The smell of coffee and ratluk pastries. Brutal concrete beams and pebbles trapped in cement. Grand lobbies and dimly lit studios, offices and labs. If you’ve never been, this is your first impression of the Faculty of Dramatic Arts in New Belgrade.

A well-meaning observer might say “there’s no accounting for taste,” and for casual small talk, they’d be right. But for a higher education institution where aesthetics—both as discipline and skill—are conditio sine qua non, taste is everything. Yet what strikes you about FDU isn’t its somewhat faded, time-warped architecture, but rather the substance being studied inside.

I’m sitting with Miloš Pavlović, the dean, and Ana Martinoli, the vice-dean, in his office. I’m pitching potential collaborations between our young company and their 70-year-old institution—media literacy, digital skills, influencer projects, social responsibility initiatives, YouTube content. They listen, silent. Across the long, dark table, plaques and awards are lined up, the most prominent being the Vuk Award. It’s easy to feel self-assured facing what seems like an old-guard institution.

Founded post-war as the Academy of Theatre Arts, the school quickly realized that theatre alone couldn’t cover the rapidly evolving media landscape. So in the 70s, it rebranded as the Faculty of Dramatic Arts (theatre, film, radio, and television). My hosts point this out, then start talking about video games, transmedia art, critical thinking, and their students’ competitiveness in the job market.

What Ana and Miloš are really describing is how an institution expected to embody stability adapts to chaotic times. And this isn’t just trial and error—FDU has codified its approach.

The faculty routinely demands innovation from new students, ensuring they grasp the zeitgeist. They’ve updated curricula to reflect media evolution, launching master’s programs like Digital Transformation of Media and Culture and Advertising and Media, while hosting conferences on political, democratic, and cultural shifts. They don’t shy from the everyday—they prepare students to thrive in it.

How does FDU know where to position itself? By embedding axioms into its strategy:

  • “If it’s about gaming, it’s about our students.”

  • “We don’t look down on competitors (even private ones)—we learn from them.”

  • “In the region, this faculty is a hub.”

The results speak for themselves. FDU is the most prestigious school of its kind in the region, a magnet for gaming industry giants, and recently secured an Epic Games grant to develop a new program in animation, VFX, and game art.

During the pandemic (and long before), FDU improvised—successfully. “We value every chance to break routine, so we’re not afraid to experiment,” they tell me. This ethos is formalized in their Interactive Arts Lab, where hackathons, gamification, VR, and AI have become part of the school’s DNA.

What Ana, Miloš, and their colleagues are doing isn’t just a knack for crisis adaptation. It’s a toolkit for navigating chaos, echoing strategies Fernando F. Suarez and Juan S. Montes outlined in Harvard Business Reviewwell-systematized routines, simple heuristic rules, and structured improvisation. These can take you to Everest’s summit—or, in FDU’s case, to another inevitable rebranding.

But they’re not the only ones who need a new name.

If we lead our companies through perpetual crisis with the same agility, we’re all ripe to become Faculties of Dramatic Arts.

So—what kind of dean are you for your own FDU?

“I’m the editor—what I say goes!”

That declaration ended all discussion—the work would be done as ordered. This was public radio, after all, and I was just a slightly older teenager at the time. In any case, an editorial team’s responsibility is determining how the program should sound. The frequency of these “no debate” decisions fluctuated with circumstances, but noticeably spiked during crises—which, in public media, meant constantly. That shout, a perpetual symbol of perpetual crisis, remains my most vivid memory of those days.

Fifteen years later, I often catch myself and colleagues tallying how often we invoke our status, role, position, past successes, experience, or ownership stakes to make “the program sound” the way we want in our teams. How often do we inspire people through vision versus resorting to “I’m the editor—what I say goes”? We keep score in a mental ledger of small leadership wins and losses. And just like back at the radio, crises almost always tip the balance toward authoritarianism—that leadership style so endemic to Serbia and the Balkans.

But must it be so?

Mid-March could have been catastrophic for our organization: Colleague F., a linchpin of our team, was hospitalized with severe pneumonia—then diagnosed with that disease we’d only heard about on TV. The deadly pandemic was no longer about “those people over there”; it was now our painful personal and professional reality. Though we’d been pushing for 2020 to be our most successful year yet, most active contracts were in transitional phases or just beginning, threatening our liquidity. Worse, no one—not the government, business community, or global experts—knew how long this would last or had reliable data for midterm decisions.

Before the state of emergency was declared, we realized surviving as “winners” required crisis leadership unlike anything we’d practiced. Our emergency team quickly divided roles: financial planning, remote-work infrastructure, and—critically—curating information flows became equally vital.

“Colleague F.’s condition is serious but stable… stable but in ICU… stable but reserved a ventilator,” the hospital updates came daily. Someone had to dam the rising dread infiltrating our bones with each report, crafting narratives that were accurate yet free of panic, sensationalism, or the misinformation wildfire spreading globally.

Most crucially, we understood the team must emerge stronger, wiser, and more united—or battling a crisis this magnitude was pointless. This demanded radical transparency. Daily (sometimes hourly), we openly discussed projections, F.’s status, payroll viability (including temporary pay cuts to endure longer). In global chaos, we found refuge and security in each other.

These approaches align with advice from Sam Tsima of Forbes Business Council: continuous communication, pre-prepared crisis scenarios, expert consultation, and viewing crises as learning—not panicking—opportunities distinguish modern leaders. But as mindfulness expert Tamara Levitt’s research shows, none of this works unless leaders make peace with not having all answers—just facilitating optimal team solutions.

F. fully recovered. We’re back in the office. Liquidity and salaries normalized (we’ll repay those temporary cuts). Travel resumed. Two team members secured permanent contracts mid-crisis. That leadership scorecard? Forgotten—because “how our program sounds” became a group decision, not an individual decree.

“We’re the editors—what we say goes!”

That’s how we weathered this crisis as a team—and how we’ll face the next. So ask yourself: who’s in your editorial room deciding how your crisis—and everyday—program sounds?