orientation of the institution defines its goals -- for example, archeology museums exhibit archeology, contemporary art museums exhibit contemporary art, as so on. This division by type and orientation in some sense defines the mandate, and is intended to prevent "mixing" of institutional purpose (Maroevic).

The national government thus sets the overall mandate, but in terms of day to day operations, annual plans are developed by each institution and submitted to the City as national government funding for culture goes to the local municipalities for dispersal. For Dubrovnik Museum, the annual plans for all six museums are developed by the Director, and these have been negatively affected in part by a reduction in funding for museums since the war. However, several people interviewed commented on the inability of Dubrovnik Museum to work constructively with the funding which is available: implying a lack of motivation stemming from institutional policy, and self-imposed isolation of the city's museums from other Croatian museums (Koscevic, Dragicevic, Maroevic). While the "closed circle" of Dubrovnik Museum is not a new phenomenon attributable to the war, the reduced funding and lack of tourism revenues since the war do make it more apparent that changes to mandate may be in order for the museum to function effectively in the new, post-war economic situation.

Changes to Ability to Contribute to Cultural Life of City

Whether the reasons are funding, old-fashioned policies, or whatever -- in some ways the ability of the museums to contribute to the cultural life in Dubrovnik have been reduced since the war. While on the surface many things appear the same -- similar programming levels, same poor storage conditions for fragile collections such as glass and photographs, same lack of storage and exhibition spaces, same concert series for Dubrovnik Summer Festival held in the Rector's Palace courtyard -- in the meantime, property development since the war is resulting in the loss of heritage artifacts in the City, eloquently described by Ms. Gozze.

"Dubrovnik lives like a touristic centre but the glory is from former centuries, and every generation has to contribute something, maybe to preserve something ... for example, the Renaissance and Baroque summer villas, they disappear -- everyday it's a new and worse situation.

So for me this town is some kind [of] -- what is that fairy tale -- Sleepy Beauty, and during that long sleep this town has become old, and without some elements of that famous history."

The inability of the museums to protect Dubrovnik's cultural heritage whether through lack of power or willful inaction is likewise reflected in their inability to run effective cultural programming. Since the war, the City of Dubrovnik has adopted a policy of sponsoring cultural events such as art shows and concerts without the sanction nor involvement of established cultural institutions. This parallel programming not only duplicates existing museum activities, it is also damaging as the total funds allocated to culture are limited (see note 7), and must now serve both the established institutions and the new City programs. Clearly this threatens the ability of the museums to contribute to cultural life, but the City justifies it's actions stating that Dubrovnik Museums are not willing or flexible enough to work towards regaining a solid tourist market (Dragicevic).

Changes to Ability to Contribute to Financial Well-being of City

In some sense the City's accusation of Dubrovnik Museum's failure to accommodate tourists do appear upheld. For example, the Rector's Palace is only open from 9am to 1pm, and is closed on Sundays: short opening hours for a primary cultural attraction. Furthermore, permanent exhibitions are decidedly static and "old fashioned," and few special exhibitions are mounted. If one of the curators wishes to put up an exhibition, that person must undertake every preparation on her own, including presenting a financial plan to the city for approval, organizing publicity, and even physically mounting the artifacts! Given such an atmosphere, it is clear that the modern interpretive approach to museum programming expected by many of today's sophisticated tourists is unlikely to be found in Dubrovnik Museum. So, while the museum's approach may not have changed since the war, the tourist market has: and Dubrovnik Museum is no longer able to contribute to the financial well-being of the City as it did pre-war.

Funding Sources

Museum funding comes from the City of Dubrovnik, regulated by the 1990 Law on Cultural Funds. The Croatian government allocates money to the City for Museum operating costs including salaries, and further money under the Cultural Development Programme which is used for special exhibitions and programming (Schramadei). Tourism entry fees used to be a significant source of income for the Rector's Palace before the war, but have declined along with the general demise of the tourist economy. Rental of the central courtyard for musical concerts during the Dubrovnik Summer Festival, and for local performances at other times of the year is a small source of supplementary income. Generally the Dubrovnik Museum does not seem to explore beyond the traditional funding sources to alleviate the current financial difficulties.

DUBROVNIK LIBRARY
DUBROVACKE KNJIZNICE

Description

The Dubrovnik Library consists of two separate facilities, the Public Library and the Science Library, the latter housing "Ragusina," an historic collection dating from the 16th century to fall of the Republic of Ragusa (Dubrovnik) in 1886. These include twenty-two rare incunabula, illustrative of the early development of book printing. Also significant in the collection are scientific and medical manuscripts, some fragments dating from the 11th century (see note 8). Interviews were conducted with the Director of Dubrovnik Libraries, Mirjana Urban; and Marica Sapro-Ficovic, who interpreted and led a tour of the Public Library.

Changes to Mandate

There have been no changes to Dubrovnik Library missions or goals since the war, since policies are set by the National Library Council, under the Ministry of Culture and apply to the entire association of Croatian Libraries (Schramadei).

Science Library

Before the war, the collection of the Science Library was housed in a restrained high renaissance style summer palace which belonged to the Vice Skocibuha family. Through the arches on the second floor terrace, the owners could looked over the symmetrical renaissance garden, across the Adriatic to their winter home on Sipan Island. Before the Science Library was relocated to the Skocibuha palace from the Rector's Palace after damage in the 1979 earthquake, the building was used by the Yugoslavian army, who held fancy dance parties in the elegant second floor ballroom. Strict restoration standards were devised for the palace in 1985, due to the purity of the "Ragusan Renaissance" design which had been violated during several renovations since the 1930's (Letunic 207).

Changes to Ability to Contribute to Cultural Life of Dubrovnik

The high standards of restoration set for the Skocibuha summer residence did not bode well for the Science Library after the 1991 hostilities. Although the plan before the war was for some minor renovations, severe structural damage from five shells and two incendiary bombs resulted in the building being condemned, and the Science Library was completely closed for over nine years. Furthermore, unexploded bombs were found in the garden walls, and the garden, formerly visited by tourists on account of its significant renaissance design, is now inaccessible -- a Mediterranean jungle -- as it has not been demined and no one will enter to care for the plants.

Fortunately the most valuable parts of the Science Library's collection, accessible by special arrangement were located in the basement and did not incur damage during the war. However many other books were hermetically sealed in steel moving cases for six years and degradation resulted. During the war, all artifact restoration stopped, including the valuable incunabula and parchment fragments. Restoration is now recommencing, slowly. This detracts from the cultural life of the City as books awaiting restoration are inaccessible.

Changes to Ability to Contribute to Financial Well-being of the City

On a positive note, the closure of the Science Library and costliness of renovation of the Skocibuha palace has resulted in the relocation of the Science Library to a newly renovated building in the Old City. Staff working conditions are improved, with good lighting, a kitchenette and proper office facilities (although there are no climate nor relative humidity controls in the room which houses the ancient science collection). The renovation is sensitive, appealing and aesthetic. The new Science Library is expected to contribute to the economy of the City as one of the libraries included in a 1999 plan to establish Dubrovnik as an "International Science and Education Centre" (Charter). This plan intends to develop school, college, archival and library resources of the City to encourage a type of educational-based cultural tourism in an effort to diversify the local economy.

