Žene opkoljenog Sarajeva / Women in Sarajevo under siege

HIDAJET DELIĆ

ŽENE OPKOLJENOG SARAJEVA WOMEN IN SARAJEVO UNDER SIEGE

ŽENE OPKO LJENOG SARA JEVA WOMEN IN SARAJEVO UNDER SIEGE

IZDAVAČI / PUBLISHERS: J.U. MES - Međunarodni teatarski festival - Scena MESS Fondacija Heinrich Böll Stiftung ZA IZDAVAČA / FOR THE PUBLISHER: Nihad Kreševljaković Marion Kraske UREDNICI / EDITORS: Nihad Kreševljaković Hana Bajrović AUTOR FOTOGRAFIJA / PHOTOGRAPHY BY: Hidajet Delić DIZAJN I DTP / DESIGN AND DTP: Bojan Mustur OBRADA FOTOGRAFIJA / PHOTO EDITING: Bojan Mustur / Zlatan Menković (Spektroom) AUTORI/AUTORICE POEZIJE KORIŠTENE U KNJIZI / POETS CITED IN THIS BOOK: Bisera Alikadić Adisa Bašić Anne Boe Ferida Duraković Benjamin Isović Maruša Kresse Faruk Šehić Ajša Zahirović PRIJEVOD / TRANSLATION: Amira Sadiković LEKTURA / PROOFREADING: Belma Jusufović ŠTAMPA / PRINT: Blicdruk TIRAŽ / PRINT RUN: 500

J.U. MES - Međunarodni teatarski festival - Scena MESS / Public Institution MES - International Theater Festival - MESS Scene Adresa / Adress: Maršala Tita 54/I Tel: +387 33 20 03 92 Fax: +387 33 21 19 72 Email: info@mess.ba Web: www.mess.ba Direktor / Director: Nihad Kreševljaković Direkcija / MESS Team: Hana Bajrović, Dajana Gurda, Lejla Hasanbegović, Ira Isović, Belma Jusufović, Aida Mujković, Dino Mustafić, Bojan Mustur, Selma Spahić, Mirsada Škrijelj Odnosi s javnošću / Public Relations: Una Bejtović, Emir Muhamedagić

HIDAJET DELIĆ

ŽENE OPKOLJENOG SARAJEVA WOMEN IN SARAJEVO UNDER SIEGE

Sarajevo, 2017.

PRED GOVOR

INTRODUCTION

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Hidajet Delić / Žene opkoljenog Sarajeva

Upravo dok smo privodili kraju pripreme za ovu knjigu, zatekla nas je tužna vijest o smrti Hidajeta Delića. Oni koji su ga poznavali, svjesni su da je otišao jedan dobri i zanimljivi čovjek. Oni koji su poznavali njegov rad, znaju da umjetnici ne umiru jer iza njih ostaju njihova djela.

Iza Hidajeta Delića su ostale hiljade, možda desetine hiljada fotografija.

Nažalost, najveći dio njih ostao je neobjavljen. Prisjećam se trenutka kada smo se prvi put sreli da razgovaramo o izložbi. Sjeli smo u kafanu. Hidajet je došao sa laptopom. Pokazao mi je nekoliko foldera sa fotografijama.

Bio je to samo djelić njegove arhive.

Pregledavanje fotografija trajalo je satima. Iako se dosta dugo bavim temom perioda opsade, fotografije Hidajeta Delića izgledale su kao jedna potpuno nova priča. Osim nekoliko njih, koje sam prepoznao iz naše ili strane štampe (uključujući i New York Times), većina su bile totalna nepoznanica za mene. Povremeno bismo zastali i pokušali otkriti identitet neke osobe.

Iznenadite se kada ugledate nekog komšiju snimljenog na ulici. Čudili smo se kako neki dijelovi grada, potpuno razoreni, sada izgledaju neprepoznatljivo.

U jednom trenutku, pokazao mi je fotografiju za koju sam čuo, ali je nikada do tada nisam vidio. Potresna slika na kojoj nekolicina građana nosi ženu pogođenu hicem iz snajpera.

Dramatična atmosfera sa fotografije opisivala je historijski trenutak. Olga Sučić i Suada Dilberović bile su prve žrtve otvorene agresije, početka napada i opsade grada! One su bile prve od 14.385 ljudi ubijenih u opsjednutom Sarajevu. Od tog broja 2.142 žrtve opsade bile su žene!

Njih dvije su se 5. aprila našle na

Just as we were completing this book, we were saddened by the news about Hidajet Delić leaving us. Those who knew him understand that a kind, interesting man has left us. Those who knew his work know that artists never die, for their work stays behind. Hidajet Delić left behind thousands, perhaps tens of thousands of photographs, Unfortunately, most of them remain unpublished. I recall the moment we first discussed the idea of an exhibition.

We sat in a café. Hidajet came with a laptop. He showed me several folders with photos. This was just part of his archives. We spent hours going through them. Although I have been dealing with the topic of siege for quite some time, his photos were like an entirely new story. In addition to a handful I was able to recognise from our or foreign press (including The New York Times), most of them were totally new to me. Every now and then we stopped, trying to identify someone. When you see a neighbour accidentally captured in a street photo, you’re surprised. We wondered how some parts of the city, destroyed at the time, now looked unrecognisable.

At one point, he showed me a photo I had heard about but I had never seen it. A moving photo of a group of people carrying a woman hit by a sniper. The dramatic atmosphere of the photo described a historical moment. Olga Sučić and Suada Dilberović were the first victims of open aggression, onset of the assault and siege of the city! They were the first of 14,385 persons killed in the besieged Sarajevo. Of that number, 2,142 victims of the siege were women!

On 5 April, the two of them were in the street, fighting for peace. Suada, a student, joined the masses saying: “I’m going to defend my Sarajevo.” Before

Hidajet Delić / Women in Sarajevo under Siege

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ulicama grada, boreći se za mir.

