A great man is one who collects knowledge the way a bee collects honey and uses it to help people overcome the difficulties they endure - hunger, ignorance and disease!
- Nikola Tesla

Remember, remember always, that all of us, and you and I especially, are descended from immigrants and revolutionists.
- Franklin Roosevelt

While their territory has been devastated and their homes despoiled, the spirit of the Serbian people has not been broken.
- Woodrow Wilson

Sanja Beštić

Sanja Bestic (Сања Бештић, Sanja Beštić) was born in Belgrade, Serbia on June 13, 1982. The civil war in the former Yugoslavia broke out when Sanja was ten (10) years old. She would continue to live through that war and the two (2) that followed. Sanja felt the greatest impact of the wars during the Belgrade bombings in 1999. Nonetheless, she attended the Zemunska Gimnazija for high school while simultaneously studying at the renowned theater studio and acting school run by Mika Aleksic, the famous theater arts professor.

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In 2001, Sanja applied to and was accepted by the Faculty of Dramatic Arts for their prestigious theater-directing program. The program receives on average four hundred (400) applications each year but only accepts four (4) students. There, Sanja studied under Professor Ivana Vujic. During her time as a student, Sanja was the assistant director to many famous directors of the former Yugoslavia and Serbia. She has worked with: Dusan Jovanovic, Ljubisa Ristic, Slobodan Umnkovski, Aleksandar Popovski, Filip Gajic, Gorcin Stojanovic, Egon Savin, Ivana Vujic and Jug Radivojevic . Her work as a student also included productions with the Association of Non-Verbal Theaters in Belgrade, Serbia. She was member of the Svan Theater, the only theater where non-verbal performances set to music were put on. There she performed and directed. One of her plays, the “Play Against Violence”, showcased the life and emotions of Serbians during the Belgrade bombings. Sanje Bestic explored different schools of acting. She was professionally trained in artistic coaching and theme building while doing a fellowship at the Moving Academy for Performing Arts in Amsterdam. She also did intensive work with the Theater of Shadows where she learned to move, act and express herself as a shadow behind a white screen. Simultaneously, she directed the artistic venture and was involved in all steps of the production at the Theater of Shadows. Sanja believes that one is not going to be a good director unless she has experienced all aspects of a production. Sanja also spent some time studying in the US. She studied at The Michael Chekhov Acting Studio in New York City. There she continued to study non-verbal theater expression with an emphasis on movement and the use of the body as an expressive instrument. She also studied acting at the Lee Strasburg Institute for Theater and Film. It was also in New York City that Sanja directed “Canary Soup,” her first professional production. “Canary Soup” played at The Kraine Theater, an off-Broadway theatre, located in New York City’s East Village. The story about male/female relationships and the dilemma of whether or not to marry played to sold-out audiences from October - November, 2004. In 2006, Sanja continued her success. She produced and directed the play “Two Fools in Love” at the Mata Milosevic Theater in Belgrade. The play was rich with the universal themes found in keeping the innocence of first love, relationships, suffering in the world today and continuing to be honest with oneself and everyone else.

In addition to her work as a theater director, Sanja has put her artistic ability to work in the corporate world. Her resume includes work for Serbian advertising and marketing companies. She has directed television commercials and short films. Her work included TV commercials for Henkel (a German company that is the equivalent of the US Proctor & Gamble), Societe Generale (a French bank), and Vegeta (Podravka) (a Coatian seasoning). In addition to that, she worked for Iteam Events, an international marketing agency, where she directed and produced stage events at various theaters, ballrooms and other venues.

Sanja takes the most pride, though, in her humanitarian work. She has worked with The Beogradski Igracki Center (BIC), a non-profit organization that provides an artistic setting to work with children having special needs. Sanja has also put her talent into action in the fight against breast cancer. Sanja worked together with Nebosa Babic, one of Serbia’s most acclaimed photographers, to produce a video for the “You are Unique Campaign,” a campaign dedicated to raising breast cancer awareness. The video showcased Serbian celebrities who survived breast cancer or were close to someone who suffered from breast cancer. The Weeping Game by Ben Akiba (aka Branislav Nusic) is Sanja’s third Off-Brodway production. Sanja also directed , Touch my Knees by David Albahari, The Government Inspector by Nikolai V. Gogol, Canary Soup by Milos Radovic, and Two Fools in Love by Dusko Radovic, and Painkillers by Neda Radulovic.

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Danilo Mandić

Danilo Mandić is a doctoral student in the Department of Sociology. Mandić was born and raised in Belgrade, Serbia and received his BA from Princeton.

Research Interests: Comparative historical sociology; nationalism; post-Communist transitions; Balkan history; US foreign policy and social theory.

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Publishing

My Brother's Keeper

by Fr. Radovan Bigovic

Rare are the books of Orthodox Christian authors that deal with the subject of politics in a comprehensive way. It is taken for granted that politics has to do with the secularized (legal) protection of human rights (a reproduction of the philosophy of the Enlightenment), within the political system of so-called "representative democracy", which is limited mostly to social utility or to the conventional rules of human relations. Most Christians look at politics and democracy as unrelated with their experience of the Church herself, which abides both in history and in the Kingdom, the eschaton. Today, the commercialization of politics—its submission to the laws of publicity and the brainwashing of the masses—has literally abolished the "representative" parliamentary system. So, why bother with politics when every citizen of so-called developed societies has a direct everyday experience of the rapid decline and alienation of the fundamental aspects of modernity?

In the Orthodox milieu, Christos Yannaras has highlighted the conception of the social and political event that is borne by the Orthodox ecclesiastical tradition, which entails a personalistic (assumes an infinite value of the human person as opposed to Western utilitarian individualism) and relational approach. Fr Radovan Bigovic follows this approach. In this book, the reader will find a faithful engagement with the liturgical and patristic traditions, with contemporary thinkers, Orthodox and non-Orthodox, all in conversation with political science and philosophy. As an excellent Orthodox theologian and a proponent of dialogue, rooted in the catholic (holistic) being of the Orthodox Church and of his Serbian people, Fr Radovan offers a methodology that encompasses the above-mentioned concerns and quests.