There are some financial drawbacks to the new Science Library. The building interior was costly to renovate as the central stairs and all structural columns had to be maintained intact. Thus stacks of books can only be placed against perimeter walls due to the structural incapacity of the old buildings to bear the weight in the centre of the rooms. Obviously this is rather inefficient, and in fact only one-third of the collection of the Science Library can be moved into the new building -- references, old books, and the local history collection. The rest of the books remain, inaccessible, in the Skocibuha palace (see note 9). This duplication of locations is costly in the long run and reduces the ability of the Science Library to contribute to the financial well-being of the City.

The Public Library

The Public Library has a less glamourous history of accommodation than the Science Library, as it was formerly located in a wing of the St. Clair Monastery until 1960, then moved into "one old house" in the City. During the war, little damage occurred except for a hole in the roof which let cold air in creating unpleasant conditions for the staff, who kept the library open except during times of direct shelling. Interestingly, for three months during the war book lending rates soared and the library was able to contribute greatly to the cultural well-being of the City. This short popularity dropped as soon as electricity was restored and people could use their televisions and videos again.

In 1993 the decision was made to relocate the library into yet another old building in the City. Further war hostilities in 1995 resulted in a delay of three years before the Public Library was able to assume it's new location. Book cases and furniture were reused and the standard of finish is not as high as in the new Science Library. Similar structural constraints result in stacks located only around outside walls. However, the new location of the Public Library does offer some advantages.

Changes to Ability to Contribute to Cultural Life of the City

The Public Library now has a Children's section and elegant Reading Room which it never had before. In addition, the British Council and German governments have donated some volumes of reference books, and public access to the internet is in the works. These resources, as well as children's programming are available to Dubrovnik county residents for a small, "symbolic" membership fee of 50 kuna.

One unanticipated result of the war has made the Public Library's cultural contribution more difficult, namely the classification of Central European literature under the Dewy decimal system. According to the librarians, it is easy to separate Croatian, Slovenian, Macedonian and Serbian literature. But where to put Bosnia and Hercegovina, which has literature from multiple ethnic groups? And what about Muslim writers from Croatia? While these questions may not affect the daily life of most people, they are significant to the ability of the Library to remain an ordered, accessible repository of the cultural record.

Changes to Ability to Contribute to Financial Well-being of the City

The new Public Library offers its Reading Room for rent to the public. Finished and furnished in a gilded Baroque style, with a good grand piano, it is a popular venue for concerts, book launches and political meetings. In this way it enhances the local economy, as groups from as far away as Zagreb frequently rent the room and bring income from outside into the City.

Funding Sources

Library funding comes from the City of Dubrovnik, regulated by the 1990 Law on Cultural Funds. The Croatian government allocates money to the City for Library operating costs including salaries, and further money under the Cultural Development Programme, 44% of which was allocated for book acquisitions in 1996 (Schramadei). The latter have been compromised in recent years as this fund was used to pay for interior renovations for the Public Library and new Science Library (see note 10). This detracts from the ability of Dubrovnik Libraries to contribute to the cultural life of the City.

The Library augments the City funding with some income from the sale of in-house publications, such as calendars and catalogues of the rare book collections in the Science Library. Publications were stopped during the war, but have now been resumed. Money from rental of the reading room in the Public Library is the only other source of self-generated income. These activities contribute both to the cultural and financial well-being of the City in their own small ways, and indicate the Libraries recognition of the shift from wholly state-reliant to market economy orientation.

INSTITUTE FOR THE RESTORATION OF DUBROVNIK
ZAVOD ZA OBNOVU DUBROVNIKA

Description

The Institute for the Restoration of Dubrovnik was initially established to respond to the damage wreaked on cultural monuments in the Old City by a severe earthquake which struck in 1979. It's stated purpose was to "deal specifically with the organisation and coordination of the complex business of restoration, from theoretical design down to the conduct of the operation," (Letunik 6). The Institute commenced detailed archeological, sociological, cultural and economic studies which culminated in the Implementational Town Plan for the Old City in 1986, a document which still governs the direction of long-term projects which extend to the year 2002.

When Dubrovnik was attacked during the war in 1991, the workload of the Institution for Restoration instantly soared. The Old City suffered direct bombardment, with over 2000 missiles exploding on more than 700 sites, and 400 more missiles hits without detonation (Poljanic). Of all the buildings in the Old Town, 68% were damaged by direct hits on roofs causing collapse and fire, or by shelling of pavements and facades causing cracking and structural failure, and some by both (US/ICOMOS). Of these buildings, 1% were completely destroyed by fire. Attacks on cultural monuments flying the United Nations flags are prohibited by international war conventions, but this did not stop the aggression (see note 11). In fact, the systematic destruction of cultural heritage is increasingly being interpreted as a means of ethnic erasure, the forgetting of a nation's past, present and future (Segger). Thus not only did the 1991 war damage increase the physical volume of work to be undertaken by the Institute for Restoration, that the damage occurred to significant cultural monuments increased the symbolic importance of the Institute's work.

In this sense, the Institute for Restoration of Dubrovnik is a very practical and powerful organization, responsible for the physical and cultural integrity of one UNESCO monument -- the entirety of the Old City of Dubrovnik -- consisting of 824 buildings! All requests for physical renovations or changes of use in any of the UNESCO listed buildings must be approved. The Institute pays for work involving public safety, including roofs and seismic structure -- two major costs in restoration of historic buildings, where public tenders must include consideration of how construction materials and debris will be transported to the site (eg. by crane, or by hand delivery?). The Institute is responsible for drawing up construction documents, and is also capable of acting as a general contractor on projects, including interior works, such as on the new Science Library building. Thus, the Institute oversees works in Old City ranging from the very broad such as urban planning, to the most detailed execution of design elements such as historic stone carvings typical on many of Dubrovnik's Renaissance buildings.

Considering the extent of the damage to cultural heritage that the Institution deals with on a day to day basis, criteria for significance have been developed to help schedule projects. These are:

1. cultural value of the monument or building
2. degree of danger to the public caused by the damage
3. intended purpose or use of the building (public / private)
4. financial contribution of the building's owners to the overall project cost.

Based on the above, and in conjunction with the long-term primary projects identified in the 1986 Implementational Town Plan, the Institute develops an annual plan for reconstruction to be approved by the Board. An interview with Director Vjekoslav Vierda provides information in this section, and also for much of the background information on the economy, tourism, and current demographics of the City found throughout this report.

Changes to Mandate

The Institute for the Restoration of Dubrovnik has been concerned with the restoration and renewal of the Old City since it's inception in 1979. It is answers to the Institute for the Protection of Cultural Monuments of Croatia, under the Ministry of Culture. There have been no formal changes to the mandate since the war, although changing demographics have perhaps forced the Institute in recent years to focus more intensively on revitalization of the urban core from the human perspective. Since the war the Old City has gone from being a rich city to a poor one, lost many educated residents and extended families, with only the elderly remaining. These effects in conjunction with the devastation of the local tourist economy threaten the vitality of the Old City in a real way.