Studentica Suada je u masu građana zaronila s riječima: “Idem braniti svoje Sarajevo.” Olga, majka dvoje djece, prije nego što se našla na potresnoj fotografiji Hidajeta Delića, snimljena je posljedni put kada pred TV-kamerom u masi uzvikuje: “Ovo je Sarajevo, mi smo za mir!”

Njene riječi znao sam napamet i sada, po prvi put, pred sobom vidim fotografiju na kojoj je snimljen odgovor neprijatelja na njene riječi.

Sa tom fotografijom, na kojoj građani nose smrtno ranjenu Olgu Sučić, počinje Hidajetova ratna fotografska priča. Čovjek koji je do tada, u mračnoj komori, sa smiješkom, gledao kako se na fotografskom papiru ukazuju ljepote njegove zemlje ili scene sa sportskih borilišta u toku sarajevske Olimpijade, odjednom je ugledao slike rata. Njegov grad postao je mračna komora Evrope i svijeta! Započela je njegova borba u kojoj se agresiji suprostavljao svojim fotoaparatom baš kao i svi ostali sarajevski fotografi, podsjećajući nas na posljednju scenu iz antologijskog filma “Stanje stvari” (“Der Stand, Der Dinge”, 1983), reditelja Wima Wendersa.

Znao je da je biti profesionalac najbolje što može dati od sebe, a da je fotoaparat njegovo oružje.

Ta fotografija Hidajetu je bila važna iz još jednog razloga. Na žalost, pa i na našu sramotu, dugo se uopće nije znalo da je pored Suade na mostu poginula i Olga. To će izaći na vidjelo tek mnogo kasnije, opet ponajviše zahvaljujući ženama: Nori, Olginoj kćerki i novinarkama Edini Kamenici i Snježani Mulić. Hidajet je čak jedno vrijeme mislio da je fotografija koju je snimio ustvari bila fotografija ubistva

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Hidajet Delić / Žene opkoljenog Sarajeva

she found herself on the moving photo

by Hidajet Delić, Olga, a mother of two, was captured by a TV camera, along with a mass of protesters, shouting; “This is Sarajevo, we want peace!”

I knew her words well and now, for the first time, I was looking at the photo that captured the enemy’s response to her words.

This photo, of people carrying mortally wounded Olga Sučić, marks the start of Hidajet’s wartime photo story. Until then, he had been a man who spent his time in the darkroom, with a smile on his face, looking at the photo paper developing images of the beauties of his country or of sports venues during the Olympics in Sarajevo; all of a sudden, he was looking at images of war. His city had become the darkroom of Europe and the world! He started his fight, confronting aggression with his camera, just like all other photographers in Sarajevo, reminding us of the last scene from the legendary film “The State of Things” (“Der Stand, Der Dinge”, 1983)

by Wim Wenders.

He knew that being a professional was the best he could give, and that the camera was his only weapon.

This photography was important for Hidajet for another reason.

Unfortunately and even to our shame, the fact that Olga died on that bridge together with Suada remained unknown for quite some time. This fact came to light much later, again mainly thanks to women: Nora, Olga’s daughter, and journalists Edina Kamenica and Snježana Mulić. For a while, Hidajet even thought that the photo he had taken was, in fact, a photo of the murder of Suada Dilberović. Only later he learned that it was Olga Sučić. As

Suade Dilberović. Tek naknadno saznao je da se radi o Olgi Sučić. Dok obojica zurimo u sliku zaleđene historije na ekranu, Hidajet nastavlja opisivati tu potresnu scenu. Opisuje ljude kako podižu tijelo pogođene Olge i nose je sa mosta u pravcu tramvajskih šina gdje su se nalazila kola hitne pomoći. Detaljno, u slikama, Hidajet opisuje krv koja curi sa nje. Gledajući u lice žene koje je mijenjalo boju, Hidajet mi pokušava opisati trenutak kada shvaća kako pred njegovim očima Olga umire! Olga je prva ubijena osoba koju je ikada snimio.

we both stare at the image of frozen history on the screen, Hidajet continues to describe this moving scene. He describes the people picking up Olga’s injured body and carrying her towards the tramlines, where an ambulance was waiting. In detail and in images, Hidajet describes the blood dripping from her.

As he looks at her face changing colour, Hidajet tries to describe the moment when he realised that Olga died right in front of his eyes! Olga was the first murdered person whom he had ever shot.

Sa svakom novom fotografijom započinje nova potresna priča. Nerijetko je odbacivao kameru kako bi mogao pomoći ranjenim sugrađankama i sugrađanima! U takvim trenucima smatrao je da je važnije biti čovjek nego fotograf!

A new, painful story starts with every new photograph. He often tossed the camera aside to help his injured fellow residents. In such moments, he thought it was more important to be a human being than a photographer!

Hidajet Delić je kao fotoreporter svakodnevno bilježio sve ono što se događalo u opsjednutom gradu. Prosto ne postoji priča koja se ne bi mogla ispričati kroz njegov fotoarhiv. Gledajući te ratne fotografije, složili smo se da bi najbolje bilo ispričati priču o Sarajkama.

Naime, u svom tom užasu koji se, sa svakom novom fotografijom, ukazivao pred našim očima, gotovo da su nas zbunjivale žene. Izgledale su poput neke protuteže svemu tome. Istovremeno, u njihovim očima ste mogli pročitati suštinu cijele priče o opsadi! Sve što želite, ili ne želite, da znate o opsadi možete vidjeti u njihovom pogledu.

Hidajet je, prisjećajući se nekih od situacija, govorio kako su žene u periodu opsade uvijek izgledale sređene, lijepe i uredne i kao da su time prkosile situaciji u kojoj su se našle.

Brzo smo se dogovorili da je to upravo priča koju trebamo ispričati, a potom mi je nastavio prepričavati brojne druge

As a photojournalist, Hidajet Delić recorded daily events in the besieged city. There is simply no story that could not be retold through his archives.

