 When new artistic director of BTEF for this 50th issue, even Medenica, was nominated, one of his immediate idea was to organize this conference and to devote huge attention to what BTEF really meant in its history from its beginning, not only for itself, for theater history, but for, I would say, cultural diplomacy, political status of Yugoslavia of that time and Belgrade. And today, I am very honored to have all of you in the audience, to have ministers of culture, to have ambassadors, to have people who are directors of prominent cultural institutions from all around the world, from north of Europe till South Africa. So it's again this year that BTEF, through its repertory, through its program, but through this kind of conferences and through conference of theater critics of the world, is again gaining its, I would say, cosmopolitan horizons and opening. Allow me to present to you Vladimir Lukosavovich, Minister of Culture of the Republic of Serbia, and to kindly ask him to address this reunion, this conference. Thank you very much. So, how come you are here? Thank you very much. Thank you very much. Dear Minister of Culture of Romania, Madame Shuteu, a respected special advisor of the President of the Russian Federation for International Cultural Cooperation, Mr. Shuteu Koi. Dear colleagues, ladies and gentlemen, it is a great honor to be here with you today and address this, for me personally, very important role. I believe that culture and cultural diplomacy is not just a soft power per se. It is a superpower which has the ability to create a new world. The history of BTEF is the history of diplomacy in culture and culture in diplomacy. There is no better way for the recognition of a country, society, and nation than through arts. I would like to bring to your attention the words of Eduard Heriot. Culture is what is left after we have forgotten everything else. Away from daily politics, art is establishing deeper ties in a much better way than official agendas. From its beginnings, the festival has been a unique global phenomenon. On the one hand, it was an opportunity through which foreign governments promoted their values through artistic expression. Belgrade was recognized as a place where East met the West. We were witnessing artists from the US and Soviet Union performing next to each other. For Yugoslavia, it was a strong culture diplomacy weapon. And Mita Traylovich and Jovan Chirilo were recognized as ambassadors of theater worldwide. I believe that BTEF will find its old role in a new world. Although in a globalized world, the borders and means of communication have taken another role, it is still necessary to strive for the mutual respect of different values and traditions. In this respect, the priority of the Ministry of Culture and Media of the Republic of Serbia will be to further strengthen international cooperation and investigate new strategies and approaches which will position Serbia as a credible partner on the map of the region, Europe, and the world, not forgetting our roots. I hope that I can rely on all of you for support on this mission. Thank you very much for your attention. Thank you. Can we ask rector of the University of Art, Professor Zoran Erich, our famous composer, to address this? Ladies and gentlemen, dear colleagues in behalf of the University of Ars, it's a great pleasure and honor to welcome you at the conference, BTEF and Cultural Diplomacy at the Festival and Geopolitics. This conference is dedicated to important jubilee, the 50th anniversary of BTEF and the 50th anniversary of establishing the Portgraduate, today it is master, program of Culture, Policy, and Management at the University of Arts in Belgrade. This jointly delivered program in collaboration with the University of Leontu for its excellence in promotion of intercultural cooperation and mediating capacities of culture has become the first international and regional project of that kind supported by UNESCO and the name UNESCO Chair in 2004. In the past 15 years, this program has given outstanding results in the field of cultural management and, in a broader sense, in the entire cultural sector in the Balkans and the Amunds. Thanks to the dedication and enthusiasm of Professor Milena Ravicic Czesic, the founder of the program and the former director of the University of Arts in Belgrade. With respect to the topic of the conference, we are very proud of the fact that our Master in Culture, Policy, and Management established in the first years of the century, its openness to the students from all over the world, by its concept and mission has become a significant instrument of regional cultural diplomacy and the kind of platform for reconciliation in the Balkan countries through culture, education, and common issues. This particular at the meeting point of the Beta Festival and our program, Culture, Policy, and Management, has two forms of the same mission aimed at crossing the intercultural bridges, hoping that this conference would not be only a place of exchange, but a platform for, well, sometimes the polemical dialogues and encouragement for new approaches in your research. I wish you successful work and great outcomes in conference deliberations. Thank you. As our rector has already mentioned, our UNESCO Chair for Cultural Policy and Management, I would now ask Professor Goran Milashinovic, President of the Serbian Committee for UNESCO, to address. Thank you. You thank each guest, ladies and gentlemen. Let me quarterly welcome you on the behalf of the Serbian National Commission for UNESCO. I'm truly honored to be here with you today. Serbian National Commission for UNESCO is the part of the global network of UNESCO National Commissions, working