Changes to Ability to Contribute to Cultural Life of City

The contribution of the Institute for Restoration to restoring damaged roofs, burnt out buildings, and providing for basic public safety immediately after the war was very important. With the most pressing of those needs attended to, now the Institute is refocussed on it's original goals as set forth in the Implementational Plan of 1986. In this sense there is no change to the ability to contribute to the City's cultural life.

However, since the war housing which was nationalized by the Yugoslavia Federation in 1945 is in the process of being repatriated to the original owners. Houses which were formerly split into 4 or 5 apartments have reverted to the original layouts suited to perhaps 2 or 3 families. While the Old City population has decreased as residents loose their rights to tenancy, a positive aspect is that the quality of living is improved for those who remain in the larger suites. The Institute for Restoration is contributing to the cultural life of the City by assisting with the restoration of these units, and estimates that there are approximately 100 vacant apartments now available for occupancy in the Old City.

Old City population is also being lost due to the free real estate market since the war. Now that people are free to purchase units wherever they wish, some people are leaving the Old City for new, suburban housing. A different effect relates to building maintenence. Under nationalized housing, people rarely contributed work or money to the care for apartments they did not own, appealing to the government to look after such matters instead. Now, as new apartment owners, some people are motivated to greater financial participation in the upkeep and even renovation of Old City units. This frees up funds for the Institute for Restoration to take on other cultural heritage works, contributing to the overall cultural life of the City.

Changes to Ability to Contribute to Financial Well-being of City

The Institute for Restoration is in a key position to contribute to the financial well-being of Dubrovnik, as the revitalization of both the tourist economy and plans to intensify urban core population depend upon the restoration of public safety and the aesthetic appearance cultural monuments of the Old City (see note 12). The Institute contributes in a direct manner by paying for all roofing and seismic upgrading, as well as the restoration of stone elements such as columns. These costs are is not insignificant, amounting to some 80% of the budget in a typical project (see note 13).

Furthermore, the demographic changes and drop in the tourism market have supplied the ammunition for the Institute to gain approval from the City government for 25 new residential apartments to be built on a disbanded site in the area of Pustijerna in the Old City. For many years a well-frequented basketball court with 200 seats providing a focus for the community, in the early 1980's the court was demolished to allow for archeological excavations of the ancient St. Thomas monastery. To the chagrin of officials, the locals now use the abandoned archeological site as a garbage dump. The Institute for Restoration's Implementational Plan of 1986 proposed the construction of new residential apartment blocks on this site to accommodate families and contribute to the financial breadth of the economy. Now, nearly 15 years later, the first of these blocks has been approved and the City is searching for investors to take on the project.

In addition to the St. Thomas monastery archeological site, the Pustijerna area contains some of the most elegant villas in Dubrovnik, many of them disbanded. Over the years several plans have been hatched to convert the villas into tourist resorts and hotels, with nothing coming to fruition. In today's free real estate market, corporate international buyers are expressing interest in these elegant old buildings, which require major renovations, for tourist accommodation or condominium type residential apartments. The Institute for Restoration assists the City in evaluating these proposals, in addition to providing a sort of de facto marketing service based upon the substantial data collected on Dubrovnik's history and development over the years. In this way, the Institute contributes to the financial health the of City's future.

Funding Sources

The source of funds for the Institute for the Restoration of Dubrovnik's work is the Ministry of Culture through the national Institute for the Protection of Cultural Monuments. In addition, it receives funds from the City of Dubrovnik. The Institute received little international support for reconstruction after the war, except for money for roof tiles from UNESCO (Maroevic). When the Institute's physical restoration work is complete, it may be dissolved, or, given its expert role in forward thinking urban planning for the Old City, pehaps the focus may someday shift from Restoration towards Revitalization and Community Economic Development.

DUBROVNIK MARIN DRZIC THEATRE
KAZALISTE MARINA DRZICA

Description

The Marin Drzic Theatre is a classical repertoire company, continuing the tradition of Croatian dramatic performances in the same location since the Bundic Theatre was built in 1863/64 (Letunik 81). Sandwiched between the Town Hall and Rector's Palace, backing onto the Old Harbour, the 290 seat house has retained its original interior appearance fairly intact through several renovations, the latest one in 1986. The building sustained no physical damage during the 1991 war, but did not open to play to the public for two years. Theatre director Marin Gozze and stage manager Jelka Tepsic were interviewed, with Ms. Tepsic interpreting occasional difficult passages.

Changes to Mandate

Like other cultural institutions, the mandate of the Marin Drzic Theatre is essentially set by the Ministry of Culture which defines it as a public theatre presenting dramatic performances (Schramadei). The classical repertoire includes plays by Renaissance dramatist Marin Drzic, as well as more contemporary authors such as Beckett. The war has not affected the selection of plays, other than that the company presented one Drzic play at the 1992 Dubrovnik Summer Festival directed in such a manner to "conceptually connect" to the war situation at the time. Nowadays, although the official mandate as a classical theatre has not changed, the theatre does offer more popular fare such as comedies, in an effort to keep financially solvent to compensate for funding cuts from the City of Dubrovnik.

Changes to Ability to Contribute to Cultural Life of City

The war, and changing times, have affected Marin Drzic Theatre's ability to contribute to cultural life in several significant ways. The most obvious is a severe reduction in the number of performances, from every night before the war to the current two or three performances per week, although the season remains essentially the same -- late October to July. The reduction in performances is attributed to reduced City funding, but also to changing local demographics.

Marin Drzic Theatre has always played primarily to a local audience, and the occasional Croatian tourist, given that the language of performances is Croatian. Historically, Dubrovnik was the city where intellectuals and the "new bourgeoisie" of Croatia congregated. Core supporters of the theatre were drawn from this intellectual and professional class of people who have since relocated to the island of Branac (Vierda). The result is a 30% reduction in the audience today, which affects the ability of the theatre to contribute to the cultural life of the City in terms of reaching fewer people, and the reduced number of performances. Unfortunately, the theatre has lost some of their best actors who prefer to move to the National Theatre in Zagreb rather than continue to struggle to get by in the strained economic atmosphere of Dubrovnik.

Another significant change due to the new demographic picture of Dubrovnik is the tastes of the new public. Hard times have them looking for escape rather than serious drama. They are not so interested in the classics, and Marin Drzic is now faced with offering popular plays such as comedies and children's programming in an effort to keep and build future audiences. This affects the ability of the Theatre to contribute to the cultural life of Dubrovnik.

Changes to Ability to Contribute to Financial Well-being of City

In terms of overall financial well-being, the costs of production of plays are similar to before the war, and the size of the Theatre's troupe is roughly the same, but the reduced number of performances results in less take-home pay, and thus less money going into the local economy. Also, the company no longer runs plays on the same night as other important local events, which reduces the overall potential for economic exchange on any particular night.

