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Snježana Abramović Milković
Episode · #26

BIZKULTURA Snježana Abramović Milković

Guest Snježana Abramović MilkovićHosted by Goran ŠikićMay 3, 2026
About this episode
What you'll hear in this conversation

The conventional wisdom says you can’t make a living from dance, especially when there’s no formal academy to train you. Snježana Abramović Milković proved otherwise. A dancer and choreographer by calling, she initially studied science at university, then had to build her own professional path in contemporary dance from the ground up, eventually founding a major festival and leading international co-productions. Today, as the director of Zagreb Youth Theatre (ZKM), she navigates the complex intersection of artistic vision and financial realities in a publicly funded institution. Her path offers a clear perspective on how to create opportunities where none exist, how to build new platforms when established ones fail, and how to turn professional skepticism into a powerful engine for success. This conversation reveals how a leader balances creative ambition with the hard necessities of budgets and operations, demonstrating that the most impactful cultural work often emerges from a deep understanding of both worlds.

Insights from the conversation
What to take from this episode
01
Snježana Abramović Milković studied at the Faculty of Science because a dance academy didn't exist in Croatia at the time, yet she dedicated herself to professional dance, driven to prove it could be a viable career. When the formal structures for a new profession are absent, the most impactful path is often the one you create from scratch.
02
In 1994, Snježana Abramović Milković's private initiative — the first international co-production for contemporary dance in Croatia — was named one of the top ten cultural projects by the Council of Europe, even though Croatia was only an observer nation. The most powerful endorsements often come not from institutional backing, but from the undeniable quality of the work itself.
03
When major Croatian festivals refused to program contemporary dance, Snježana Abramović Milković didn't lobby for inclusion; she founded the Festival of Dance and Non-Verbal Theatre in Svetvinčenat in 2000. If your category is being ignored, don't ask for a seat at someone else's table — build your own platform.
04
Corporate sponsorships for cultural projects in Croatia largely vanished after the 2010 recession, with companies like INA withdrawing support after being sold to foreign entities. When local ownership changes, so does the calculus of local philanthropy; anticipate that cultural funding will be tied to the long-term strategic interests of the new entity, not just its local presence.
05
When Snježana Abramović Milković became director of ZKM in 2014, she faced skepticism for coming from the dance world, rather than 'strictly dramatic' theatre. The initial resistance to an outsider perspective often becomes the very force that drives a leader to prove the broader relevance of their expertise.
06
The skepticism she encountered upon taking the ZKM director role, due to her dance background, was not a barrier but, as she puts it, 'a great incentive' to work harder and prove her capabilities. The most effective motivation often comes not from external praise, but from the challenge of disproving external doubt.
07
As director of ZKM, Snježana Abramović Milković balances artistic vision with strict financial control, tasked with bringing artistic programs 'into reality' while keeping both artists and audiences engaged. The role of a cultural leader is less about choosing between art and business, and more about making the two inseparable.
08
For a theatre director, success isn't just critical acclaim; it's also measured by audience statistics, the theatre's 'branding,' and the number of festival invitations. You know your work resonates when it's not just praised by critics, but actively sought out by other institutions.
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