at the link between national governments and UNESCO. The main function is associating governmental and non-governmental bodies and education, science, culture, and communication with the work of the UNESCO organization. Presently, there are national commissions in 195 UNESCO member states around the globe. Our national commission was established in 1950 and re-established as a Serbian National Commission in 2001. Currently, it has 25 members as the representatives from ministries, Academy of Science and Art, universities, institutions, and NGOs. Thank you. Yeah, as we are here today, thanks to devoted work by BITF organizers, but also that of UNESCO chair of the University of Arts in Belgrade, let me reflect a bit upon UNESCO chair's program. It was launched back in 1992 with the mission to promote international inter-university cooperation and networking. The program supports the establishment of UNESCO chair in key priority areas relating to the UNESCO fields and competence. To this network, high education and research institutions all over the globe, all their resources brought human and material to address pressing challenges and contributed to the development of their societies. In many instances, the networks and chair serves as a thing thanks and as bridge builders between academia, civil society, local communities, research, and policymaking. They have proven useful in promoting cultural diversity as well. Today, the program involves over 700 institutions in 128 countries. The importance of UNESCO chair comes mainly from the fact that they support intellectual dialogue, development of the culture of peace and international exchange and cooperation. This creates specialists who are ready to promote culture and art of their own country involving the new global tendencies, while respecting the right of diversity at the same time. As Serbia is an active participant in the process of cultural, educational, and scientific cooperation supported by UNESCO, it is extremely important that in our country, work and activities of the UNESCO chairs is recognized and facilitated. Presently, there are three of those chairs in Serbia in the field of culture and social sciences at the University of Novi Sad at the Center for Education Policy and the organizing this conference today at the University of Arts in Belgrade. UNESCO chair at the University of Art in Belgrade was, as it was said, established in 2004 and organized interdisciplinary master studies for cultural policy and management in collaboration with the University of Leon II. The program is conducted in English and French which allows the true internationalization of studies. The success of the program is provided by very high level of employment of former students which measures up to 93%. So far, the program enrolled more than 400 students, 100 of them being international students coming from over 30 different countries, European, Asian, and African. Thus, this program significantly contributes to the internationalization of the University of Belgrade especially as it also engages professors who teach at university around the world. To the program, students are able to grasp an insight into different cultural policy and practices, develop a set of specific skills and knowledges, and become particularly trained to participate in the process of cultural diplomacy which besides other activity involves organizing festivals and various forms of events that contribute largely to the positive reputation of our country in the world. Be the festival is just an example of such event with its 50 years long tradition of excellence. On the behalf of the Serbian National Commission for UNESCO, I would like to thank you, the organizers of this conference and wish you all successful work. Thank you. I just, I will. Because we are more in touch with the Reds always, but not the Reds. I just wanted not to be very ready for the Reds. Thank you so much. Okay. I will finally ask exactly, executive director of this house at the 212, Masha Mikhailovich to tell us real words. Thank you. Dear guests and friends, theater at the 212 is making its 60th anniversary this year while Bitev is celebrating 50 birthday. Bitev was born in the 212, and it emerged quite naturally from all over the world's theater, which was itself founded as a free space for new ideas for the modern and the avant-garde. Very shortly, the space of the 212 became too small for Bitev and liberally, the festival went on its own path of conquering freedom, artistic, political, and social. It strongly moved borders and connected the world in a unique way at the same time changing and correcting our attitude towards theater, freedom, and the world. It has come a long way and the journey continues. It's good for it to come home once in a while. Thank you. In fact, now I would like to tell you a few words about Mirat Rehilović as inspiration and role model. That I don't know, Masha, is there... It works, yeah. Is it working? It's not working. Is it... Many... Okay, no, no. It's no problem because I can speak very loudly and that's my turn anyway. So I want to just remind you just to see that I haven't written that long before so I will start with Bob Wilson's words from the opening of Bitev Festival this year. He said, festivals are the real platforms where art can happen. And thanks to Bitev Festival, many projects such as even Einstein on the Beach has been created and Belgrade audience heard that for the first time and realized how important even as a producer this festival was. But the other story which Wilson was telling the audience, imagine story about his encounter with Tito was telling us something more about soft power and Yugoslavia, probably for