However, the Marin Drzic does have some plans which will contribute to the financial well-being of the City as they are focussed on increasing the tourist draw of performances. This summer, the company plans to offer some special tourist programmes with concerts and folklore, for example. The universal appeal of such events allows them to be accessible to both Croatian and international tourists. Also, the Theatre has contracts with several Croatian agencies who arrange excursions for children, which in a sense is an investment in developing the interests of a future theatre-going audience.

Funding Sources

Like the museum and library, the primary source of funding for Marin Drzic Theatre is the City of Dubrovnik, through the Ministry of Culture. In addition to gate receipts, the theatre does get some small rental income through let of the Theatre for concert performances and congresses (conferences). While not desirable from a strictly classical cultural point of view, the changes in the Theatre's programming approach do indicate a recognition of the greater challenges for "THEATRE" in contemporary free-market economies throughout the world, in competition with mass media and mass cultural consumption.

ART WORKSHOP LAZARETI
ART RADIONICA LAZARETI

Description

Wandering through the largely abandoned Pustijerna area of Dubrovnik during the day, one open door beckons, electric saws whine in a dim red interior. What is this place? The hanging sign above the antique door reads "Otok" -- which means island. Aptly named, this is the current headquarters of Art Workshop Lazareti (AWL), an energetic non-profit arts group emerging from the isolated alternative arts scene in Dubrovnik.

AWL started as an informal "association of citizens" in 1988, a small core group of visual artists who deemed the city an empty "touristic rich space" devoid of serious art and culture, and began to exhibit in abandoned buildings or any other spaces they could find. Gaining a reputation, they broadened their programs to include other social events such as film, concerts and performances, and eventually caught the attention of the City government. In the war period, AWL was offered the previous Socialist Youth Culture building which had been badly vandalised and was in a state of complete disarray. Through volunteer labour, dedication and active fund-raising, the group brought the building into a usable condition and the City continued to renew a one-year lease, and further allotted one bay of the old Quarantine building to the group.

The active programming of AWL includes 160 exhibitions, 20 international group "concept exhibitions" and "multimedia happenings," more than 150 concerts, 70 theatrical performances, and for the past 4 years the group has run successful festival programmes including "Art Weekend Dubrovnik" and the "Alternative Multi Media Festival," concurrent with the Dubrovnik Summer Festival. In addition, the educational achievements of the group include workshops for high school and university students, 14 self-published catalogues and books to date, a library and internet centre accessible to the public (Tolj). Unbelievable as it sounds, each and every one of these programs and events is FREE.

Credibility, reliability, and perseverance are the keys to the fundraising success of AWL. Major supporters include the Open Society Institute (Soros Foundation) among other international groups. Recently, the City of Dubrovnik awarded AWL an unprecedented 25 year, rent-free lease on 3 bays of the old Quarantine building on the Old Harbour. Plans are to develop Karantena, a "culture factory" for the arts, culture, ecological and social uses. Functions foreseen include a flexible workshop for the arts, two studios for guest artists, flexible performance space, a bistro, outdoor performance theatre in the atrium between bays of the building, "multimedia-tech" facility for computer and new age art, exhibition spaces, a library and art supply shop. The originators of this grand project, Slaven Tolj and Vesna Mitrovic, co-directors of AWL, were interviewed.

Changes to Mandate

The incredible success of AWL is attributed to the dedication of the core group of artists who have remained the source of inspiration since inception. Members are characterized by multi-national, multi-cultural, multi-disciplinary, multi-media approaches, and this reflects in the operating principles of AWL: openness, flexibility, "AD HOC." Never formalized into a mandate per se, the approach has proven perfectly suited to the current transitory times in Dubrovnik. Before, during, and after the war, the operations and organization of AWL have constantly changed, yet the overriding principles remain the same.

AWL has always oriented itself towards the youth of the city, and particularly in these post-war days when, according to Slaven Tolj, the young people are "broken inside ... people are really empty without education and information and it's a completely schizophrenic situation." One of the goals of AWL is to keep the youth from having to leave Dubrovnik to obtain work in the arts. Given their track record, they are likely to succeed.

Changes to Ability to Contribute to Cultural Life of City

Since the war, easier access to funding has allowed AWL to greatly increase the number and complexity of programs, including educational workshops for the community such as multi-media courses and ballet for young children. Many events at Lazareti and Otok continue the AWL tradition of multi-culturalism, with participants from Lubjiana, Sarajevo, Split, Zagreb, and Serbians in exile. AWL has held political information seminars geared to young people which discuss the rights and responsibility of the democratic vote, and many non-government organization and local initiatives take advantage of the free meeting spaces and facilities of AWL when they are not in use for arts and culture events.

The hard-earned credibility of AWL with the City of Dubrovnik also spills over to positively influence other artists' ventures in the city. For example, with the backing of AWL, a group of ten local artists recently secured working studio space in the abandoned old hospital building Thus, indirectly AWL is able to contribute to the status of artists at large in the city, enriching the cultural scene.

Changes to Ability to Contribute to Financial Well-being of City

By far the greatest potential for AWL to contribute to the future of Dubrovnik, both culturally and financially, lies in the recent green light for the Karantena "culture factory" proposal, to be located in the old quarantine building. This ambitious project will span arts, culture, ecology and social fields, and doubtless many more by the time of its inception, given the openness of AWL to new ideas. For the moment, the plan is that individual groups will rent spaces, with the income generated immediately put back into cultural programming. This contributes to the financial well-being of the City both by providing stable entrepreneurial and employment opportunities, as well as reducing the reliance of AWL on foundation grants for operating expenses -- freeing the money for other needy groups.

With the 25 year lease recently approved by the City, ALW can now access funding grants for capital improvements to the buildings, which are conditional upon secure tenancy. Renovation of the buildings, such as electrical upgrading, new roofs, new insulation and renovation of interior spaces will contribute to local employment. That AWL is dedicated to the long term financial health of Dubrovnik is seen in their willingness to take on such core renovations on the old Quarantine buildings.

Another way AWL contributes to the financial well-being of Dubrovnik is by enabling access to free venues for artists, and free attendance for audiences, which range from 30 in the Otok space to 150 in the existing Lazareti performance space. Thus disposable incomes are not affected by AWL programming. Furthermore, the group is currently partnering with an artistic foundation from New York, working on a plan to bring visiting artists to Dubrovnik for teaching workshops and periods of artist-in-residency. This would inject foreign currency into the local economy as well as contribute to the richness of the cultural fabric.

Funding Sources

In the early days, AWL had no formal funding, existing on small donations from private individuals, volunteer labour and the hospitality of friends. Since then, funding sources have become progressively more sophisticated along with the formalization of programs. Now, AWL receives funding from the Open Society Institute including money for capital investments such as a new amplifier and computers, as well as travel expenses for touring performances. Other sources are the Ministry of Culture, a large commercial bank in Zagreb, and some small funds from the City of Dubrovnik to help cover the costs of utilities in the spaces they provide "nearly" rent free to the group. Operating funds for programmes are accessed through various sources including Open Society Institute, Train/Buses, and the British Council. The success of ALW has garnered the funding attention of international groups from France and the U.S., among others, and these sources will be crucial in renovating the Lazareti Quarantine spaces. AWL has an aggressive approach to funding, which obviously works well, probably because is backed up with real accomplishments, dedication and plain hard work.

