Author: WeBalkans

EU support to culture is not symbolic, it is concrete and lasting

Written by WeBalkans on 23 Sep 2025. Posted in Stories.

Art and performance have proven to be extremely powerful tools for driving change and reforms, because audiences understand art more easily than academic symposia, conferences or political analyses. To highlight the unifying power of culture and art, WeBalkans created One Song – One Europe. The European Union offers the Western Balkans not only symbolic belonging, but also real, tangible benefits. It is about building a common space of mutual respect, equal partnership and shared ownership of Europe’s future. Moving toward EU membership does involves more than institutional alignment: it also requires renewing renewing cultural ties and building a future of peace, progress and shared prosperity. As the region’s closest and strongest cultural and economic partner, the EU promotes reconciliation and long-term stability by investing in people, culture and common values. Through its Creative Europe programme alone, in which 40 countries take part, the European Union has allocated €2.44 billion to culture and creativity for the period 2021–2027. Cultural institutions from the Western Balkans (Albania, Bosnia and Herzegovina, Montenegro, Kosovo, Serbia and North Macedonia), like theatres, museums, research networks, film centres and publishing houses,receive significant EU funding each year. They see this support as a driver of growth and an opportunity for development.

“At the cartoon festival held every September in Kosovo, entries come from 70 countries: Bosnia and Herzegovina, Serbia, North Macedonia, Bulgaria, Albania, the Czech Republic and many others around the world. The significance is clear: we in Kosovo do not often travel to Serbia, and the same is with people from Serbia but our cartoons travel – and people understand the messages perfectly. EU funding enables us to organise such events, or to attend similar ones abroad. It helps us to meet others, discover different cultures and artistic achievements, and improve ourselves”, explains cartoonist Imri Musliu from the Kosovo Cartoonists’ Association Kopriva/Nettle. The association where Musliu works (Shoqata e Karikaturistëve “HITHI”), in partnership with the organisation Moja Kariera from North Macedonia, received support through the “Culture and Creativity for the Western Balkans” (CC4WBs) programme for the project Building an Efficient Network through the Enhancement of Individual Presentation. This programme is funded by the EU and jointly implemented by UNESCO, the British Council and the Italian Agency for Development Cooperation. Its aim is to strengthen intercultural dialogue and to increase the social and economic impact of culture and creativity in the Western Balkans – a region rich in diverse cultural heritage and with a vibrant scene for creative industry professionals.

There are also those who emphasise that some cultural and artistic undertakings would never have happened without EU support. For example, the Youth Film Festival (OFF) from Bosnia and Herzegovina received significant funding from the CC4WB fund. “Without that support we would never have been able to deliver the Youth Experience programme. Thanks to EU funding, we launched exchanges within the Western Balkans and between the Balkans and the EU, because we share the same values and criteria. In Bosnia and Herzegovina, but also in Serbia and North Macedonia, the role of public institutions in financing new projects is very unclear – funds are usually channelled into already established activities. Support from funds such as CC4WB becomes essential, as an initial impulse that can completely transform the perspectives of artists and cultural workers”, explains Kenan Musić, director of the OFF.

Thanks to European funding, citizens of Sarajevo also enjoyed a concert by the Roma rock band Kal, led by musician and activist Dragan Ristić. He is also President of the Roma Cultural Centre citizens’ association in Serbia, which, together with the Serbian association Eutopia and the Roma youth association Aksiom from Bosnia and Herzegovina, received support through a CC4WB project.

“For us, EU support is like a window onto the world. It enables us to achieve our aims and the aims of our ethnic community. The EU has made it clear to all Western Balkan countries that priority is given to supporting vulnerable groups, especially Roma“, says Ristić.

His partner from the Aksiom association, Dalibor Tanić, says that through this project he realised how art is an exceptionally powerful means of driving change.

“By fighting together discrimination and prejudice on one side, and corruption on the other, we organised a series of concerts and debates that connected whistleblowers and Roma as equally vulnerable groups. It turned out that art and performance are extremely powerful tools for those who want change, because audiences understand art much more easily than academic symposia, conferences or political analyses. They connect far more quickly with a work of art”, says Tanić.

