Gender, social inequalities and public debate
There are entrenched stereotypes about gender roles and prejudice towards women in society and in the arts
Many of those I spoke to suggested that the region or their country was patriarchal or in the midst of re-patriarchisation or re-traditionalisation.
Entrenched stereotypes about gender roles and prejudice towards women in society and the arts remain. These include hangovers from the Soviet and former Yugoslavia, such as the veneration of traditional (and predominantly male) painters in Montenegro. Many younger and middle generation contemporary artists are missing from institutional collections, and this is particularly the case for female artists. There is also a parallel challenge, that is, overcoming a possible reluctance or refusal of artists to lend work to institutions that previously paid little attention to their artwork and careers.
The curation of parallel activities and the voices represented at debates is important for progressing topics and encouraging free discussion, as well as representation. This is seen as important in a context where there is little tradition of public debating. In the broader context, different measures (e.g. the withdrawal or absence of funding for organisations active in this sphere or a lack of space for discussion at university level) impact on how the topic of gender equality is considered in society.
Furthermore, gender and other equality themes, such as LGBT rights, may not be considered a priority in the context of more pressing social or economic challenges, and thus are missing from the public debate.
There is this tendency of putting away topics that are not easy and not pleasant, only because in quotation marks ‘We have more important things to do’. But in fact, it’s all indicators of the same problems, it’s a question of lack of, of social discussion on anything which is really challenging (perspective of a curator from the region)
In any case, gender inequality is an intersectional issue, bringing to the fore topics such as ethnicity, disability, age, and urban and rural educational divides. There are socio-economic barriers, such as illiteracy, that hinder wider female participation in society. (According to Eurostat figures from 2015, cultural participation amongst those in Serbia and North Macedonia with low educational attainment was significantly lower than the EU average , with only 7% and 5% (respectively) likely to attend live performances)
Although the former Yugoslavia and Soviet Union promoted gender equality in some respects, there has been a decline into a more traditional and patriarchal society. It is noted that attitudes are changing, for example, led by legislative means, but that this legislation is often not enforced. Pervasive social norms are limiting gender equality. A dichotomy is emerging between the rise of the left and right in different countries in the region. This has an impact on the social themes being presented, for example, an emergence of nationalism which one curator suggested is coupled with patriarchalism.
There are also stark differences in the life experienced by those in cities and those in rural areas. While some urban arts organisations seem to be making efforts to reach out to those in rural regions, there are structural divides hindering cultural participation that run deep, like education, gender stereotypes and social norms.
View the whole series, Creative Collaboration in the Western Balkans