Looking at the wartime photos, we agreed that the best would be to tell the story of women in Sarajevo.

In all the horror that unfolded with each photograph, we were almost confused by women. They seemed to counterbalance everything. At the same time, you could read the essence of the entire story of the siege in their eyes!

Whatever you wanted or didn’t want to know about the siege – you could see it in their eyes. Recalling some of the situations, Hidajet said that throughout the siege, women were always well dressed, well groomed and beautiful, as if they thus defied the situation around them.

We agreed easily that this was the story to be told, and then he continued to recount numerous incredible stories. His life was more exciting than

Hidajet Delić / Women in Sarajevo under Siege

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nevjerovatne situacije. Njegov život je bio uzbudljiviji od holivudskih ratnih filmova, a, kao vrhunac razgovora, saznajem i to da je pred sami kraj rata bio zarobljen, te da je proveo 45 dana u logorima na Palama i u Foči. Po zvaničnim podacima, Hidajet Delić bio je posljednji registrovani ratni zarobljenik! Slušajući ga, jasno je bilo da, bez obzira na vlastita teška iskustva, nikoga nije mrzio!

Izložba Hidajeta Delića bila je dijelom programa Modul Memorije 2016, koji je tematizirao ulogu žene i njenu važnost u ratnim uvjetima. Posebno mi je bilo drago da smo dobili sliku koja na najbolji način opisuje sve strahote rata, i to ispričanu iz perspektive žene. Jasno je bilo da je ta slika popuno drugačija od one koju priča muškarac. Po svojoj suštini, ženska perspektiva u prvi plan stavlja jednu apsolutno anti-ratnu poruku i djeluje kao jasan poziv svima da nastoje biti pametniji i bolji ljudi!

Takav Modul memorije 2016, koji je posebnu pažnju posvetio ulozi žene u uvjetima rata, podsjetio nas je na možda zaboravljeni heroizam i značaj žena u najgorem periodu naših života. Bila je to idealna prilika da podsjetimo i ostale građane/ke na hrabrost, snagu i ponos bosankohercegovačkih žena i ulogu koju su žene imale u periodu opsade grada Sarajeva.

Posebno mjesto u takvom programu moralo je pripasti izložbi “Žena u Sarajevu pod opsadom”, fotografa Hidajeta Delića. Njegova priča činila se još važnijom u kontekstu ostalih programa, među kojima je bila i nekoliko dana ranije postavljena izložba u Sarajevskom ratnom teatru, kojom nam je Pierre Adrien Brazzini skrenuo pažnju na najhrabrije među nama – na žene s prve linije. Sa deset fotografija

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Hidajet Delić / Žene opkoljenog Sarajeva

Hollywood war films, and as the climax of our conversation, I found out that he was captured near the end of the war and spent 45 days in prisons in Pale and Foča! According to official records, Hidajet Delić was the last registered prisoner of war! Listening to him, it was clear that despite his own difficult experiences, he never hated anyone!

Hidajet Delić’s work was part of the Memory Module 2016 programme, which dealt with the role of women in wars. I was particularly happy that we had a clear picture of all the horrors of war, told from a woman’s perspective.

This picture was clearly very different from the one presented by a man. In its essence, a woman’s perspective focuses on an entirely anti-war message and acts as a clear call for those who are trying to be wiser and better people!

The concept of this Memory Module, which focused on the role of women in conditions of war, reminded us of the perhaps forgotten heroism and the importance of women in the worst period of our lives. It was an ideal opportunity to remind others of the courage, the strength and the pride of Bosnian women and the role women played during the siege of the city of Sarajevo.

In such a programme, the exhibition entitled Women in Sarajevo under Siege

by Hidajet Delić had a special place.

His story seemed even more important in the context of other programmes, including an exhibition that had opened a few days earlier, at the Sarajevo War Theatre, where Pierre Adrien Brazzini focused our attention on the bravest among us – women at the frontline.

In ten large format photos, Pierre told us the story of 5,360 women who had been members of the BiH Army. Many

velikog formata, Pierre nam je zapravo ispričao priču o 5.360 žena koje su bile u redovima Armije BiH. Mnoge od njih žrtvovale su svoje živote. Tačnije, 113 borkinja poginulo je u odbrani Sarajeva! Zahvaljujući njima, danas, unatoč svim dramama i tegobama tranzicionog društva, u mogućnosti smo da u svetosti mira razmišljamo o tome šta učiniti kako bismo svi živjeli bolje. Naime, mnogo je lakše razmišljati o budućnosti dok oko vas ne odjekuju eksplozije granata i kada vam jedina želja nije “samo da ne puca”.

Zahvaljujući susretljivosti naših kolega/ ica, izložba fotografija “Žena u Sarajevu pod opsadom” postavljena je u prostoru galerije savremene umjetnosti Ars Aevi.

Prostor galerije, osnovane upravo u periodu opsade, čije ime na latinskom znači “umjetnost epohe” a zapravo je anagram riječi Sarajevo, činio se najadekvatnijim za ovu priču.

Nevjerovatno je da autor izložbe Hidajet Delić, iako je u biti jedan od bosanskohercegovačkih fotografskih veterana, iza rata nije imao niti jednu samostalnu izložbu na kojoj bi građani/ ke mogli posvjedočiti fascinantnom blagu koje je čuvao na svojim rolnama filma.

Stotinjak fotografija, snimljenih u prvih pola godine ratne opsade Sarajeva, od velike su dokumentarističke važnosti i mogu poslužiti kao značajna, autentična historijska građa. Govore više od bilo kakvih riječi, kako o ranjenom gradu tako i o patnji žene: majke, starice, djevojčice. Pored već spomenute fotografije stradanja Olge Sučić, upečatljivi su i drugi prizori – žena koja branitelja dječačkog lica pita da li je gladan? Tu je i fotografija žene koja se pred svojim djetetom suzdržava da ne zaplače. Slike žena na groblju

of them sacrificed their lives. To be exact, 113 women fighters were killed defending Sarajevo! It is thanks to them that today, despite all the drama and hardship of a society in transition, we can use the sanctity of peace to think about what to do to create a better life.