In early September 2025, European Commissioner for Enlargement Marta Kos stated that EU enlargement is at the top of the European agenda, stressing that it is about the unification of Europe. “The doors of our Union are open and will remain open to those who fully, fairly and transparently meet the criteria. Optimism is justified, because things are moving faster than at any time in the past fifteen years”, said Kos.

In close cooperation with the EU Delegation to North Macedonia and Europe House in Skopje, WeBalkans launched the One Song, One Europe campaign. The event gathered musicians from 12 countries, alongside regional and North Macedonian media, international journalists, members of the diplomatic corps, and Young European Ambassadors. The vibrant atmosphere of the kick-off highlighted the importance of culture as a bridge across borders. “One Song One Europe tells the story of Europe’s unity in diversity, embracing all people and cultures. Through the powerful symbolism of Ode to Joy, musicians from twelve countries—Albania, Bosnia and Herzegovina, Bulgaria, the Czech Republic, Germany, France, Kosovo, Montenegro, the Netherlands, North Macedonia, Serbia, and Slovenia—come together here tonight in Skopje. Playing instruments that range from classical to traditional, rare to modern, their performance embodies Europe’s cultural strength and unity. By supporting artists, cultural collaboration, and creative exchange, the European Union enables musicians and creators from both the Western Balkans and the Member States to inspire one another, demonstrating that cultural connection is one of Europe’s greatest strengths” said Luciano Scambiato Licciardi, Head of Communications, EU Delegation To North Macedonia In addressing the audience from the WeBalkans, it was also emphasized that the European Union is the Western Balkans’ strongest cultural and economic partner. The EU offers not only symbolic belonging, but also tangible opportunities—building a common space founded on mutual respect, equal partnership, and shared ownership of Europe’s future. The path to EU accession is not only about aligning institutions, but also about renewing cultural ties and shaping a future of peace, progress, and prosperity. As the region’s closest partner, the EU continues to foster reconciliation and long-term stability by investing in people, culture, and shared values what is the message of One Song One Europe campaign To highlight the symbol of closeness through culture and art, WeBalkans created One Song – One Europe. Using the powerful symbolism of Ode to Joy, musicians from Albania, Bosnia and Herzegovina, Bulgaria, the Czech Republic, Germany, France, Kosovo, Montenegro, the Netherlands, North Macedonia, Serbia and Slovenia came together in harmony. With instruments ranging from classical to traditional, rare to modern, their performance reflects the cultural strength and unity of Europe. By supporting artists, cultural cooperation and creative exchanges, the EU enables musicians and creators from the Western Balkans and Member States to inspire each other, showing how cultural connectedness is one of Europe’s greatest strengths. “For me, Ode to Joy is the EU translated into emotions – a collection of articulated sounds that make music”, says Ristić.

“Ode to Joy”: Why it is still important today?

Written by WeBalkans on 23 Sep 2025. Posted in Stories.

Our shared cultural heritage remains the most powerful uniting force in a world that so often seems determined to divide us. In a world marked by conflict and division, people are searching for something that can hold them together, a reason to believe in peace, harmony and the possibility of a normal life. “The world has gone mad,” many will say, but beneath that lament lies a cry for help, a yearning for connection. Can we find a force strong enough to unite us?

“When you, joy, mighty force, bring us together, all discord must vanish. Every man becomes a brother to another when he follows your radiant path,” reads a verse from Ode to Joy. Written in 1785 by German poet Friedrich Schiller, the poem celebrates the timeless ideals of brotherhood and human unity. Decades later, Ludwig van Beethoven immortalised it in his Ninth Symphony, premiered in 1824. In 1972 it was adopted as the anthem of the Council of Europe, and later as the anthem of the European Union.

This universal hymn of unity was brought to life once more in an outstanding performance, as twelve top musicians from across Europe came together to perform it—playing instruments that ranged from classical, rare to modern. As part of the One Song – One Europe initiative, their performance, conveyed a powerful message: Europe and the European Union stand as enduring symbols of unity and harmony.