INTER UNIVERSITY CENTRE DUBROVNIK

Description

The Inter University Centre (IUC) is an independent university established in 1972 to encourage the exchange of intellectual ideas between the East and West when political divisions closed borders during the Cold War. Since then, the IUC has provided an efficient organization which allows over 200 member universities around the world to hold courses in Dubrovnik. Before the war over 100 programs were run annually, with secretarial and technical support provided by Zagreb University. Courses typically involved thirty or so interdisciplinary participants from five or ten different countries with an interdisciplinary make-up. During the war years, programs ground to a halt, although some courses were held "in exile" and free public lectures were provided in Dubrovnik from time to time -- enough to keep alive the international affiliations and networks carefully built up over the years. After the war, programming was minimal, but the past year has seen a resurgence of interest and support from international member universities, and programs are expected to regain 80% of the pre-war level in 2000.

In 1991 the IUC building was directly hit by shells and completely burnt out, with only the walls remaining standing. By 1993, basic facilities in the building were reconstructed and the IUC reoccupied it's spaces, albeit with a significant change. Political influences at the time resulted in the perception of the IUC as being linked to the previous communist regime. Support from Zagreb University, formerly the prime funder of the IUC, was cut. The money was given instead to a new "shadow" university -- the ICCU -- oddly enough located on the first floor of the very same building as the IUC! The funding cuts, confusing acronyms and transposed locations lead one to wonder if the ICCU was meant to gradually obfuscate the IUC. In any case, today both the IUC and the ICCU exist in Dubrovnik: the former continuing it's international programming with new sources of outside funding; and the latter focussing on community service programs. Berta Dragicevic, Executive Secretary of the IUC and also Deputy Mayor of the City of Dubrovnik granted this interview.

Changes to Mandate

One of the reasons the IUC continued to operate after the drastic funding cuts in the mid 1990's was because the institution is flexible, resourceful and responsive. This is reflected in the mandate which since the war has been changed from a focus on east-west exchange to a new mission: to provide a forum for social sciences and the humanities research on topical issues of globalism and regional integration of South East Europe. Examples of new courses in the humanities and social sciences include tolerance, multi-culturalism, conflict resolution, civil society and democracy. The new mission builds on past achievements while looking forward to issues of international concern in the 21st century.

Changes to Ability to Contribute to Cultural Life of City

Cutbacks of programs and funding, both during and after the war, have certainly had a negative affect on the IUC's ability to contribute to the cultural life in the City. However the outcome is positive as the resourcefulness required to overcome these hurdles affords a greater operating independence for today's IUC. When the University of Zagreb used to provide technical support, for example, they also controlled the secretarial unit and bank accounts. This is no longer the case as the IUC now manages such affairs directly.

Furthermore, recent renewed interest from international member universities promises that over the long term, the IUC will resume pre-war programming levels. In fact in 2000, the IUC is facing scheduling problems as they are confined to only the second floor of the university building in Dubrovnik. The institution has not yet been able to afford to refurnish classrooms and facilities on the third floor, but it is very likely that this problem will soon be solved by the efficient and capable IUC staff (who number 3 in total!).

One of the most positive contributions made to the cultural life of Dubrovnik by experts from the IUC is the germination of the idea for Dubrovnik International University (DIU). The goal is to establish a new, accredited institution for graduate and post-graduate studies in the humanities and social sciences, with curriculum focussed on the emerging political entity of South East Europe. The addition of this cultural institution to the roster already existing in the City would be a great asset.

Changes to Ability to Contribute to Financial Well-being of City

The IUC foresees that the DIU would contribute to a City-led initiative to develop Dubrovnik into an International Science and Education Centre (DISEC). This scheme would create a small university centre in the town, based on the existing cultural infrastructure of archives, libraries and museums. The IUC foresees a doubling of the permanent student population (from the existing 2500 to about 5000), along with associated needs such as professors, services, housing, and so on. In addition to the direct economic contributions, DIU would help to stem the flow of educated people from Dubrovnik, and improve the skills of the workforce overall: contributing to financial well-being by diversifying the economy from strictly tourism to a form of cultural-educational industry. Thus the intellectual contributions of the IUC in developing such a sister institution are of great value.

Educational programs at the IUC also contribute to the financial well-being of the city in other ways. For example, foreigners participating in IUC courses were among the first "tourists" to return to Dubrovnik after the war. Additionally, the ability of the IUC to operate on a shoestring budget and to find new ways of financing the institution frees up grant money for other needy sources, contributing in a real way to the financial well-being of Dubrovnik (see below).

Funding Sources

The funding picture of the IUC has definitely changed since the war. For the first 20 years, the IUC was funded by Zagreb University though the Ministry of Science. This covered most costs except that member universities participating in programs were expected to cover their own costs in total. Some foundations, such as Ford and Volkswagon, contributed to travel costs for Eastern European participants. During and immediately after the war, when the Zagreb funding was cut back, the IUC was almost totally reliant upon Soros Foundation for all aspects of it's operation. The Croatian Government paid for the reconstruction of the burnt-out university building; but the IUC relied on donations for furnishings and to rebuild the library collection.

The IUC generates some income from user fees. A small registration fee for course participants (currently $30 US) covers photocopy and miscellaneous operating costs. Member universities are supposed to pay an annual fee ($400 US), but in fact, less than half of the institutions pay their dues each year. This has resulted in a new policy for the IUC this year, based on the economic principle of user pay. Member universities holding courses at the IUC facilities are now assessed a general fee per course ($500 US) and conference organizers are assessed a participant fee ($30 per person). This income is anticipated to cover office operational costs in order to reduce the reliance on outside funding. Apparently the new user fees are considered unfair by some member universities; while others find them quite reasonable. In any case, that the IUC has adopted fiscal policies for self-responsibility for the institution's financial health by developing a sound business plan bodes well for continuing success as the new free market in Croatia matures in the future.

ANALYSIS: INSTITUTIONAL POLICIES

Some general trends can be observed based on the organizational structure and approach to policies which influence the responsiveness of Dubrovnik's cultural institutions to the new Croatian reality. Major factors seem to be whether or not the intuition is in control of the mandate and funding sources. This is summarized in the table below:

Clearly, institutions such as Art Workshop Lazareti and the Inter University Centre in control of their own mandates and with self-generated funding sources are able to contribute more easily to the revitalization of the City, due to flexibility in programming and an ability to quickly shift approach during times of transition.