Namely, it is much easier to think about the future while not being surrounded by explosions and shelling, and when your only desire is not “for as long as no one is shooting”.

Thanks to the hospitality of our colleagues, the Women in Sarajevo under Siege exhibition was presented at the Ars Aevi contemporary art gallery – founded during the siege and whose name is Latin for art of the times, also an anagram of Sarajevo; it seemed to be the most adequate choice for this story.

It seems incredible that although he was one of the veterans of BiH photography, Hidajet Delić, the author, had had no independent exhibition where the men and women of Sarajevo could see the fascinating treasure he cherished on his rolls of film.

About one hundred photographs taken in the first six months of the siege of Sarajevo are of enormous documentary value and may serve as important and authentic historical sources. They speak more than nay words could about the wounded city and the suffering of women: mothers, grandmothers, and little girls. In addition to the photo of Olga Sučić’s death, there are other striking scenes – a woman asking a solider with a boyish face if he’s hungry.

And the photo of a woman suppressing tears in front of her child. A woman at the cemetery, standing by the graves of her loved ones, and a woman in the street, trying to run across… Hidajet’s photos are like explosions of pain,

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pred grobovima najmilijih, na ulici, dok pretrčavaju sarajevske raskrsnice...

Na svim Hidajetovim fotografijama se, poput eksplozije, pred našim očima ukazuju bol, patnja, strah, nada, ljubav!

Beskonačan je niz tih autentičnih prizora koje je ovjekovječio Delićev objektiv.

Izložba, kao i ova knjiga, obuhvaća tek dio tih fotografija nastalih u samo jednoj, prvoj godini opsade, u periodu kada su se iz dana u dan građanke i građani Sarajeva nadali da će rat trajati par sedmica. Jer, ko bi to mogao dozvoliti; da se u Evropi ponovi ono za što je rečeno “Nikad više”!?

Fotografije Hidajeta Delića djelić su mozaika o ženi. Brojne fotografije velikih svjetskih i domaćih fotografa, poput one Melihe Varešanović koju je snimio britanski fotograf Tom Stoddart, ili brojnih drugih fotografija koje su snimili Milomir Kovačević, Roger Richards, Annie Leibovitz, Mario Bocca, Ron Haviv, Rikard Larma, Danilo Krstanović, Enrico Dagnino, Morten Hvaal, Paul Lowe, Fehim Demir, Aćif Hodović, Dejan Vekić, Fuad Fočo... mogle bi biti sadržajem jedne od najveličanstvenijih priča o ženi uopće!

“Sarajke” prikazane na ovim fotografijama apsolutno su suvremena verzija Euripidovih “Trojanki”! I naravno, nije riječ o Sarajkama u smislu geografske odrednice, već u smislu globalne metafore.

Važnost izložbe i knjige Hidajeta Delića nalazi se u činjenici da je riječ o jednom od prvih pokušaja da se u formi fotografske izložbe općenito tematizira uloga žene pod opsadom. Ovaj rad Hidajeta Delića trebao bi biti primjer, motivacija i inspiracija da se ova tema istražuje što dublje te da joj se dodijeli mjesto i pažnja koju zaslužuje u našem

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Hidajet Delić / Žene opkoljenog Sarajeva

suffering, fear, hope and love! There is an endless sequence of authentic moments recorded by Delić’s lens.

The exhibition, just like this book, included just a fraction of these photographs taken in the first year of the siege, at a time when men and women of Sarajevo lived every day with the hope that the war would stop in a few weeks. For who would allow it, who would allow this to happen again in Europe, which said “Never again”?!

Hidajet Delić’s photography is a small part of the mosaic about women.

Numerous photographs of major international and local photographers – like the one of Meliha Varešanović, taken by the British photographer Tom Stoddard, or numerous other images taken by Milomir Kovačević, Roger Richards, Annie Leibovitz, Mario Bocca, Ron Haviv, Rikard Larma, Danilo Krstanović, Enrico Dagnino, Morten Hvaal, Paul Lowe, Fehim Demir, Aćif Hodović, Dejan Vekić, Fuad Fočo... could be the content of one of the most magnificent stories about women ever told!

“The Sarajevan women” in these photos are indeed a contemporary version of Euripides’ “The Trojan Women”! And of course, it is not about the women of Sarajevo in terms of geography, but rather a global metaphor.

The importance of an exhibition and a book of Hidajet Delić’s photography is in the fact that this is one of the first attempts to use the medium of photography to contemplate the role of women under siege. This work by Hidajet Delić should be an example, a source of motivation and inspiration for this theme to be investigated further, and to receive the attention and the

društvu i vremenu u kojem živimo.

Priča o hrabrim ženama postoji bezbroj. Nije riječ samo o ženama na fotografijama illi onim čija smo imena bolje ili slabije upamtili, poput borkinje Fadile Odžaković Žute, doktorica Silve Rizvanbegović ili Sadete Dervišević ili jedine žene koja je, nakon što je preživjela Auschwitch, odlučila ostati sa svojim sugrađanima/kama – Grete Ferušić...

U biti, svaka žena, djevojčica i starica koja je ostala u Sarajevu pod opsadom bila je istinska heroina!

S potpunim pravom je general Jovan Divjak koji je, u ime udruženja “Obrazovanje gradi BiH”, dao prijedlog za gradnju spomenika ženama ratnog Sarajeva. Rekao je da taj spomenik treba odati priznanje ženama jer “žene su spasile Sarajevo”. Prema njegovom mišljenju, grad nikada ne bi opstao tokom opsade, koja je trajala tri i po godine, bez neumornog rada bezbroj nepoznatih žena.