him. As Tito, for example, was seduced by American soft power. That was in his story, the story about Elizabeth Taylor. In the same way, Wilson and many other artists from around the world has been seduced by life promised by socialist Yugoslavia, by self-government, by brotherhood and unity of different nations living together. By everything that Yugoslavian socialism was promising and seemed to be delivering. So in his imagined story, this was somehow very significant how important this political links of theater and politics has been established throughout. And of course, this year title on the back of a raging bull of this year Bitev program is also significant for geopolitics. And this conference is about geopolitics. On the opening already, we had representatives, artists from Lithuania to Romania and France, from Russia to the United States, from numerous countries from the region. And the repertory of the main program brings much more, brings Singapore, Lebanon, China. But it needs content. It includes even more and even further, Burundi, Indonesia, Japan, India, New York. Content is even more meaningful for geopolitics. Nearly all the repertory of this year Bitev is somehow rethinking different positions, relations in between avant-garde of the East and the West, New York and remote parts of Poland and so on. Asian cultures linking tradition and contemporaneity. 150 critics on AICT conference, projects such as Justice, which was really one of the first and most important projects of theater academia from the region, from Zagreb, Sarajevo, Belgrade and so on, Macedonia, Skopje. So Circus Vera linking Belgrade and Zagreb, a new circus artist. So we can say that all that proves that Bitev wants to be a very active player again after 50 years in geopolitics. But my reasons to immediately accept proposal of UNIDENTA to make this conference possible is not only my interest in geopolitics. It's my long-lasting research about leadership skills and entrepreneurial spirit that Mira Treilović had and introduced in our system. That in spite of, we often say rigid socialism, at artistic structures and so on. No, entrepreneurial spirit such as hers was able to create institutions from the zero or institutions within institutions and go always further. So this is something that we have to ask ourselves. Here are just few main, let's say theoretical basis, Moisey, Nisbet, Todorov, Monika Mocre, Fusze Michel that are inspiring my research, but I'm not going to bother you with all these theories because it's not neither time, neither place for that. But I would like just to use this Moisey theory of geopolitics of emotion to explain why and how Yugoslavia in 60s as a part of this culture of hope, which was predominant in that time throughout the world, was playing significant role. Yes, in the post-Second World War a lot of, let's say, globe was predominantly in culture of hope. They colonized countries of Asia and Africa, had in front of them bright future. Western countries have seen every day their standard of living, progress, democracy building up. Even the East in many numerous cultures, my colleagues from Russia used to say we were very proud citizens of Soviet Union. We really believed that we are bringing justice to the world and to these colonized people that we are bringing freedom. So culture of hope was something there. Culture of fear existed because it was bipolar world. But in this culture of fear, which was however, let's say marginalized, Yugoslavia with non-aligned movement contributed a lot to balance and to show the dialogue is possible. So Vitef was acting as a platform of a dialogue within a Cold War, dialogue of not only East and West, but even in a more very narrow sense, East and West Berlin theater practitioners are gathering here in the same, let's say, in the same festival, in the same platform. How far it is from today's situation when we are living mostly in cultural fear, fighting in terrorism, where securitization became, even the last conference about arts was about security policies and the arts that I participated in Skopje, keynote speech, and everyone was about security, security. So we are living today in completely different world. World of fear, where culture of hope is marginalized and culture of humiliation is more and more predominant. It's not only that it started with Palestine and Arab world with this unfortunate, let's say, exile of Palestinian people. It continues today throughout the Arab world, Africa, that all those countries and people feel humiliated. So in this new geopolitics, as Moisi is saying, the role of arts and culture should again be different, but is nevertheless even more important. I just wanted to just remind you that Belgrade discussed a little bit how to return this soft power. Would it be through Belgrade as a sin city, clubbing and joy and entertainment, or should it be through arts, through debate, through refraction, criticism? And I hope that with new cultural policy, we can believe that it's going to be through this, through arts, through exploration, through research, through reflection, debate. And yes, the question is, what we can learn from Mira Trilogy, what we can learn from her leadership skills and from the ways she handled different, much more tough, even political issues during her career. It was not that in that time, sometimes I think it was easy in 60s, she had political support, everything was, Yugoslavia was opened, politically and so on. It was not neither that bright, as sometimes it looked from this perspective, neither that free you have to fight for every step of your freedom. So what I wanted to say is that her personal story is not only the story of professional development