By bringing together creators from both EU Member States and the Western Balkans, the initiative showed that culture is the heartbeat that binds Europe together. It is an unbreakable thread—one of the EU’s greatest strengths.

“It is surreal how this Ode sounds in such a completely new rendition – incredible that a composition can carry such power when played on these rare and ancient instruments, seemingly worlds apart from Beethoven, yet brought together by musicians from both the EU and beyond. And that is exactly how it should be – we are all neighbours, sharing the same space”, said the journalist who followed the performance and recording.

The performers were: Gent Rushi from Albania (piano and accordion); Hristina Beleva from Bulgaria (gadulka); Petr Harmacek from the Czech Republic (trumpet); Delphine Aurélie Langhoff from France (drums); Marvin Dillmann from Germany (didgeridoo); Driton Bejta from Kosovo (guitar and çifteli); Žana Lekić from Montenegro (flute); Mike del Ferro from the Netherlands (piano); Sercuk Alimov from North Macedonia (trumpet); Miloš Nikolić from Serbia (kaval); Antonija Batinić from Bosnia and Herzegovina (vocals); and Ana Mezgec from Slovenia (violin and vocals).

All of them are artists with established careers in jazz, rock, folklore and other genres, mastering multiple instruments and recognised not only in their own countries but across Europe and beyond. Among the most unusual instruments were the gadulka, didgeridoo, çifteli and kaval.

The gadulka is a traditional Bulgarian bowed string instrument, central to Bulgarian folk ensembles, typically played for dance music. It is held upright and bowed from underneath. The didgeridoo, originating in northern Australia, has been present in Europe since the 1980s. Many European countries now have active didgeridoo communities, workshops, festivals and ensembles – particularly in Germany and France. The çifteli is a two-stringed instrument from northern and central Albania, southern Montenegro, and parts of North Macedonia and Kosovo, often played at weddings, concerts and as accompaniment to Albanian epics and ballads. The kaval is a chromatic shepherd’s flute played in the mountainous regions of the Balkans (Albania, Romania, Bulgaria, southern Serbia, Kosovo, North Macedonia, northern Greece) and Anatolia (Turkey, Armenia).

“I’m excited to be part of the One Song – One Europe project. I’m very glad that the whole of Europe can enjoy the sound of my instrument”, said Marvin Dillmann from Germany. Žana Lekić from Montenegro shared a message on behalf of the Western Balkans: “We from the Western Balkans are also part of Europe, despite our differences, and we wish to send a message of togetherness, love and happiness – which Ode to Joy embodies”.

“Music always connects us, without borders and without words. Every time I perform across Europe I feel there is a connection and understanding, as though we are speaking the same language. This is how we build a strong and united Europe – one that allows us to be unique, yet still one. One Song – One Europe”, said Antonija Batinić.

French drummer Delphine Aurélie Langhoff emphasised: “We in Europe are one. It is a great joy to perform this masterpiece with such wonderful musicians from different countries”. On the other hand, Serbian musician Miloš Nikolić drew a parallel between notes and people: “Just as music exists only through different notes working together, so too do people, connected across all our differences, work best together”.

Ana Mezgec from Slovenia said it was a great honour to be part of the project: “I believe that collaborations like this performance of Ode to Joy have the power not only to unite us musicians from different countries, but also to cross borders and connect people through music – the most powerful medium we can offer”.

For Sercuk Alimov from North Macedonia it was “immense happiness to be part of One Song – One Europe”. His country Norht Macedonia hosted this wonderful performance. Mike del Ferro from Amsterdam rejoiced: “Music is an universal language that connects all people” and Bulgarian musician Hristina Beleva added: “The twelve of us performed Ode to Joy in a single language – the language of music”

As the largest political and economic partner of the Western Balkans, the European Union fosters collaboration among musicians and creators from the EU and the region by supporting artists, cultural cooperation, and creative exchange. This enables them to work together, share knowledge and experiences, and inspire one another. This performance was the highlight of the One Song – One Europe project and will be permanently preserved across social media, local media, and on the website webalkans.eu.