Na fotografijama Hidajeta Delića, kao i na svim fotografijama snimljenih Sarajki u periodu agresije, one izgledaju kao živi spomenici.

Na nekima od njih one su majke, na nekima su supruge, djevojke, kćerke, starice, nane i unuke... Bilo da se smiju, bilo da plaču, da izgledaju zabrinute, vesele, ljute, sjetne, tužne ili umorne – one su uvijek gorde, prkosne i ponosne!

Priča o ratu, ispričana kroz ulogu žena u Sarajevu pod opsadom, glasna je anti-ratna poruka cijelom ovom ludom svijetu koji tako sporo uči iz svojih katastrofalnih grešaka i nepravdi, a među kojima se samo jedna zove Sarajevo.

Upravo zbog toga, na otvoranju izložbe,

place it deserves in our society and the time we live in.

There are countless stories about brave women. It is not just the women in photographs or those whose names we remember more or less, such as Fadila Odžaković Žuta, a soldier, Silva Rizvanbegović, a medical doctor, Sadeta Dervišević, a nurse, or the only woman who, after having survived Auschwitz, decide to stay with her fellow citizens Greta Ferušić...

In essence, every woman, girl or grandmother who stayed in Sarajevo under siege was a true heroine!

General Jovan Divjak was absolutely right when he gave his proposal, on behalf of the Education Builds BiH association, for a monument to the women of wartime Sarajevo. He said that such a monument should honour women because “women saved Sarajevo”. In his opinion, the city would never have survived the siege, which went on for three and a half years, had it not been for the tireless work of countless unnamed women.

Hidajet Delić’s photos, just like all the photos of women of Sarajevo taken during the aggression, depict them as living monuments.

Some of them show them as mothers, some as wives, girls, daughters, old women, grandmothers and granddaughters… Whether they laugh or cry, whether they look worried, happy, angry, sad, melancholy or tired – they are always proud and defiant!

The story of war told through the role of women in Sarajevo under siege is a clear anti-war message to this mad world, that seems to learn so very slowly from its own mistakes and

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Hidajeta Delića u okviru programa Modul memorije 2016, u galeriji Ars Aevi, smatrao sam adekvatnim pročitati tekst “Sarajke”, koji je rahmetli Alija Isaković objavio u Oslobođenju 1.1.1995. godine, a povodom obilježavanja 1.000 dana od početka opsade Sarajeva.

Vjerovatno je o njima snimljeno više filmova, neko će o njima napisati dirljivu poemu, svi smo bili svjedoci njihovog duhovnog i fizičkog napora i otpora u ovih tekućih hiljadu logoraških sarajevskih dana. Vjerujem da su i žene opkoljene Troje i žene zarobljenog Lenjingrada bile slične, sasvim prisebne i neuništive, ali ovo je sada nešto novo, novoevropsko i barbarsko, krajnje surovo i izuzetno, etički sasvim mračno i tehnički sasvim blještavo.

Nekoliko puta sam pokušao da progovorim o njima na ovom mjestu, i ledenih dana zime 1992. i žarkog ljeta 1993. i svaki put je moja riječ bila blijeda, neuvjerljiva i površna. Zapravo, nisam mogao vlastitim nastojanjem dosegnuti taj tihi heroizam i nisam mogao da dosegnem prirodnost njihovog samopožrtvovanja, prkosa i patnje. Majke, sestre, supruge i vjerenice poginulih boraca, poginulih sinova, braće i očeva, starice i djevojčice s kanisterima vode i naramcima drva, s ubranom koprivom i radičem, djevojke s puškama u rovu, djevojke u televizijskim i novinskim izvještajima s prvih borbenih linija, djevojke i mlade majke u operacijskim salama i noćnim dežurama. Žene i djevojke u ratnoj proizvodnji, trudne ili tek rodilje, s ranjenom djecom na rukama, s bolom nad iskopanim mrtvačkim rakama...

Sve te domišljate žene u kuhinjama bez vode i struje, bez plina i drva, koje od svjetskih humanitarnih restlova čine tradicionalna domaća jela, žene

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injustices - and just one of them is named Sarajevo.

Because of all this, I thought that the most appropriate text for the opening of Hidajet Delić’s exhibition at the Ars Aevi gallery as part of the Memory Module 2016 programme was the essay “Women of Sarajevo”, written by the late Alija Isaković and published in the Oslobođenje daily on 1 January 1995, marking 1,000 days since the beginning of the siege of Sarajevo.

Films have been made about them, I am certain, and someone will write a moving poem, and we have all seen their spiritual and physical effort and resistance over these on-going one thousand days of detention in Sarajevo.

I believe that the women of the besieged Troy and the women of the captive Leningrad were similar, composed and invincible, but this is a new thing, of a new Europe, barbaric and cruel, ethically dark and technically bright.

I have tried to speak about them right here, several times, in the icy days of winter in 1992, and in the scorching days of summer in 1993, and every time my words were pale, unconvincing and superficial. In fact, my own efforts were unable to reach the silent heroism and the natural quality of their selfsacrifice, defiance and suffering.

Mothers, sisters, wives and fiancées of dead soldiers, sons, brothers and fathers, grandmothers and little girls with canisters of water and bundles of firewood, with freshly picked nettle and dandelion leaves, girls with rifles in the trenches, girls from the frontlines in TV and newspaper reports, girls and young mothers in operating theatres and night shifts. Women and girls in wartime production facilities, pregnant or new mothers, with injured children in their

na izložbama, žene u pozorišnim predstavama, žene uz muzičke instrumente i literarna djela, i one malobrojne, na javnim funkcijama...

Svijet koji ih je gledao uživo, i sa distance, neće to nikada razumjeti.