within theater field, how she introduced Atelier 212 in that time, as a theater first without actors. It was Boyan Stupica who imposed to her idea of ensemble because her initial idea was open theater for projects, for groups, for change. It's also story about possibilities, how to influence both cultural diplomacy and cultural policy from bottom up by your own action, by your own doing. Because I'm sure Belgrade wouldn't be this open without Peter. It was the first festival of international kind. And then later followed the others, inspired by Mira, Bemus, Fest. And we are going to hear from some of the participants during this today conference about it. So it contributes a lot to the changes of the value system in our society, in cultural policy and in cultural diplomacy. What is more important to say, it is that she did it without formal functional authority in the beginning because she was not director of Atelier 212. It was Radosz Novakowicz. So she did it by first of all, and without any political function because she was not even party, communist party member, not to say that she didn't have any other function. She became a leader in a cultural sphere within this social estate, contributing to wider policy and institutional changes specifically because of her personal authority, competence, knowledge, and skills. And we can say, and I use a lot of this vocabulary of this Ertoa about strategies and tactics. And yes, she by intuition has used a lot of strategies and tactics to bring even those who have been dissident in their own country such as a living theater, which we can see on the picture, bread and puppet theater, and so on. So first coming of American troops on Viteb hasn't been supported by American money, just in case if somebody, because it's often the story that everything was paid during Cold War by CIA. Something was paid, but not everything. And... And not by CIA. Yeah. But in any case, I would say she was brave enough to negotiate with all, with Soviet Union to bring official, but also dissident theater to start with Bulato Kudrava poetry. That was also bravery. On the theater festival, you are inviting poets, Belakh, Madhulina, Bulato Kudrava, and so on. So opening first in 67, visual art, Viteb. So realizing immediately what is the power of new artistic practices in visual arts and how important it is for the performances. It's, you can imagine how early it was. And to try to see, I'm not going to keep you very longer. I can say that she was creating Viteb International Theater in 67, and not immediately, but in a few years, she started to discover Belgrade as a city of performance. And I have to say in that time, nobody used the term public space or how it's a arts in public space and so on. But she used video and serial of the research and with many others, Lalitsky and Zhmukic. What are the possibilities of non-theatrical spaces to be used and so on? Who were Viteb guests? You can just see a brief list from all around the world. You can see the bit of design, how cosmopolitan and important it was. So the organizational culture that she brought in Belgrade for the first time was this culture of entrepreneurialism, laboratory, space of innovation and research. And I think I will finish with this, let's say statement. In her orientation toward repertory policies, both in Atelier 212 and for the Bitter Festival, she supported, together with Jovan Chirilov, three layers of action. These are, first one was linked to aesthetic, Vanguard experimentation to make both Atelier and Bitter a platform for experiments, for new tendencies. The second one was devoted also to political and social criticism. Thus here in Atelier 212, on the repertory, you had Bogakov, you had Chosich and many others who really investigated that and put serious political issues on the agenda. And the third on the repertory of the theater was a popular representation of mentality. What that meant as a third line in Bitter, it was a representation of theatrical traditions and theatrical roots from around the world. And that is anecdote with which I wouldn't like to finish this expose. When Bitter first festival was created, she got support. It's nice to say also that Vukos was one of the politicians who really supported this idea. But the program was finished, Grotowski, leaving all this what she meant that has to be on the first issue of the agenda was there. And then a phone call from the government saying, enjoy, you are going to be very happy, we got a present for the opening of the Bitter. And this present comes directly from Nechru, from Indian government. It's going to be Kathakali theater. Of course, Kathakali is the most traditional Sanskrit based theater tradition of India. What that has to do with innovation, vangar, cutting edge, experiments, naked bodies and so on. But it was out of the question to refuse Nechru present. Neither government would do it, neither she could do it. It was a present. So she had to find rationale for existence of this and to open, it was the opening, for the opening of the Bitter with Kathakali. And she found it. And I have to remind you, it was long before Brooke went to Africa and India. It was long before Barba created anthropological theater. It was 67. And she said, from now on, every year, on every edition of Bitter, there is going to be one theatrical tradition to show the roots of these vangar movements for this cutting edge performances. Because knowing or not knowing, they're all inspired by old theatrical traditions. And that's how her diplomatic skills helped that non-aligned movement had something, let's say, to be present geopolitically on this first Bitter. Because otherwise, it would be very difficult