EU and the Western Balkans: Cross-Border Cooperation for Better Practices

Written by WeBalkans on 23 Sep 2025. Posted in Stories.

The European Union supports candidate countries in establishing the standards required for equal participation within the Union, including by financially backing knowledge exchanges between Member States and candidates. At present, two cooperation projects are under way between Croatia, Bosnia and Herzegovina, and Montenegro – Cross-Border Cooperation for Zero Waste and Improving the Cross-Border Emergency Response.

The To Zero Waste project is being implemented within the Interreg IPA Cross-Border Cooperation Programme Croatia – Bosnia and Herzegovina – Montenegro 2021–2027. The Municipality of Tuzi in Montenegro is the lead partner, joined by the Municipality of Konavle in Croatia and the City of Mostar in Bosnia and Herzegovina.

“The project is focused on sustainable and efficient waste management in these three communities, with the aim of introducing more effective separate waste collection, reducing the number of illegal dumpsites, and lowering the volume of waste ending up in landfills. We are procuring vehicles for the removal of municipal and bulky waste, mobile recycling yards, and containers for waste separation. In addition, clean-up and greening actions are planned for illegal dumpsites, alongside educational and promotional campaigns for citizens,” explains Adela Bahović, the project manager in the Municipality of Tuzi.

Representatives from Mostar and Tuzi point out that residents will find it easier to separate waste, enjoy cleaner towns, and benefit from a more efficient bulky waste collection system.

“Citizens can already see the first results through the newly installed mobile recycling yard and containers placed in public spaces for selective waste collection. By the end of the project, the waste management system will be modernised and more efficient – what remains is to remove the illegal dumpsites and install video surveillance,” says Ines Ćorić, project coordinator at the City of Mostar.

Bahović stresses that cooperation lies in joint planning, the exchange of knowledge and experience, and the alignment of activities to ensure that results are sustainable and applicable in different local contexts. A bulky waste management plan for the period 2025–2030 is also envisaged, to be applied in both Tuzi and Mostar.

“The Municipality of Konavle already has more advanced waste management practices and is sharing its experience with Tuzi and Mostar. Joint clean-up actions, the purchase and use of the same type of equipment, and parallel awareness-raising campaigns under the common slogan Be the Change with Zero Waste show that the three communities are working as partners rather than as isolated entities,” Bahović emphasises.

She warns that the biggest challenges are changing citizens’ habits regarding waste separation, insufficient infrastructure for selective collection, and the large number of illegal dumpsites. To overcome this – with the message that a waste-free future is possible – educational workshops for residents are planned, involving even the youngest members of the community. The awareness campaign also features top European athlete Lana Pudar from Mostar, who promotes the slogan Be the Change for Zero Waste!

“The aim is to encourage residents of these communities to separate their waste and to use cloth bags instead of plastic, which can take up to a thousand years to degrade in nature,” adds Ćorić.

Residents are already noticing the changes.

“The city is much tidier than before – they’ve installed recycling machines in busy areas, and I often see refuse workers in uniforms with the project logo. That’s when I realised the EU was involved, which makes me very happy. I’ve also seen Lana Pudar on social media talking about the changes – people will certainly notice and listen to her because she’s so well loved,” says one woman from Mostar we met in the city.

Through the project, all three local communities will acquire specialised equipment for collecting and separating waste, rehabilitate and green several local illegal dumpsites, and install video surveillance at sites where waste is unlawfully dumped. With a budget of €2.3 million, the operation is scheduled for completion in January 2027. Ćorić notes that they have already applied for continuation funding – TO ZERO WASTE 2 – in order to build on current investments and enhance the system with digital solutions.

At the same time, the INEREP – Project for Improving Cross-Border Emergency Response, part of the Interreg VI-A IPA Programme with a budget of €14.84 million, will see Croatia, Bosnia and Herzegovina and Montenegro working together to strengthen their collective capacity to respond to environmental hazards and protect the natural environment. Over the 48-month period, the lead partner will be Split-Dalmatia County, along with the Firefighters’ Education and Technology Development Centre in Split. Partners in Bosnia and Herzegovina include the civil protection services of the Federation of BiH and Republika Srpska, as well as the Brčko District Development and Guarantee Fund. In Montenegro, the Ministry of Interior – Directorate for Emergency Management is the partner institution.

