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STRATEGIJA2.6 6/18/03 5:12 PM Page 158 stantially, at least conceptually. The reduced perception of desirable relations between culture and society proceeded from the assumption that only a free, independent culture and the arts (as well as science and education) in a special relationship toward society and the state, a relationship devoid of political and ideological claims could enable the development of their autonomous values, and only through such unadulterated values could culture and the arts truly contribute to overall development. If only one overall change is clearly detectable in today s cultural relations in Croatia, then it is undoubtedly that which can be described as the liberation of culture, liberation of art, namely, a specific quantitative (measurable) and qualitative (immeasurable) accel eration of the production of books, films, theatre performances, fine arts and musical events, including the liberation of the profession, expert and scientific, of cultural, and even media production (including criticism), freedom from any form of public coercion, particularly by the state. This liberation, however, was not only spontaneous it was stimulated as well. Indeed, it seems that an important quantitative aspect of that libera tion is linked to the marked increase in state financial incentives allocated for numerous cultural programs, which increased by nearly 50% after 2000. These changes are visible not only in the type and volume of new programs, ranging from cultural industries (revival and enhancement of publishing, new films and film forms, more intensive investments in programs of cultural infrastructure development and restoration of cultural heritage, etc.), through the sudden flourishing of new artistic organizations (over one hundred in the registers of the Ministry of Culture), new festi vals and other events, to music and stage arts on newly acquired alternative locations in cities, the return (even extravagant ones) of internal or external, voluntary or involuntary exiles to the culture scene: The change is felt also in the cultural orientations and aes thetics. How, then, is it possible while fully respecting everything that can be termed as an ori entation towards the autonomy of culture to speak of cultural policy within the context of the strategy of cultural development? It is a question that, on the one hand, places the methodology of working out a cultural strategy in a rather specific position in which the protection and assertion of creativity become more important values than prescribing the directions of and solutions for cultural creativity. Contrary to non intervention in that respect, we postulate the possibility of cultural planning in an environment conducive to footer Copyright 2006, Gamahosting.net. Sva prava zadrzana. web hosting hrvatska
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STRATEGIJA2.6 6/18/03 5:12 PM Page 10 znanosti i obrazovanja) spram dru tva i dr ave, odnos li en politiEkih i ideolo kih zahtje va, omoguEuje razvitak njihovih autonomnih vrijednosti, a samo takvim nekrivotvore nim vrijednostima kultura i umjetnost istinski doprinose ukupnom razvitku. Ako je samo jedna promjena jasno vidljiva u sada njim kulturnim odnosima u Hrvatskoj, onda je zasigurno to ona koja se mo e nazvati osloba anje kulture, osloba anje umjet nosti svojevrsna kvantitativna (mjerljiva) i kvalitativna (nemjerljiva) akceleracija knjige, filma, kazali ta, likovnih i glazbenih doga anja, kao i osloba anje struke, struEne i znanstvene, kulturne, pa i medijske produkcije (i kritike) od svakog javnog oblika poli tiEke prinude, napose one dr avne. To osloba anje, me utim, nije samo spontano, nego i poticano. DapaEe, Eini se da je va an kvantitativni aspekt toga osloba anja u vezi i s velikim iskorakom u dr avnim financijskim potporama brojnim kulturnim programima, koje su u razdoblju od 2000. rasle za gotovo 50%. Te su promjene vidljive ne samo u tipu i koliEini novih programa, od kulturnih industri ja (obnova i jaEanje izdava tva, novi film i filmske vrste, intenziviranje ulaganja u pro grame gradnje kulturne infrastrukture i obnove kulturne ba tine i dr.) ili naglog bujanja novih umjetniEkih organizacija (u registrima Ministarstva kulture preko 100), novih fes tivala i festivalskih senzibiliteta glazbeno scenskih umjetnosti ili novoosvojenih alterna tivnih prostora u gradovima i kulture mladih, povrata (pa i ekstravagantnog) na kulturnu scenu unutra njih ili vanjskih, dobrovoljnih ili prisilnih emigranata, nego i u samim kul turnim orijentacijama ili estetikama. Kako, dakle, pri punom po tivanju onoga to jednom rijeEju mo emo nazvati orijentaci jom prema autonomnosti kulture govoriti o kulturnoj politici u kontekstu strategije kul turnog razvitka? To je pitanje koje, na jednoj strani, stavlja metodologiju izrade kulturne strategije u osobit polo aj u kojem sama za tita i afirmacija stvarala tva postaju vrijed nosti znaEajnije od propisivanja smjera i rje enja za kulturno stvarala tvo. Nasuprot non interventnosti u tom smjeru, strategiju je prvenstveno moguEe postaviti smjerom plani ranja u ambijentu afirmacije struEnog i javnog odluEivanja. OpEa rasprava o strategiji kulturnog razvitka koja je obuhvatila stotine kulturnih djelatni ka u Trako Eanu i oko njega, ponudiv i najprije knjigu Hrvatska u 21. stoljeEu. Strate gija kulturnog razvitka. Nacrt (Zagreb, 2001.), kao i jo dvije knjige i jedna Bilje nica koje su joj prethodile, ukljuEujuEi i polemike koje su izazvale, bez sumnje iroko uokvi ruju zahtjev demokratske i struEne javne rasprave o kulturi . footer Copyright 2006, Gamahosting.net. Sva prava zadrzana. web hosting hrvatska