Ahead of the new edition of Dani komunikacija, a festival that has over the years grown into one of the most recognizable regional events of the creative industry, it is becoming increasingly clear that its identity is not defined only by the speaker lineup or the program, but also by the way that experience is shaped. From the stage format to the atmosphere in the hall, from the energy of the audience to the dynamics of conversations – behind everything lies a series of decisions we rarely see, but certainly feel.
Those decisions do not emerge linearly. They are the result of discussions, testing, and sometimes the complete rejection of ideas that at first sound either brilliant or completely meaningless. It is precisely in that process, somewhere between the courage to “break” the format and the need to preserve its functionality, that Dani komunikacija has been finding its rhythm for years.
We discuss what that process looks like from the inside with Davor Bruketa, a member of the festival’s Organizing Committee and co-founder of Bruketa&Žinić&Grey. As someone who has been part of the team developing the festival for years, Bruketa speaks about ideas that initially did not seem obvious, about the line between creative experiment and organizational chaos, and about ideas that need to be “put on hold.” Because all of those ideas ultimately have to work in real time, in front of an audience that immediately shows what works and what doesn’t.
Which element of DK that exists today didn’t seem obvious when you first proposed it, and how did you know it was the right move?
The round stage in the center. Until then, conferences mostly had classic stages. Speakers would often stay to the side, almost hidden in a corner, while the audience followed the content from a certain distance. Our idea was to pull speakers out of their comfort zone and create a space where they are literally at the center of attention. Such a concept naturally raises adrenaline and energy, making the whole experience more dynamic and engaging. At the time, that was not common – it was the first regional festival with that kind of stage. We believed it was the right direction because we had top speakers who needed exactly that kind of spotlight ☺
How do you recognize the difference between an idea that disrupts the festival format in a productive way and one that only destabilizes it, and who on the committee sets that boundary?
The committee consists of people who have been working on this festival almost since the very beginning. We know each other well and we are a good team. We have a good balance between “let’s create an FKK beach where you can follow lectures while swinging your thing around” and executional discipline. The boundary is, I would say, the sky – but in reality, it is the budget. And of course – Dunja, who is the voice of reason and makes sure things don’t go in the wrong direction.
Is it wrong to say that a festival built for years by the same people inevitably starts to resemble their tastes?
It’s possible. But on the other hand, there are 3,000 other people who come and think that it’s good taste. And that is the only real test – our taste is irrelevant, what matters is the audience’s reaction.
When the committee loses a debate, what happens to the idea that didn’t pass?
When the committee rejects an idea, it most often goes “on hold.” Sometimes it returns modified, sometimes it becomes something completely different. Or it simply dies a natural death. But often, something funny or unexpected comes out of it, which is the point – there’s no need to be dramatic, ideas play until they find their place.
What would DK lose if you weren’t on the committee – specifically, not as a compliment?
A genius who is not only handsome but also smart. A tremendous loss for advertising and the homeland. Still, the organizing committee meetings would be more concise, which might justify that loss.