“The project involves the procurement of specialised equipment and vehicles, the modernisation and equipping of training centres – including VA.C.E.T.RA.S in Split – the development and piloting of the FireGIS digital tool for real-time wildfire risk assessment, as well as joint training and exercises. The goal is interoperability – ensuring that teams from the three countries work according to harmonised protocols and use compatible equipment and tools. For citizens, the benefit is faster, better-coordinated responses, with better-equipped and trained teams. The first results can be expected as early as 2026,” explains Ivica Šitum, Senior Advisor for Coordination and Development at Split-Dalmatia County.

He highlights that the main challenges will be aligning cross-border procurement procedures, delivery timelines for specialised equipment, data standardisation for FireGIS, ensuring training safety during heatwaves, and administrative compliance.

“As the lead partner, we bring extensive experience from our previous strategic project in which we worked with partners from Italy,” Šitum notes.

The overarching aim of INEREP is to reduce the risks associated with climate change and strengthen environmental resilience by enhancing the organisational and technical capacities of emergency services, particularly in firefighting and rescue operations. The project also focuses on raising public awareness and fostering participation in disaster preparedness efforts.

Voices for Peace and the Power of Art

Written by WeBalkans on 21 Sep 2025. Posted in YEA Blogs.

By Teodora Ružić

The Sarajevo Film Festival was one of the best experiences of my life, not only because of all the incredible films I had the opportunity to see, but also because of the brilliant people and artists I met. In this blog, I want to share two very special interviews I had the chance to conduct with two extraordinary women. Their ideas, their work, and their belief in the power of change deeply inspired me, and I believe their voices are exactly what the world needs right now.

Danielle Turkov Wilson: Holding Leaders Accountable and Believing in Youth

One of the most remarkable films at the Festival was Facing War, directed by Tommy Gulliksen and produced by Anne Marte Blindheim and Danielle Turkov Wilson. The film follows NATO Chief Jens Stoltenberg during his final year, as he tries to balance promises of support for Ukraine with growing fears of war in Europe.

After the screening, I had the privilege to interview Danielle. She was warm, open, and generous with her time. Danielle was also the co-producer of The Cave, which was nominated for an Academy Award. She is the founder and executive director of Think-Film Impact Productions, and previously worked as a policy adviser in the European Parliament alongside Martin Schulz (the former President of the European Parliament), focusing on issues such as deradicalization, women’s rights, and minority inclusion.

When I asked her what message she would share with young people in the Western Balkans and what she believes they can bring to the EU, she told me:

“I think young people are everything for society; they define what will be. What this film is about is showing you that you can hold those in power accountable and fight for peace. But if you don’t vote, if you don’t engage, you run the risk of being represented by someone who doesn’t want peace. This film shows that there are people fighting for peace, not waging war.”

I then asked her if she believes that the voices of young people fighting for peace are truly heard by world leaders. She responded:

“Civil movements are rising, and young people are the largest part of them. You must be courageous enough to stay united- not just one lone voice, but hundreds of thousands standing together. Because when you are united and protest peacefully, you have power. In a world where the laws don’t defend you, you must unite in masses to defend your own freedom.”

Danielle’s words stayed with me. She truly believes in the power of young people and in the importance of their voices. It was inspiring to hear such a strong political and artistic figure express so much faith in the next generation.

Danielle Turkov Willson on SFF red carpet. Photo: Think Film Impact Production/LinkedIn

Christina Bartson: Cinema, Resistance, and Finding Connection Through Art

Another unforgettable encounter was with Christina Bartson, one of the most inspiring young artists I met during SFF. Christina is a filmmaker and archivist based in London, though she was born and raised in the United States. She presented her short film Also Resisters at the Festival, a moving and thought-provoking piece that reworks footage from the U.S. Department of Defense. The film explores how militarism abroad and militarism at home in the United States fueled and reinforced one another.