because experiments were happening in Western Europe, in Poland, in Czech, in Moscow, in Leningrad at that time. But not just in that moment recently, the colonialized Africa and so on. But with this, Yoruba Opera from Nigeria, for example, came to Bitter. With this, many theatrical forms from non-aligned countries, Mexico, dance of this death, university troupe was performing and so on, have found its place. So Bitter really tried to mediate all this, I would say, issues, challenges that in that time, new geopolitics, this new world in creation was examining and trying to be a platform of the real debate. For that reason, we thank to Mira Treilović and Jovan Czerilov for making the world much closer to us throughout this 50 years. Thank you very much for listening. And now I will give a word to Ivan Medenica to announce, to tell us about future of the Bitter and to announce us the next presenter. I'm the one who desperately needs a micro because I don't have no voice anymore. I have to eight days of this Bitter marathon and I will give my best for you to hear me. I apologize if I don't succeed in that. When I was appointed the artistic director of Bitter Festival a year ago, my dear colleague who is here in another function, Anya Susha, a co-curator of festival with me, because she's also an expert for the history of Bitter Festival, her master thesis was on Bitter Festival. So Anya, Susha and myself, we immediately decided that this jubilee, this 50th edition should be at the same time a kind of historical overview, celebration of the past of Bitter, but introduction of the newness to be in the spirit of the Bitter and the ideas that Mida Trialovich, first of all, and Jovan Chidi-Lovic, Jovan Chidi-Lovic, you see a very similar mistake to our mayor last year. Introduced at the very beginning of Bitter. So in our curatorial concept, we decided to dedicate few programs, important big programs to the past of history of Bitter Festival. We even made a whole day called Prolog Day, which had four exhibitions in four different venues and institutions, which are all of them very important for the history of Bitter. And it was a kind of marathon. We were running with Borchapavic, and Milena Dragici, and Szesic, and Ivan Avujic, and a lot of you, from one point, from one spot to another. We started in radio television of Serbia, and our dear colleagues, Bojana Andrić and Petar Ginović, made a wonderful exhibition on recordings of Bitter performances, all the TV material that was based on Bitter performances. Then from that point, following stars on the ground, we came to this theater, while the whole thing started, as you know. The exhibition is still on. You can see it in the windows of the Artillery 2012. And this exhibition was an exhibition of the photos dedicated to the first 20 years of Bitter. And this theater has been organized in Bitter Festival. Then we run around the corner to New Moment Gallery, where we had the opportunity to see all the posters of Bitter Festival, all 50 visual identities of Bitter Festival. And as New Moment is Bitter's partner since 10 years ago, it was also a way to express our gratitude to them and this collaboration. And then we finished in Bitter Theater itself, where there was a fourth exhibition, it's still on, on the last, so to say, sorry, 30 years of Bitter Festival. And then there in the same venue, there was the first production of this year's Bitter Count or Downtown, which some of you have seen. And it's a kind of combination between a pseudo-historical reconstruction, so to say, of the famous country's, legendary country's performance, that class, and video installation with some 10 interviews with some important and not so well-known figures of the American avant-garde from 60s and 70s. And in that way, we wanted to show two important, I mean, this was really something when curators discover such a performance for the Jubilee, this is really a treasure, because we could celebrate with this piece, two tendencies in the history of Bitter Festival, as Milena Dragitievich-Echish has already stressed, American historical avant-garde from 60s, and on the other hand, a work of these great, great figures coming from Eastern Europe, in this case, Adel Shkanto. The second most important context for talking and thinking about the history of Bitter is this conference. I'm very grateful to Milena that she succeeded to organize it in such a perfect way with such really distinguished speakers and participants. And many other side programs are dealing with the past of Bitter. On the other side, as I have already said at the beginning, Anya and myself wanted to immediately on the 50th Bitter start to explore what is new in contemporary performing arts. So as you may know, except András Urban, because his performance, which we are going to see tonight, the Patriots in National Theater is very important on many different levels. András Urban was the only exception from the rule that we would present only the work of those directors, playwrights and choreographers, choreographers who have never been to Bitter. So new faces, although some of them very well known abroad, but have never been a Bitter festival. On the other hand, we would like, we wanted to go back to the historical roots of Bitter festival. The non-aligned movement has been mentioned and would be, I think, mentioned many times here, but it's not only about non-aligned movement, it's about the fact that Bitter, from its very origins, was an international festival. In the last decade, maybe, or even more, it became a little bit more focused on Western world, European theater with some performances coming from the States for different reasons. One of major reasons are finances, of