Institutions which rely on mandates set by the Croatian government and funding from the City of Dubrovnik seem less able to be responsive in the changing environment. These include the Dubrovnik Library, Rector's Palace Museum and the Marin Drzic Theatre, with the exception of the new Science Library which is expected to contribute to the long-term economic plan to establish Dubrovnik as a cultural and educational centre (DISEC Charter). Physical damage to the old Science Library during the war played a large role in the establishment of the new facility. Otherwise, the library, museum and theatre seem particularly hard hit by demographic changes, the drop in tourism and general economic hard times in Dubrovnik today. The inability to address these new realities in an effective way may relate to a perception of powerlessness from within the intuition, with respect to mission and funding.

The one exception to the above seems to be the Institution for Restoration of Dubrovnik. Even though its mandate is set by the Croatian government which also provides funding, the Institute for Restoration is able to contribute in real ways to both the cultural and financial revitalization of the City. One reason for this may be the clear, directed vision for Dubrovnik which the Institute developed following the 1979 earthquake, formalized in the Implementational Town Plan for the Old City. This forward-thinking urban planning document has provided a base for all efforts of the Institute ever since it's adoption in 1986, with minor adaptation to suit the changing times as necessary. Other factors which may affect the positive ability of the Institute to contribute to the City may include strong local powers under qualified, directed leadership. A clear mission and the power to fulfil it seem to be the key factors.

CONCLUSION

The six Dubrovnik cultural institutions in the field survey undertaken in May 2000 are able to contribute to varying degrees to the revitalization of cultural life and financial well-being as the City recovers from the effects of the war in the 1990's. Physical damage, changing economics, a new political system and shifting demographics all come into play, but "the war is not a dividing line," warns Vesna Mitrovic of the Art Workshop Lazareti. The transition to openness currently flourishing in Croatian society started long before any particular political election, and must be considered in the context of trends towards tolerance and globalization in the world at large. In this sense, it is difficult to isolate the war in former Yugoslavia as the primary cause of changes to the effectiveness of cultural institutions in Croatia, yet certainly it can be regarded as a symbol for a "long-term process of adapting to [their] new natural and cultural surroundings," (Maroevic "Museums" 4).

Cultural institutions are important as the official keepers of Dubrovnik's significant cultural heritage which with proper management may provide a new, sustainable economy for the region based on cultural tourism. Research findings from the field survey indicate that cultural institutions with the authority to define their own mandate or mission, and creatively seek funding sources to fulfil that mission, seem more able to respond to the need for revitalization of the cultural life and economic well-being of the City. Generally, those institutions "stuck" in a moribund role of dependency on governments for mandate definition and funding are less able to contribute to vitality of the City in observable ways.

The future of the City of Dubrovnik is being shaped by people who are proud to be residents of a fascinating city with a long history of perseverance through difficult times. Global economics, trends in cultural tourism and the process of birth of a new, young nation also play important roles in the development of the contemporary City. Cultural institutions which are structured to be able to rapidly respond with policy changes to take advantage of new opportunities as they arise are well-positioned to contribute to revitalization of the cultural life and financial well-being of the City. Dubrovnik is fortunate to have some institutions in this position, with leadership dedicated to actively working towards a culturally rich and prosperous future. While the process is slow at present, the patience of the people of Dubrovnik, proven through the centuries, a determined belief in culture as a measure of a civil society, and continued support for cultural institutions are important components in the development of a fresh future for the Old City.

NOTES

1. In addition to the 1994 study commissioned by Human Resources Development Canada, Statistics Canada released the detailed results of the Cultural Labour Force Survey in 1995. The Culture Statistics Program publishes Canada's Culture, Heritage and Identity: A Statistical Perspective, twice per year, providing on-going analysis of cultural sector data.
   
   
2. According to Vjekoslav Vierda, Director of the Institute for the Restoration of Dubrovnik, the tourist industry was artificially supported by the former Yugoslavia state as far back as 1985, when hotel development in Dubrovnik was seen as the key to fulfilling "full employment" and other social policies. Several artificial methods were used to bolster tourism. These included "bank "credits," advanced at the beginning of the tourist season and paid back at the end of the season with greatly devalued currency due to inflation; "bonuses" for the deposit of foreign currency with the State bank, which used the money to bolster industrial imports; and the designation of "undeveloped" local areas which were forgiven taxes and given other benefits. The latter explains the many large hotels seen along the coast 10 or 20 kilometres outside Dubrovnik -- to build in these "undeveloped" areas was much more lucrative for developers, even if tourists preferred to be closer to the historic urban core of the City.
   
   
3. While the resident population of the Old City does not directly concern this report, according to modern urban planning theory it is a key factor in the vitality of the urban core (Gabor; Gratz). In medieval times, the Old City (Stari Grad) had a population of around 5,000 people. This figure dropped naturally through the centuries, and by 1986 the Implementational Town Plan called for a population of 3,500. During the war in the 1990's, the population was swollen back up to 5,000 as people sought the apparent refuge of the City walls and fortifications -- although they provided small relief from missile shelling and incendiary bombs. Persons displaced from rural areas also flocked to the city. After the war, the phenomenon of new freedom in the real estate market -- with people able to buy apartments anywhere in the country -- combined with nationalized houses being returned to original owners, resulted in many residents abandoning the Old Town.
   
   The current population is estimated at 3,000 and demographic changes are significant. Throughout the 21st century, Dubrovnik has suffered from "brain drain" as skilled and qualified workers emigrated to foreign countries after WWII and again in the 1970's (Dragicevic). This problem has been exacerbated by the war. Today the population in the Old Town consists predominantly of the elderly and the displaced poor, unwilling or unable to return to their original homes outside of Dubrovnik. Many of the original intellectual class of residents have left, and one of primary goals for revitalization is to re-attract educated young people and families to live in the Old Town. The recent approval of City Hall for 25 new residential family apartments in the Pustijerna area, first proposed in the 1986 implementational town plan, reflects this intention (Vierda).
   
   
4. Cultural institutions which agreed to interviews were included in the sample, arranged through the auspices of Ivo Maroevic, Berta Dragicevic and the competent staff of the Inter-University Centre.
   
   
5. Analysis of data is inspired by the work of Dorothy Smith from the University of British Columbia, Canada who developed the feminist methodology of Institutional Ethnography as a way of looking at the "real-life" effects of institutional policy on users. Marie Campbell of the University of Victoria in Canada carries on this work as well (Smith; Campbell and Manicon).
   
   
6. Two museums in Dubrovnik are particularly hard pressed for space, and not just for storage. The archeological museum has no exhibition rooms, and the collection is stored in various buildings around the Old Town. The museum for new history has only two or three exhibition rooms in total.
   
   
7. Overall, the City of Dubrovnik allocates less than 20% of its annual budget for cultural programming. This includes museums, libraries, galleries, theatre, orchestra, and amateur groups such as the folklore ensemble and choir. Obviously there is not enough money to completely support all the needs of all the groups, even before the City runs their own cultural programmes. The City hopes the Dubrovnik Summer Festival will take over the "job" of extra, tourist oriented events in the near future (Dragicevic).
   