When I asked Christina what inspired her to create the film, she explained that it began with a book titled We’ve Been Invaded by the 21st Century, the only essay collection by David McReynolds, published in 1968. McReynolds, an eccentric and charismatic socialist, was well known in leftist circles in New York. Christina told me that she was struck by the lyrical quality of his language and his deep respect for the student movement of his time.

Her film became an intergenerational dialogue. Just as McReynolds was politicized by a war he did not believe in (the American war in Vietnam), Christina described how she found herself confronting her own grief and rage while witnessing the beginnings of genocide unfold in Palestine, violence funded by her own country’s tax dollars. As she put it:

“The project really began with me trying to locate my own grief and rage of watching genocide unfold in Palestine, sponsored by my tax dollars. It’s this intergenerational dialogue about what it means to be politicized by a war you don’t believe in, while living in the heart of the empire.”

Our conversation then turned to the role of art. I asked her whether she believes art can help us understand the world better and even make it a better place. She answered:

“I don’t think I would do this if I didn’t believe it could ultimately create some kind of shift. Even if that change only happens on a personal level, rather than on a large scale. Cinema is about having a beating heart- it’s about affect. It’s about recognizing something in yourself on screen and feeling moved by it. Art is what I cling to when I’m lonely, heartbroken, or frustrated, it makes me feel less alone.”

Her words resonated with me profoundly. I couldn’t agree more: art remains. It is extraordinary, and it speaks differently to each of us. Whether painting, dancing, singing, acting, or filmmaking, art is what people live for – it connects us, comforts us, and reminds us of our shared humanity.

Meeting Christina again after the interview, I found her to be just as open-minded, articulate, and kind. Her work deserves to be seen by many, and her voice deserves to be heard by the world. Her soul is so pure and designated for only those who know how to appriciate her mind as well as her heart. She is brilliant, honest, and deeply thoughtful. I have no doubt that we will be seeing much more of her art in the future, and I hope our friendship continues to grow.

Closing Thoughts

The Sarajevo Film Festival was not only about films, but also about people—about conversations that stay with you long after the red carpets are rolled up and the theaters go dark. From Danielle Turkov Wilson’s passionate belief in the power of youth to Christina Bartson’s moving reflections on art and resistance, I left Sarajevo feeling inspired and hopeful.

Soon, I’ll be sharing more about another unforgettable encounter- a Hollywood star who gave a powerful masterclass on cinema and acting. Stay tuned.

EU opens accession negotiations with Albania on green and sustainable connectivity policies

Written by WeBalkans on 16 Sep 2025. Posted in News.

The European Union and Albania have officially opened accession negotiations on Cluster 4: Green agenda and sustainable connectivity. This cluster covers key policy areas essential for sustainable development and integration with the EU. The opening took place at the sixth meeting of the Accession Conference with Albania, held in Brussels. The EU delegation was led by Marie Bjerre, Minister for European Affairs of Denmark, on behalf of the Danish Presidency of the Council of the EU, with the participation of European Commissioner for Enlargement Marta Kos. Albania was represented by Prime Minister Edi Rama. Negotiations under Cluster 4 include the following chapters:

Chapter 14– Transport policy
Chapter 15– Energy
Chapter 21– Trans-European networks
Chapter 27– Environment and climate change

“Enlargement is at the top of our priorities as a geopolitical necessity for the EU. I am happy that we took a next step today with Albania. This is another clear proof of the country’s path towards European integration. I look forward to holding more meetings in the coming months with Albania and with other candidate countries to move forward the EU’s enlargement.”, said Marie Bjerre, Minister for European Affairs of Denmark This step follows the opening of other negotiation clusters on ‘Fundamentals’, ‘External Relations’, ‘Internal Market’, and Competitiveness and Inclusive Growth’ in 2024 and 2025. Progress will continue to be closely monitored, with benchmarks set for the provisional closure of each chapter. Background Following the introduction of the revised methodology for the accession negotiations in 2020, negotiating chapters are divided in 6 thematic clusters:

Fundamentals
Internal market
Competitiveness and inclusive growth
Green agenda and sustainable connectivity
Resources, agriculture and cohesion
External relations

