Literature, theatre, spectacles, music, film, and television by creators from the southeastern Balkans possess a magical yet often overlooked advantage at the highest level: they are understood and experienced by a much wider circle of audiences than the creators themselves imagine. The same applies to visual creations, as realistic or abstract motifs seem to contain an additional, hidden dimension.

We know each other well, so we understand each other! One could debate this slogan endlessly. But the participants in such a debate, like waves, would meet again and again, build upon each other, part for a moment, then return – confirming that this knowledge is real and remains permanent.

Shared audiences

Zoran Predin, one of the most famous Slovenian rock artists, recalls in the biographical documentary Praslovan (2024) by director Slobodan Maksimović: "In Lačni Franz, the band I fronted, we weren't even aware that for tens of thousands of our loyal fans in the region, we were their only contact with the Slovenian language. Many sang our songs without even knowing what or whom my lyrics described. And yet, over time, they all realised what I was singing about."

The famous Croatian theatre and film actor Rade Šerbedžija, like many other Croatian, Bosnian, Serbian or Montenegrin artists – knowingly or unknowingly – can also always count on being understood very well by Slovenian or Macedonian audiences.

If we take a slightly broader view of this shared cultural space, we see that creativity continues to move freely across the region. Senidah (Senida Hajdarpašić), today the most popular Slovenian pop artist, built her success largely outside Slovenia's borders. She sings in her native Serbian/Bosnian – a language that opens doors across the entire region. Just as Croatian and Serbian acts regularly fill Slovenian venues, Slovenian performers find audiences in neighbouring capitals. The creative currents of the region flow both ways, proving that the cultural conversation never stopped.

This shared cultural understanding appears even in arenas far removed from galleries and concert halls. When Red Star basketball players visit Olimpija in the ABA League, the Belgrade fans are well aware that their jokes about the locals – whether they call them Slovenians or simply Janezi – are perfectly understood by the opposing stands. And vice versa, make no mistake! Only those missing the spirit of the exchange would fail to recognise them as incredibly creative. There is no doubt that any marketing expert would immediately describe their humour and sarcasm as top-notch.

For more than a quarter of a century, Sarajevo has been home to one of Europe's major film festivals. In 2025, Tivat joined the scene with the first Adriatic Film & TV Awards. Though still in its early stages, the festival's orientation toward television series and drama positions it to develop a distinctive role alongside Sarajevo.

Both regional and international artists perform at summer festivals from Dubrovnik to Ljubljana. Slovenian and Austrian theatre directors Vito Taufer and Martin Kušej delivered two highlights of the 76th summer festival edition in Dubrovnik last year. At the Skopje Jazz Festival, Swedish trumpeter Goran Kajfeš – whose father, Zagreb-born jazz accordionist Davor Kajfeš, was a member of the Zagreb Jazz Quartet – performed with his band Tropiques to great acclaim. Cultural organisers recognise the appeal of names that sound "familiar" to audiences across the region, and artists from the former shared cultural space – or from its diaspora – often return with enthusiasm to the creative environment that shaped them.

Art in motion

It is no coincidence that the major retrospective of Marina Abramović's most influential creative period, produced together with her late partner Ulay, was a joint effort between Zagreb and Ljubljana. The title of last year's most notable installation at Ljubljana's Cukrarna – Art Vital – spoke clearly to this shared cultural lineage.

Complementarity has its own pull – and those of us in this part of Europe can feel it instinctively. At times, we even send it out into the world. For the upcoming 61st Venice Biennale, Marina Abramović has chosen a title that channels the spirit of Nikola Tesla with characteristic daring: Transforming Energy.

In a region shaped by fractures and closeness in equal measure, the story often feels familiar: fear stands in the way, while passion and courage – intertwined with pride – hold the winning hand. Artists know this better than most; they carry trump cards no one else can play. It is worth recalling the recent reflection of Zagreb sociologist and political scientist Professor Dražen Lalić: "Only the proud are not afraid."