   
8. The Science Library has the largest collection in Dubrovnik, and continues to expand with 3000 legal depositions annually. In the Ragusina collection there is one unique incunabula which describes a dialogue with 33 noble persons, profusely illustrated with delicate brushwork, and printed in Florence in 1499 for a princely sum. There is also a fragment of a Beneventan manuscript on parchment, an etymology of Isidorus of Saville which describes cures for poisonous snakebites, one of the earliest of its kind, dating from the 10th or 11th century (Rukopisi 225).
   
   
9. According to Maricia Sapro-Ficovic, who in addition to being a Public Librarian is the president of the county Library Association, libraries are at the bottom of the heap when it comes to location: "[I]f they have a good building, let's say, like a big building which was used by the army before the war, they put there the new offices of the city, county government ... administration is always the first, you know and the library will get some old palace which you have [sic] a lot of problems for the restoration ... and more demands of the standards of librarianship."
   
   
10. The bulk of the cost of the new Science Library, however was borne by the Croatian government as the State donated the building and paid for all documentation, including archeological and other research. The Institute for the Restoration of Dubrovnik, funded by the Ministry of Culture, paid for the roof, structure and seismic upgrading, comprising 80% of the total renovation cost (Vierda). The library also received donations to the collection from the Foundation of the Croatian Academy of Science and Arts, the Open Society Institute, British Council and German government.
    
    
11. International conventions of war intended to protect cultural monuments include the Convention for the Protection of Cultural Property in the Event of Armed Conflict of 1954, and the Convention for the Protection of the World Cultural and Natural Heritage of 1972 (US/ICOMOS).
    
    
12. Professor Ivo Maroevic, formerly on the Restoration Council for Dubrovnik comments that the city has been almost fanatically concerned with having the appearance of a "city, not ruins" throughout it's history. After a devastating earthquake in the 17th century the residents quickly rebuilt so as not to be regarded as a destroyed city. Then, after the 1979 earthquake the City again quickly moved to restore appearances, with no notice in the public newspapers as to the intensity of the quake which registered 7 on the Mercalli scale. After the 1991 war, roofs and exteriors were rapidly repaired to restore the appearance of the Old Town, even though many of the interiors were left in a damaged state to be dealt with later on.
    
    
13. Owners of buildings in the Old Town which were damaged in the 1991 war are expected to contribute the cost of interior restoration only. The State covers the costs of all documentation and research such as archeology, and the Institute for the Restoration of Dubrovnik cover the costs of the roof, seismic upgrading, damaged structural elements, and typical stone work such as wells and columns. For burnt-out buildings, the Ministry for Development pays for everything.

Figure 1. Stari Grad, the Old City of Dubrovnik has been a UNESCO World Cultural Heritage Site since 1979.

Figure 2. Situated at the southernmost tip of Croatia, Dubrovnik is often called the jewel of the Adriatic.

Figure 3. Ragusium (Latin, rock), later called Dubrovnik (Croatian "dubrava," oak forest) maintained it's status as a free Republic from c.1358 to 1808. Here the historic fortress of St. John, now a maritime museum, stands guard over the Old Harbour mouth.

Figure 4. Although maritime trade, shipbuilding and skilful diplomacy were the keys to Ragusan freedom, defense of the City has always been important. One brutal 9th century Saracen siege lasted over a year.

Figure 5. Dubrovnik spent most of the 20th century as part of the Croatian republic in the former Yugoslav Federation. In 1990, free elections were held and Croatia declared its independence in 1991. War erupted. Today, scarred houses are still visible near Benkovic.

Figure 6. While Croatian - Serbian - Bosnian ethnic and religious hostilities formally ended with the Dayton agreement in 1995, rebuilding the new nation is a slow process. Here, agricultural land in central Croatia remains deserted since the war.

Figure 7. Glancing up the Placa, or main street Stradun, from the old harbour, Dubrovnik shows few signs today of the extensive physical damage sustained by the City during shelling in 1991.

Figure 8. However, the economy of Dubrovnik relies heavily upon tourism, which is estimated to be down 70%. Post-war recovery has not begun and few visitors stroll the Stradun these days.

[image: Stradun during festival*]

Figure 9. Contrast this pre-war image of the Stradun, during the Dubrovnik Summer Festival, an international arts festival which has run for fifty years.

[image: folk dance during festival*]

Figure 10. The rich cultural heritage of the City, both living and in historic buildings and monuments, provides the potential for Dubrovnik to become a major world destination for cultural tourism.

[image: Rector Palace exterior*]

Figure 11. The Rector's Palace is one of six institutions making up the Museum of Dubrovnik. The building itself is an important monument, consisting of a mix of Renaissance and Baroque architectural styles.

Figure 12. Damaged by an explosion in 1463, and earthquakes in 1520 and 1667; the Rector's Palace was spared in the 1991 war, except for minor damage to the roof and some pock marks from shells.

Figure 13. The old Ragusan Republic was headed by the Rector, elected by local nobles, who held power for a term of one month to two years. During this time, the Rector was a virtual "prisoner" in the Palace, which fortunately has an exquisite inner courtyard.

Figure 14. The elegant atrium, fine interiors, historic furniture and fitments now draw contemporary tourists to the Rector's Palace.

[image: Rector's Palace courtyard during concert]

Figure 15. Tourists and locals alike appreciate the superb acoustics of the Rector's Palace courtyard when music concerts are held there.

Figure 16. Unfortunately, museum exhibitions and programming to interpret the unique characteristics of Rector's Palace are rare -- in part due to a drop in cultural funding since the war.

Figure 17. Dubrovnik Libraries consists of two facilities, the Public Library and the Science Library, the latter collection including 22 rare incunabula (books printed before 1501).

[image: Skocibuha exterior*]

Figure 18. Before the war, the Science Library was housed in an elegant Dubrovnik summer palace once belonging to the Skocibuha family.

[image: Skocibuha Sipan home*]

Figure 19. From the arched second floor terrace of the summer palace in Dubrovnik, shown above, the Skocibuha could see across the strait to their permanent villa on Sipan Island, shown here.

Figure 20. In 1991 the old Science Library was hit by five shells and two incendiary devices, even though it was flying UNESCO flags: which meant that as a cultural monument it should have been spared from attack under international war conventions.

Figure 21. Condemned because of the war damage, the cost of restoring the old Science Library was prohibitive, due to high standards dictated by its significant Renaissance design.

Figure 22. In April 2000, a new Science Library opened in a restored old building in the Old City, thus ending nearly ten years of inaccessibility to the collection. This view from the attic office of the new Science Library overlooks a statue of the patron saint of Dubrovnik, St. Blaise.

Figure 23. In 1998, the new Public Library opened nearby in the Old Town, also in a restored old building. It has an elegant reading room which is rented out for concerts and meetings. The income is welcome as since the war, the book acquisition fund had to be used to pay for building renovations, reducing the ability of the Libraries to contribute to the cultural life of Dubrovnik.

Figure 24. War damage in 1991 followed on the heels of damage from the 1979 earthquake, which devastated the Old City. After both calamities, the Institution for the Restoration of Dubrovnik has been responsible for maintaining the integrity of the cultural monuments in the Old City, such as the 16th century Sponza Palace shown here, in Gothic-Renaissance style.