Sve one masakrirane granatama, čiste, ispeglane i frizirane, u ukusnim tašnama i cipelama koje se razlijeću uz njihov posljednji vrisak, sve nasmiješene i s nevjericom u novo zlo, kao da potpuno ignoriraju surovu realnost, kao da bezrezervno vjeruju u svoje ljudsko dostojanstvo i svoju vječnost. Čak i snajperska raskršća pretrčavaju graciozno, pridržavajući djecu, torbe i kišobrane.

Pamtim ona odmorišta na klupama Velikog parka. Ćaskaju i šale se, dotjeruju bluze i pramenove kose.

Pored njih sleđeni kanister s vodom od Pivare, s vodom obješenom na grudi i pleća – od Pivare do Koševskog brda!

Kreću šutke i nema u tih starica i u tih djevojčica nikakve gorčine i jadanja.

One, jednostavno, idu, nose i idu, kao da su nekim činom predodređene da to rade.

Idem tim ulicama ukrašenim granatama, idem tragovima mrtvih, i vidim veliki plakat ‘Škola plesa’.

Podrumska generacija dozrela u neimaštini i poniženju, izlazi na plesni podijum i kreće u život, hrabra srca i otvorenih očiju. Njih niko ne može zaustaviti, nikakva grubost i nikakav primitivizam. Ti naši najmlađi – sve će znati, sve će htjeti, i sve će moći. Sretan sam što ću ih pamtiti, takve. (“Sarajke”, Alija Isaković, Oslobođenje, subota, 31.12.1994 / nedjelja 1.1.1995) Kako Modul memorije nije program koji se bavi prošlošću zbog same prošlosti, već mu je cilj utjecati na kreiranje naše

arms, with pain over the freshly dug graves….

All those inventive women in kitchens with no water or power, with no gas or firewood, using international humanitarian bits and pieces to produce traditional homemade dishes, women at exhibitions, women in theatres, women with musical instruments and literary works, and those very few in public office…

The world that looks at them live and from a distance will never understand.

All those women massacred by mortar bombs, clean, pressed and coiffed, with elegant purses and shoes that fly away with their last scream, smiling and disbelieving the new evil, as if totally ignoring the cruel reality, as if holding an unreserved belief in their human dignity and eternity. They even run across streets under sniper fire with elegance, holding their children, their bags and umbrellas.

I remember the resting spots on the benches in the Central Park. They are chatting and joking, fixing their blouses and their loose strands of hair. Frozen canisters of water next to them, with water from the Brewery, carried on their shoulders – from the Brewery to Koševsko Brdo, all the way across town!

They move silently, and these old women and these little girls show no bitterness or complaint. They just go, they pick up the load and move on, as if somehow predestined to do exactly that.

I walk along those streets decorated by mortar holes, I follow the traces of the dead, and I see a big poster “Dance Classes”. The basement generation, growing up in poverty and humiliation, comes out to the dance floor and moves towards a new life, with courage in their

Hidajet Delić / Women in Sarajevo under Siege

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ljepše budućnosti, podsjetit ću nas i na neke zastrašujuće podatke. Razna istraživanja pokazuju da je položaj žene u našem društvu i dalje daleko ispod onog koji im pripada i kakav zaslužuju.

Iako bi se moglo reći da danas samo budale i neznalice mogu podcjenjivati ili omalovažavati žene, nažalost to je i dalje česta pojava. U istraživanju “UN Woman BiH”, prezentiranom prije nekoliko godina, iznešen je podatak da 72% od 1.200 ispitanih mladića odobrava nasilje nad ženama!

Nasuprot tim stravičnim pokazateljima, poruka ove izložbe i knjige je da se tih 72 posto mladića ni po čemu ne razlikuje od onih zločinaca i krvnika koji su ovaj grad držali pod opsadom!

Baš zbog toga što nam predstoji još dug put, vjerujem da je ova knjiga fotografija Hidajeta Delića važna svima nama; neka nam služi kao podsjetnik na vrijednost žena koje nas kroz odrastanje uče: hrabrosti, nadi, dobroti i ljubavi!

Nihad M. Kreševljaković

hearts and their eyes wide open. No roughness, no primitivism – no one can stop them. For they, our youngest ones – they will know everything, they will want everything and they will be able to do anything. I am happy to remember them as they are. (Alija Isaković, “Women of Sarajevo”, Oslobođenje daily, Saturday 31 December 1994 / Sunday 1 January 1995) Since Memory Module is not a programme that deals with the past for the sake of the past itself, but rather in order to influence the creation of a better future, allow me to recall several horrifying facts. Different research shows that the position of women in our society is far worse than what belongs to them and what they deserve. Although it may be said that in today’s world only ignorant fools can underappreciate and disrespect women, this is unfortunately still quite common. According to research by UN Women BiH presented several years ago, out of 1,200 young men included in their survey, as many as 72% approve violence against women!

Contrary to these horrific indicators, the message of this exhibition and this book is that those 72% of young men are in no way different from the criminals and the butchers who kept this city under siege!

And exactly because of the fact that a long way is still ahead of us, I believe that this photography book by Hidajet Delić is important for all of us: may it serve as a reminder of the values that women teach us throughout our lives: courage, hope, kindness and love!

Nihad M. Kreševljaković

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SLAVICA ILI NJEN OBRAČUN S NJIMA (djevojci poginuloj od mine u Titovoj ulici)

SLAVICA OR HER RECKONING WITH THEM (to a girl killed by a bomb in Titova Street)

Izvadila je iz ormara prugastu, svilenu košulju i tanki džemper na kopčanje, boje limuna...

Stade pred ogledalo i bi zadovoljna.

Sad broš....

Dobro!

I još tašna i cipele od crne kože...sat...

She took from her closet a striped silk shirt and a fine buttoned sweater, lemon-coloured…

She stood in front of the mirror pleased.

And the brooch...

Good!

And now the purse and the shoes black leather… and the watch…

...tako je bilo i kad su je unosili u kola, a dim se slijegao ulicom.

Upamtih veliku mrlju na grudima i slap teške, iščetkane kose, na prljavom pločniku, u nekom stravičnom neskladu.