Negotiations on the Fundamentals cluster are the first to be opened and the last to be closed, and progress under this cluster will determine the overall pace of negotiations. EU common position on Cluster 4 : Green agenda and sustainable connectivity EU common position on Cluster 3 : Competitiveness and inclusive growth EU common position on Cluster 2 : Internal market EU common position on Cluster 6: External relations First meeting of the Accession Conference with Albania, 19 July 2022 Second meeting of the Accession Conference with Albania, 15 October 2024 Third meeting of the Accession Conference with Albania, 17 December 2024 Fourth meeting of the Accession Conference with Albania, 14 April 2025 Fifth meeting of the Accession Conference with Albania, 22 May 2025 Albania (background information)

Revitalising Albania’s Cinematographic Heritage

Written by WeBalkans on 10 Sep 2025. Posted in Stories.

In the aftermath of the devastating 2019 earthquake in Albania, the European Union launched the EU4Culture Programme, a flagship initiative implemented by UNOPS in partnership with the Ministry of Economy, Culture and Innovation of Albania. With a budget of 40 million euros, the programme became the largest cultural heritage initiative in the Western Balkans, dedicated to restoring and revitalising sites damaged by the disaster.

Among its many interventions, one stood out for its impact on memory, art, and national identity: the restoration and modernisation of Albania’s National Film Archive. This initiative not only safeguarded the country’s vast cinematographic heritage but also brought forgotten stories back to life for future generations.

Intervention at the National Film Archive

Officially known as Arkivi Qendror Shtetëror i Filmit (State Central Film Archive), the National Film Archive of Albania was established on April 10, 1947. It serves as the main film archive of Albania, holding an extensive collection of audiovisual materials that span decades of Albanian history and culture.

As part of the former Kinostudio, the institution was initially tasked with collecting, archiving, and maintaining film materials produced in Albania. The archive has always played a crucial role in safeguarding the country’s audiovisual heritage and cinematic culture.

Currently, the repository of the archive holds an estimated 320 feature (full-length) films, 220 animated films, 1,200 documentaries, and 2,000 foreign films. The collection extends further back in time, with rare footage dating from the 1920s, making it the sole custodian of Albania’s film heritage.

Over the years, the National Film Archive has positioned itself at the centre of preserving Albania’s cinematographic heritage and promoting the country’s cinematography through screenings, publications, and educational activities targeting younger audiences and children. Far beyond mere conservation, the archive aims to provide access to the country’s film legacy for both researchers and the public.

The institution’s growing relevance for film culture’s promotion, education, preservation, and discourse has called for an intervention that would make the archives better preserved and easier to handle by the institution’s employees, as well as more accessible to the public and researchers. This is where the EU4Culture programme stepped in, providing the National Film Archive with restoration and digitisation equipment that has significantly enhanced the efficiency and accuracy of the film conservation process, reducing the risk of physical damage to the materials and ensuring long-term accessibility for the public.

“Digitisation has not only improved preservation efforts but has also expanded public access to Albania’s film heritage. Many Albanians didn’t even know these films existed. Digitisation allows us to share our cinematic history with new generations,” says Hermelinda Troqe, specialist of film preservation at the National Film Archive, emphasising the impact this intervention has on the people who, through these films, gain access to their past. “I’ve seen people cry watching these restored films. They recognise their grandparents, their childhood homes, and moments they thought were forever lost. It’s about understanding where we come from, seeing familiar places in a different time, and appreciating the stories that shaped our history,” she adds.

Thanks to EU4Culture’s intervention, fragile films can now be safely digitised, restored with high precision, and preserved for the long term. The new technology reduces human error, ensures faithful colour reproduction, and secures materials in durable digital formats, while also allowing audiences to experience Albania’s cinematic heritage on modern projection systems with the clarity needed to access their invaluable memories through film.

EU solidarity knows no borders

Written by WeBalkans on 04 Sep 2025. Posted in Stories.

The Civil Protection Mechanism is a resource of the European Union which, under the motto “solidarity knows no borders”, is always available to EU Member States as well as candidate countries. In 2024 alone, it was activated six times in the Western Balkans to respond to wildfires, and in 2025 eight times.