Figure 25. Immediately after the war, the Institution was faced with severe damage to tile roofs from direct shell hits and fire, some which have not yet been repaired on monuments which are classed as "less" significant.

Figure 26. Finding sources of the clay tiles which formerly made the subtle colouration of the historic roofs of Dubrovnik so attractive was difficult after the war. In some cases, old pantiles were salvaged and mixed with new red clay tiles, as seen on these roofs, but overall the new terra cotta coloured tiles dominate today.

Figure 27. The Institution for Restoration is concerned with contemporary urban planning issues to develop a sustainable, "living" urban core, which supports both tourists and residents, to reverse the trend of declining population in the Old City in contemporary times.

[image: 12th century map of Ragusa*]

Figure 28. Authorized to draw on Croatian and international experts in conservation and archeology, further supplemented by archival documents such as this map of the city dating from the 12th century; the Institute for Restoration is in a powerful position to oversee the alteration of buildings or their use throughout the Old City.

Figure 29. The Institute for Restoration was instrumental in the recent approval of the City to construct 25 new dwelling units on top of this disbanded archeological site in the St. Thomas area of Pustijerna, currently serving as an unofficial garbage dump. The new project is geared towards re-establishing families and young people in the Old City.

[image: line drawing facade, Theatre*]

Figure 30. The Institution for Restoration commissioned photogrammetric drawings of Old City buildings after the 1979 earthquake, resulting in accurate line drawings such as this one which shows the main entry to the Marin Drzic Theatre next door to the Dubrovnik Town Hall, which suffered minimal damage during the 1991 war.

[image: interior of theatre*]

Figure 31. The Theatre has offered classical repertoire to the people of Dubrovnik in this location since the 19th century. Since the war, the make-up of the audience has changed, and tastes now run more to comedies than the Croatian classic plays.

Figure 32. Here, the stage is set for a Friday night performance, but before the war the company ran plays almost every night. Dropping attendance is attributed to changed demographics of the local audience, and reduced funding from the City

Figure 33. Dubrovnik is well endowed with performance arts, with the classical Theatre flanking one side of the old harbour and the avant-garde Art Workshop Lazareti on the other side.

Figure 34. The old Quarantine buildings, a series of vaulted bays with open outdoor yards between are perfect for the multi-media Art Workshop Lazareti functions which are geared primarily toward the youth of Dubrovnik.

Figure 35. Here one of the bays of the old Quarantine building is set up as an avant garde theatre, available at no cost to local performers. Other offerings include art workshops, dance, and future plans for film and new media facilities -- since the City of Dubrovnik has recently offered two more bays to Art Workshop Lazareti with an unprecedented 25 year, rent free lease.

[image: Lazareti Art Weekend poster]

Figure 36. The war has not adversely affected Art Workshop Lazareti, which is funded largely through the Open Society Institute, a philanthropic foundation supporting culture in emerging democracies. Events such as Art Weekend in Dubrovnik explore new trends and promote inter-ethnic Balkan performances, increasing the group's ability to contribute to the financial and cultural life of the City.

Figure 37. Another aspect of Dubrovnik's rich cultural heritage lies in its educational institutions, including the Inter University Centre which has operated as a forum for higher education and east-west exchange for nearly 30 years.

[image: IUC calendar]

Figure 38. The Inter University Centre has recently changed it's mandate to play a formative role in developing Central European studies. Furthermore, the IUC is involved in a new project to promote the city as an "International Science and Education Centre," using the numerous colleges, schools, libraries, and cultural institutions as the base to attract cultural/educational tourism to Dubrovnik.

PHOTO CREDITS

All photographs are credit Valerio Faraoni, May 2000 except as noted below.

Figures 9, 10, 15: Dubrovnik, Croatia. Dubrovnik Summer Festival n.p. No credit.

Figure 19: Dubrovnik, Croatia. Skocibuha villa on Sipan Island n.p. No credit.

Figure 11: Restoration of Dubrovnik 1979-1989. Rector's Palace 71. Credit: Nenad Gattin.

Figure 18: Restoration of Dubrovnik 1979-1989. Skocibuha Summer Palace 207. Credit: Damir Fabijanic.

Figure 28: Restoration of Dubrovnik 1979-1989. View of Dubrovnik in the 12th century 316. Source: Record office.

Figure 30: Restoration of Dubrovnik 1979-1989. Town Hall and Marin Drzic Theatre 83. No credit.

Figure 31: Dubrovnik, Croatia. Interior of Marin Drzic Theatre n.p. No credit.

INTERVIEWS AND CONTACTS
Dubrovnik, May 2000

Berta DRAGICEVIC, Executive Secretary
Inter-University Centre Dubrovnik
Don Frana Bulica 4, HR-20000 Dubrovnik

Marin GOZZE, Director
Kazaliste Marina Drzica (Marin Drzic Theatre)
Kovacka 1 (office), Dubrovnik

Vesna GOZZE, Curator
Dubrovacki Muzej - Knezev Dvor
(Museum of Dubrovnik - Rector's Palace)
Pred Dvorom 3, Dubrovnik

Zelimir KOCEVIC, President, ICOM Croatia
MSU- Muzej Suvremene Umjetnosti (Museum of Contemporary Art)
Habdeliceva 2, HR-10001, Zagreb

Ivo MAROEVIC, Chair of Museology
Faculty of Philosophy, University of Zagreb
I. Lucicia 3, 10000 Zagreb

Frano MATUSIC, Director
Dubrovacki ljetni festival (Dubrovnik Summer Festival)
Polijana Paska Milecevica 1, 2000 Dubrovnik

Nives MILOS
Turisticua Zajednica Grada Dubrovnika (Dubrovnik Tourist Board)
C. Zuzoric 1/2, Dubrovnik

Vesna MITROVIC, Co-director
Art Workshop Lazareti (Art Radionica Lazareti)
Pobijana 8, Dubrovnik 20 000

Marica SAPRO-FICOVIC, President
Dubrovnik Library Association
OD Domina 3, 20 000 Dubrovnik

Martin SEGGER, Director of Goverment and Community Relations
University of Victoria
Victoria, BC, V8W 3P2 Canada

Malojka SERTIC, City Planner
Gradsko poglavarstvo (City government)
Pred Dvorom 3, Dubrovnik

Jelka TEPSIC, Stage manager
Kazaliste Marina Drzica (Marin Drzic Theatre)
Kovacka 1 (office), Dubrovnik

Slaven TOLJ, Founder
Art Workshop Lazareti (Art Radionica Lazareti)
Pobijana 8, Dubrovnik 20 000

Mirjana URBAN, Director
Dubrovacke Knjiznice (Dubrovnik Libraries)
Diva Natali 11 i Cvinete Zuzoric 6, 20000 Dubrovnik

Vjekoslav VIERDA, Director
Zavod za Obnovu Dubrovnika (Institute for the Restoration of Dubrovnik)
C. Zuzoric 6, HR-20000 Dubrovnik

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