Workshop "What Should Cultural Spaces of Dnipro Be Like?"

Following the presentation of the Cultural Mapping of Dnipro research, the Dnipro Center for Contemporary Culture (DCCC) in collaboration with IZOLYATSIA conducted a workshop titled "What Should Cultural Spaces of Dnipro Be Like?" — a meeting with local and displaced cultural practitioners to discuss the research findings and collectively search for new solutions.

Participants

The workshop gathered 15 participants: representatives of cultural spaces Dniprostir, Spalakh, the Menora art space, the Pokrovsk Museum, the Dnipropop music label, the Dniprospective market, grassroots civic initiatives, staff of the Dnipropetrovsk College of Culture, and independent artists.

Goals

The workshop aimed to build a shared understanding of what cultural spaces in Dnipro should be, who can use them and how, and to identify directions for their development, openness, and collaboration. Additional goals included:

• Gathering the experiences and needs of different groups within the city's cultural ecosystem;
• Identifying access barriers and collaboration potential between institutions, initiatives, and artists;
• Creating conditions for dialogue between those who had not previously connected.

Format

The workshop was held as an open dialogue using World Café and Open Space facilitation techniques — to help participants quickly find common ground while retaining the right to choose their own discussion topics. Three tables were set up with pre-selected questions, each moderated by a team member. Sessions ran for 12 minutes per question, after which participants rotated to the next table, allowing everyone to take part in all three discussions. The workshop concluded with a presentation of results and group reflection.

Discussion Questions

Participants voted from six proposed questions, selecting three for discussion:

1. What does an "accessible" cultural space mean in Dnipro today, and what is missing from existing spaces?
2. What needs and problems have emerged for city residents due to the full-scale war, and how can cultural spaces respond through their programming?
3. How can cultural spaces collaborate with one another?
4. What should modern communications of cultural spaces look like to be effective?
5. How can city residents influence the programmes of cultural institutions?
6. How can displaced initiatives and practitioners be integrated into the city's cultural ecosystem?

Key Outcomes

On the impact of war and cultural programming

Participants identified the main problems and needs arising from the full-scale war: questions of identity, ecological concerns, economic difficulties, gaps in arts education (lack of higher arts institutions, insufficient teaching methodology), the outflow of young residents abroad, and the need for physically safe spaces (shelters, reliable electricity). Proposed responses included:

• Joint projects connecting Ukrainians abroad with those in Ukraine;
• Engaging experts from all artistic fields in educational activities;
• Ensuring inclusive and physically safe conditions through staff training;
• Art therapy and psychological support programmes;
• Projects for military personnel, veterans, and their families.

On collaboration between cultural spaces

Participants proposed a range of collaborative models:

• Public spaces for showcasing student work;
• Connecting students with arts experts;
• A unified union of interdisciplinary artists and practitioners;
• Mutual promotion of each other's projects;
• Exchange of specialists between communities;
• Providing premises for new initiatives;
• A digital platform for inter-institutional coordination;
• Building new spaces and initiatives within existing ones;
• Thematic festivals and markets as a meeting point for different communities;
• Communication with relocated artists, military families, and IDPs.

On integrating displaced initiatives

Participants proposed: cooperation with NGOs working with IDPs, media support for displaced initiatives, regular surveys and data analysis, establishing a regional cultural hub, collaboration between local government and cultural institutions, decentralisation of DCCC events to peripheral city districts, creation of a unified digital hub for cultural initiatives, providing dedicated spaces to such initiatives, leveraging apps like Diia and Monobank for outreach, and promoting IDP cultural initiatives through state programmes and grants.

Participant Voices

"We cannot influence city-wide security, but cultural spaces — independent or state — have the opportunity to become an island of safety, at least psychological safety." (male, 26–40)

"The most important thing cultural institutions can do right now is retain young artists and students — give them the opportunity to develop here, in Ukraine." (female, 18–25)

"What I personally miss is communication and joint events with other independent spaces — during such collaborations something entirely new is born." (female, 26–40)

"Dnipro is becoming a hub for everyone — including mobilised members of the creative class and their families, international missions, and more. All of this is displaced from somewhere, and it is searching, offering, finding, creating, and wanting to be seen and heard." (male, 26–40)

Conclusions

Since the start of the full-scale war, Dnipro's cultural landscape has changed significantly. Institutions and initiatives were forced to transform their work — new challenges emerged, some topics and formats lost relevance while others gained growing interest from communities and professional networks. The Cultural Mapping of Dnipro project helps reveal the current state of the city's cultural institutions and whether they meet community needs. Its findings can support cultural spaces in developing strategies for growth and transformation, shaping programmes and focus areas — ultimately strengthening the city's cultural landscape and fostering greater civic engagement with cultural life.