course. It's much easier to have performances from Europe than to have something from Japan, India, et cetera. But we said, as we had a bit bigger budget, or bigger budget this year, comparing to last year, that we should use this opportunity to re-emerge, how to say, this international, why their international context Bitter festival, so as Milena has already said, I'm very grateful that you stressed this, we had performances from China, Lebanon, two German performances with African artists dealing with African topics, Singapore, et cetera. But it's not important only the origins of these performances, but how they treat these dialectics between contemporary theatrical expression and traditional forms, Western view to Asia and their commodifications regarding this view, what are the expectations of the Western world, for example, towards contemporary dance in India and how and whether contemporary Asian dance commodificate itself to be present on the Western festival market. So all these topics were political as well because Bitter is a very political project in a good sense and it has to stay political to make challenges on different level, on aesthetic level, on artistic level and on political and social level. One of the reasons why I really, how to say, accept it with no dilemma, the idea, the offer that was made to me to become the artistic director of the festival was that I think there is a good momentum in this very moment for renewal of Bitter in a different context. You will be talking, Milena has already talked about this, about the history of Bitter, the fact that Bitter in late 60s and early 70s was this ideal meeting point between that completely divided world between East and West. But nowadays the situation is not much different. We are still living in a divided world, but the frontiers are a bit different. They are switched from the vertical to the horizontal levels and we now have frontiers and borders between South and North or Northwest. And we all know that Serbia is the, so to say, the North is not EU country in Europe. All our neighbors from East, West and North are members of EU, Romania, Hungary and Croatia. We also have to know, to remind ourselves that the first border, that's the first wall, sorry, that the first wall that was built in Europe after the Lashut, what was it called? Divide. No, Lashut. Fall, fall, sorry. Fall of the Berlin wall was this wire fence that Hungary built on our northern frontier to keep immigrants out of their country. So again, Serbia became a world in between and from my perspective and perspective of Anja Susha, this is not a frustration, although it feels somehow. So we thought that this situation should be used in a creative and positive sense, forbidive to become again one of the major meeting points between different cultures in a divided world. It's a bit problematic when we think that we are not leaving anymore in the world base on ideologies, we always think that, okay, this was communist world against the capitalist world or against liberal democracy, against totalitarian states, et cetera, et cetera, but nowadays, it's still very ideological because it's all about money who is rich and who is not rich. And Borka, you are the only person in this room who is allowed to have a vote on and I'm honest. This was not irony, not at all. Borka Pavicic. Yeah, I will finish very, very soon. Could you imagine how long I could talk when I have voice? Yeah, so it's again a division, it's again a question of cultural clashes, it's again the fact that we have a lot of refugees in Serbia, but we treat them very well. And that's something very, very positive that should be stressed here. Yesterday evening, maybe some of you, some of you I know were on our Lebanese production in national theater and we didn't want to make any fuss out of it, we didn't want to publicize it because it wouldn't be nice. But it's good to know that we invited to this performance which was an Arab language dealing with the war, in a civil war that Milena mentioned in Lebanon. We invited refugees to come to the show to be part of the audience. There were some 20, 30 refugees with us. It was really very nice to see refugees coming with proper tickets and critics who had to wait with their carts and didn't have where to sit. The house really packed and full. And afterwards, as it was the farewell party for the International Critics Congress, we have been celebrating altogether critics, international critics, Yugoslav Serbian artists and refugees until early in the morning. That's one of the reasons until two or three in the morning. That's one of the reasons why I cannot speak. So I think we will continue for the next editions of BTEV in the same way. We intend to keep this position of a world in between that could challenge both sides and that could be a place of dialogue. As I feel, being among friends and colleagues, I hope there are no generally between them in this group. I could share already, because I have been already starting working on 2017 edition, simultaneously with all this work. We are interested in Iranian performance dealing with female stories for very touching female stories. We couldn't get this performance for this year. Then I'm very much interested in a Kurdish production from Turkey, which seems to be a big success. We will for sure have a Nigerian performance on the next edition of it. So we will keep in this- Cosmopolitan. In this cosmopolitan spirit, but it's not only about cosmopolitan spirit, it's about social dialogue in a unfortunately still, in a different way, divided world. Thank you very much. Thank you very much. Thank you very much. Thank you very much. I have a beautiful question for you.