...and that’s what it was when they carried her into the van, as the smoke settled in the street.

I remember the huge stain on her chest and thick, brushed tresses of hair on the dirty pavement, in horrifying discord.

Znam!

Bila je uredna, jer je tako navikla.

Bila je dotjerana, jer se tako izlazi među ljude.

Bila je uporna u svemu tome, jer je to bila njena borba i njen način da pobijedi!

Bila je elegantna, bila je pažljivo našminkana, jer je željela biti lijepa, ako bi negdje na ulici, usput, slučajno

I know!

She was tidy, it was a habit.

She was dressed nicely, that’s how you go out.

She was persistent in all that, for that was her struggle and her way to win!

She was elegant, with make-up carefully applied, because she wanted to be beautiful, should she somewhere in the street, accidentally, unexpectedly

umrla!

die!

Benjamin Isović

Benjamin Isović

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“Idem braniti svoje Sarajevo”, i izlazi iz kuće... (Suada Dilberović) “Ovo je Sarajevo, mi smo za mir!”

(Olga Sučić) Suada Dilberović i Olga Sučić prve žrtve agresije na Sarajevo, piše: Snježana Mulić-Bušatlija, magazin Dani, 2002. godina

“I’m going to defend my Sarajevo” and leaves… (Suada Dilberović) “This is Sarajevo, we want peace!”

(Olga Sučić) Suada Dilberović and Olga Sučić, First Victims of the Aggression against Sarajevo, Snježana Mulić-Bušatlija, Dani weekly, 2002

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GRAD HRABROST Hrabrost je biti živ I živjeti u ovom gradu Probuditi se ako budan nisi Hrabrost je obavljati Obične ljudske radnje Jer svugdje i u svakom času Na frontu ti si Nema konvencije koja te Kao civila štiti Tvoje je ubijen biti Bez puške o ramenu poginuti Zato je hrabrost U ovom gradu živ biti.

Bisera Alikadić

CITY COURAGE Courage is to be alive And to live in this city Waking up if you’re asleep It’s courage to perform The simplest tasks For in every moment and at every place You are at the frontline No convention will protect A civilian You may as well die Killed with no gun in your hand And that is why it is courage To be in this city and be alive.

Bisera Alikadić

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MISS SARAJEVO (odlomak) ...na ekranu su Bono Vox i Luciano Pavarotti pjevaju Miss Sarajevo na koncertu u Modeni djevojke u kupaćim kostimima drže transparent: DON’T LET THEM KILL US jedna djevojka se sprema pretrčati snajperski prelaz sve je usporeno, ona se okreće i pogleda u kameru njen sunčani osmijeh ću pamtiti do smrti kao i suze koje su nam išle niz obraze kada smo prvi put vidjeli opkoljeno Sarajevo.

Faruk Šehić

MISS SARAJEVO (excerpt) ...on the screen, Bono Vox and Luciano Pavarotti sing Miss Sarajevo at a concert in Modena girls in bathing suits holding a banner: DON’T LET THEM KILL US A girl is about to run across the street under sniper fire everything is in slow motion, she turns and looks at the camera I will remember her sunny smile for as long as I live as well as the tears that rolled down our faces the first time we saw the besieged Sarajevo.

Faruk Šehić

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KRČAG Sarajevo, oči izvađene Bosna, prsli krčazi pa ipak iz tebe piju Anne Boe

A JUG Sarajevo, eyes gouged out Bosnia, a broken jug And still they drink from you Anne Boe

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M

oj um nije baš onakav kakav je bio.

Sada je sporiji, lijen i manje bistar, a da slijedim čak i najjednostavniju misao vrlo dugo, isrpljuje me. Ovako to, dakle, počinje, uprkos mojim naporima.

Riječi dolaze tek kada mislim da neću moći da ih više pronađem, u trenutku kada očajavam pri pomisli da li ću ih ikada više izgovoriti. Svaki dan donosi istu borbu, istu prazninu, istu želju da se zaboravi, i onda da se ne zaboravi. Kada to počne, to nije nigdje drugdje nego ovdje, nigdje drugdje nego na ovoj granici kada olovka počinje da piše. Priča počinje i staje, napreduje i onda se gubi, a između svake riječi, kakve tišine, kakve riječi pobjegnu i nestanu da se nikada više ne vrate.

Dugo vremena sam se trudila da se ničega ne sjećam. Osuđujući moje misli na sadašnjost, bila sam u stanju da se bolje snađem, više u stanju da izbjegnem mrzovolju. Sjećanje je velika zamka, znaš, i činila sam šta sam mogla da se zadržim, da se osiguram da mi misli ne odšunjaju u stare dane.

Anna Blume, iz romana U zemlji posljednjih stvari od Paula Austera

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M

y mind is not exactly as it used to be. It is now slower, lazy and less clear, and it exhausts me to follow even the simplest thought. So this is how it begins, despite my efforts.

Words come only when I think that I won’t be able to find, them, at the moment of despair at the thought that I man never be able to speak again. Every day brings the same struggle, the same void, the same desire to forget, and then not to forget. When that starts, it is nowhere but here, nowhere but on this border when a pen starts to write. The story begins and stops, it progresses and loses its thread, and between every word, what silences, what words escape and disappear never to return.

For a long time, I tried to remember nothing. Condemning my thoughts to the present, I was able to manage better, I was more capable of avoiding dejection.

Remembrance is just a big trap, you know, and I did what I could to hold on, to make sure that my thoughts didn’t sneak into old days.

Anna Blume, In the Land of Last Things, Paul Auster

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NE SMIJEM VIŠE SPAVATI Ne smijem više spavati ne smijem više zatvoriti oči. ne mogu plakati. ne mogu vriskati, ne mogu vas opet u paklu posjetiti.

Maruša Krese

I MUST NOT SLEEP I must not sleep I must not close my eyes.

