‘Belgrade, a city of multiple interrupted identities, separated from its essence during the 1990s, turning into a large Serbian small town (palanka). But the dreams of Belgrade that once were, the dreams of the great metropolis (from the time of the Non-aligned Movement, utopian dreams about the future world of a community of equals, but also the time of the exciting BITEF, midnight FEST, students’ festivals.) – The dream of Belgrade as a regional cultural center and a place of intercultural dialogue of southern Slavic cultures – never ceased to live. We sometimes called it nostalgia; sometimes megalomania, sometimes futile effort, but all these words have essentially been way off the mark. In spite of everything – politics, the exodus of the youth, embargo, and misery – Belgrade has remained a multi-cultural, exciting city, a city in which different generations and different cultural models live together, albeit with different experiences. In this sense, Kalemegdan is a paradigm of the open city space full of memories, in which every generation, every social group finds its own mode of communication and “utilization” of signs, ramparts, buildings, walkways, monuments.’

Milena Dragicevic Sesic


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