Ukraine’s victory at Eurovision last year was the first time a country engaged in full-scale war has won the competition. However, such circumstances have ultimately resulted in runners up Britain organising the event this May. How did this come about and how does the UK plan to promote Ukraine during this year’s Eurovision?

Poetry may not have the power to stop Russian missile strikes but Ukraine’s literary festival season, which carried on in spite of the horrors of war, became a testament to the importance of defending culture during the invasion. After all, the Russians have been very clear that they do not recognise the Ukrainian identity.

In Chernivtsi, a small Western Ukrainian city located on the border with Romania, September begins with poetry. Artists from throughout Ukraine and all over the world have been gathering there for the past 13 years during the annual Meridian Czernowitz Festival. Due to the Russian invasion of Ukraine, this year’s festival was different, and, in the words of Meridian’s chief editor Evgenia Lopata, “a small miracle”.

Many people have now called for an outright boycott of Russian culture, as if it bears some responsibility in the Russian invasion of Ukraine. But such a radical move would only harm a new wave of Russian cultural figures attempting to challenge the essentialist understanding of the country’s values, as imposed by Kremlin’s propagandists.

Politics and culture are inseparable. Many event organisers are now searching for a third option instead of a direct boycott of Russian attendees.

The second edition of The Calvert Journal Film Festival will run from 18-31 October. The 14-day online programme will be an intense journey across Eastern Europe, the Balkans, Russia, the Caucasus, and Central Asia through the lens of the region’s independent filmmakers.

In post-war Sarajevo a war is waged to win the future which had been taken away by the living ghosts of the past. The frontlines are nonetheless changing and now different people are pushed underground, stigmatised and treated as if they do not belong to the community. The ethnic and religious war has been replaced by a new culture war.

Some time ago, when the bloody Balkan war was still raging in Sarajevo, poet Izet Sarajlić, editor Čedo Kisić and professor Zdravko Grebo were explaining their world to me. None of them is alive anymore. Neither is Isak Samokovlija, a prominent Bosnian Jewish writer, whose stories took me to the most hidden corners of Sarajevo’s historical centre, Baščaršija, as well as the Grbavica and Bentbaša districts. I was listening to the stories of the writers and artists who had left Sarajevo, but who were still under its influence. They included Dževad Karahazan in Graz, Josip Osti in Ljubljana, Miljenko Jergović in Zagreb, and Nino Žalica in Amsterdam…

A conversation with Grzegorz Kwiatkowski, a Polish poet, and Trupa Trupa, songwriter, vocalist and guitarist. Interviewer: Jacek Hajduk

JACEK HAJDUK: During the 2019 SXSW Music Festival you dedicated the performance of your group, Trupa Trupa, to the memory of the late Gdańsk mayor, Paweł Adamowicz. Let us then start with Gdańsk. How much of this city is with you today? And how was it before? Which faces of this multi-layered urban centre are close to your heart?

GRZEGORZ KWIATKOWSKI: Today, Gdańsk is a big part of me, unlike in the past. Back then I was more interested in self-isolating myself and creating a kind of enclave in one of its districts – Gdańsk Wrzeszcz. This actually is still my ideal, but now I also understand the impact that this city has on me and my poetry. This is mainly because of my family stories.

An interview with Prof. Dr. Klaus Albrecht Schröder, the long serving director of the Albertina Museum in Vienna. Interviewers: Bartosz Panek and Jarosław Kociszewski.

A new milestone in Ukraine's public diplomacy began in late March when the foreign ministry approved, for the first time in history, a public diplomacy strategy. The document calls for efforts to form and promote a positive international image of Ukraine at a strategic level and defines the concept of public diplomacy, filling a conceptual void that had existed for many decades.

After Ukraine’s declaration of independence in 1991, public diplomacy in the official Ukrainian public and academic discourse was practically absent. Existing initiatives in this field were mostly isolated, lacked complexity, strategic vision and adequate financial support. For some time, the duties of public diplomacy were assigned to so-called cultural and information centres, which operated at foreign diplomatic missions. These centres were responsible for disseminating information about Ukraine abroad, acquainting foreign audiences with Ukrainian history and culture, and informing them about Ukraine's tourism opportunities and attractions.

“Not only is Manizha not Russian, but she’s not even a person, she’s… salt!” declared the professor, as he revealed the result of an experiment conducted on the pop star’s skeleton. The research was ordered following widespread public discussion about who exactly Russia was sending to this year’s Eurovision Song Contest in Rotterdam.

Gallery of political cartoons drawn by New Eastern Europe's illustrator Andrzej Zaręba.

The film Nova Lituania, explores a geographer's idea of a "reserve Lithuania" on the eve of the Second World War.