“The EU Civil Protection Mechanism intervenes after a request for assistance has been submitted by a national government or, in some cases, by an international organisation such as the United Nations. In the case of the Western Balkans, the requests have always come from national authorities, usually the services responsible for civil protection. The EU’s Emergency Response Coordination Centre connects directly with the relevant civil protection body on the ground and acts accordingly”, explained a European Commission spokesperson.

In Montenegro, in early August 2025, a wildfire raged for eight days, spreading across much of the territory and approaching the capital.

“Due to the complex situation in Bar and Budva, the EU Civil Protection Mechanism was triggered through the CECIS system, and Croatia immediately offered to send a water-bombing aircraft. We also activated a request for assistance through NATO’s EADRCC mechanisms”, announced the Montenegrin Government at the outset of the fight against the blaze. In the following days the Croatian plane was recalled to combat fires at home, but support arrived in Montenegro from Italy, Austria and Switzerland.

“Assistance from the EU, as well as from Serbia, Bosnia and Herzegovina and Croatia, arrived as soon as it was requested. We lost a couple of days because the fire broke out in the hills above the coast, around Buljarica and Čanj, and we did not react – the authorities did not call for help. Once they did, planes from Italy and Croatia fought fires above Podgorica, Bar and Budva, while aircraft from Serbia, the Czech Republic, Hungary and Croatia tackled blazes elsewhere in Montenegro. The large number of firefighters from Austria and Switzerland was crucial in relieving our exhausted fire brigades and local volunteers, and their expertise in tackling forest fires demonstrated just how important field training and proper equipment are. We learnt a great deal from them and owe them enormous gratitude – to our neighbours and to the EU Member States – because without their help, the scale of this disaster would have been far greater”, said environmental activist Aleksandar Dragičević. He added that more than 12,000 hectares of land had been burnt, along with several dozen homes and outbuildings, numerous vineyards and orchards, low oak woodland, native vegetation and many habitats. He stressed that some aircraft remained even after the main sources of fire had been extinguished, while rainfall after eight or nine days of devastation provided additional relief.

“This is an arid region affected by climate change, which had been experiencing a prolonged period of drought. Combined with high temperatures, this triggered the wildfires. Over 65 per cent of Montenegro’s territory is covered by forests and vegetation – wilderness, Mediterranean terrain. Between 2013 and 2017, more land was destroyed by fire than between 1950 and 1980. We are ill-equipped: our firefighters lack adequate training, we do not have enough water tenders, masks, or sufficient voluntary fire brigades, which should exist in every municipality. Firefighters from Austria and Switzerland have special equipment to prevent fires from spreading – rakes and trimmers to cut back undergrowth – equipment we simply do not possess”, Dragičević explained.

At the start of August alone, Albania, Spain and North Macedonia were also affected by wildfires across the EU. More than 80 fires were active, hundreds of hectares of land were destroyed, dozens of kilometres of roads were damaged, and in places the fire front stretched several kilometres. The European Commission has decided to allocate €10.7 billion to the Mechanism for the period 2028–2034 to increase preparedness for responding to health and other emergencies.

To be as effective as possible in saving lives during natural disasters, the European Union has also activated the Copernicus satellite service, which provides rapid, open data to support mission planning.

Copernicus is part of the EU’s Earth Observation space programme, which, through a network of satellites and partner missions, gathers data on climate, land, water, pollution, natural disasters, migration and more. A key function is its ability to map with great precision floods, fires, earthquakes, landslides and similar events, and to transmit this information. This service works directly with the Galileo satellite system, which is linked to the COSPAS-SARSAT ground station network, transmitting data to national rescue centres. Copernicus provides maps of affected areas (fires, floods, helicopter access routes), giving rescue teams in the field the most accurate possible guidance. According to EU figures, this system helps save around 2,000 lives annually, showing that EU investment in space technology directly supports public safety and crisis response.

Every two years, the Galileo programme brings together rescue crews from across Europe and beyond to test their skills, exchange experience and help shape the future of this life-saving service.