I cannot cry, I cannot scream, I cannot visit you in hell again.

Maruša Krese

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GEORG TRAKL PONOVO NA RATIŠTU Visoko, iznad aviona, boravi dragi Bog S očima zlatnim u sarajevskoj tami.

Behar sa granatama pada kraj prozora mog.

Ludilo i ja. Sami. Sami smo. Sami.

Ferida Duraković

GEORG TRAKL ON THE FRONTLINE AGAIN High above the planes, dear God resides His golden eyes in the darkness of Sarajevo.

Shells and spring blossom fall beneath my windows.

Madness and I. Alone. We’re alone.

Alone so.

Ferida Duraković

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SUNČANJE

SUNBATHING

Naši kostimi tog ljeta možda nisu bili in ali mi to nismo mogle znati.

Perhaps our swimsuits were not in that summer but we didn’t know.

Sunce je peklo i posljednje kapi kreme za sunčanje cijedile smo na svoja bijela lica.

Na svoje omršavjele mliječne noge.

Peklo je; i kad pažljivo slušaš skoro se moglo čuti praćakanje djece u plićaku.

The sun was scorching and we squeezed the last drops of sunblock over our pale faces.

Over our skinny milky legs.

It scorched; and if you paid attention you could almost hear children splashing the shallow seawater.

Samo nismo smjele naglo ustati.

Uspraviti se.

Pomoliti glavu.

Only we couldn’t get up.

Stand up straight.

Show our heads.

Naša tajna plaža na vrhu nebodera ubola bi u oko snajperistu.

Our secret beach on our high-rise roof would have poked the eye of the sniper.

Životu i suncu smo se radovale mirne.

Oprezne.

Mazne. I vodoravne.

We rejoiced life and the sun in peace and quiet.

Cautious.

Blithe. And horizontal.

Adisa Bašić

Adisa Bašić

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E

MIRA BAŠIĆ: Studentkinja žurnalistike, s početkom rata odlučila se za borbu puškom: dobitnica Zlatnog ljiljana poginula je 27. novembra 1993. godine na Jevrejskom groblju. Još jednom od vrućih mjesta sarajevskih linija odbrane. No, Emira Bašić nije samo primjer borca za ovaj grad, ona je na svojevrstan način nosilac odlikovanja za sve žene Sarajeva koje su misijom nemoguće uspijevale organizirati živote svojih porodica, spremiti onaj minimum hrane, boriti se svaka na svoj način...

Vildana Selimbegović, magazin Dani, 2002. godina

E

MIRA BAŠIĆ: A student of journalism; at the onset of the war, she decided to fight with a rifle in her hands; received the Golden Fleur-de-lis Award, killed on 27 November 1993 at the Jewish Cemetery, another hot spot on the defence lines in Sarajevo. However, Emira Bašić is more than an example of a fighter for this city, she also, in a way, holds a medal for all the women of Sarajevo who managed, in the mission impossible style, to organise the life of their families, prepare what little food there was, fight in their own way...

Vildana Selimbegović, Dani weekly, 2002

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J

a sam od prvog momenta, kad sam videla da svet odlazi, odlučila, zajedno sa svojim mužem, da mi nećemo ići nikuda. Zašto nećemo ići nikuda? Prvo i prvo, ja pripadam ovom gradu. Ja sam mislila, pa šta bude sa ostalim svetom, neka bude i sa mnom. Drugo, jedanput sam napustila svoju kuću, ali sam bila primorana da je napustim. Ja sam osećala da je svojevoljno nikada neću napustiti pa ma šta da se desi. Moje su godine takve da ja novi život nigde ne mogu početi, a da budem beskućnik bolje onda da, smatrala sam, bolje da me nema; da negde budem beskućnik i da lutam, sa minimum stvari što se može poneti i kada već znam da sa svojim godinama i sa svojom strukom ne mogu više ništa da učinim drugde.

Prema tome, ono što će biti sudbina grada i njegovih stanovnika koji ostaju, neka bude i moja sudbina. Tako sam se ja čvrsto odlučila da ostanem u Sarajevu.

A

s I saw people leaving, I decided right away, together with my husband, that we wouldn’t go anywhere. Why? First of all, I belong in this city. I thought, whatever happens to others, so be it with me. Second, I had already left my home, but I was forced to leave it. I felt that I would never leave of my own will, no matter what happened.

My age was such that I couldn’t start over, and to be homeless, I thought, it would be better to be gone altogether; to be homeless, to wander around, with the minimum that one can take with them, knowing that at my age and with my profession I couldn’t do anything anywhere else. Therefore, whatever was the fate of the city and the people staying in it, so be it with me. And so I made a firm decision to stay in Sarajevo.

Greta Ferušić, interview, Greta, a documentary film

Greta Ferušić, odlomci iz intervuja, iz filma Greta

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S

jećam se žene koja je bila vođa puta i koja nas je sazvala i saopštila nam da je u Sarajevu RAT. U dvadeset minuta koje su nas dijelile od Sarajeva započeo je RAT. U samo dvadeset minuta od djevojčice koja je krenula na put iz dosade i koja je vrlo pažljivo birala garderobu koju će ponijeti kao da ide na ljetovanje, postala sam djevojčica koja je ostavila rodni grad, svoje najbliže, sve što ima u RATU i postala izbjeglica koja će se u Sarajevo vratiti tek kao odrasla osoba.

Rea Jugo, odlomak iz knjige 2. maj 1992. Bio je lijep i sunčan dan...

I

remember the woman who was our guide and who called us and told us that there was WAR in Sarajevo. Within 20 minutes between us and Sarajevo, the WAR started. In just twenty minutes, a girl who was travelling out of boredom and who had carefully selected her wardrobe as if going on a summer vacation, I transformed into a girl leaving her hometown, her family and everything she had in a WAR, becoming a refugee, only to return to Sarajevo as a grown up.

Rea Jugo, 2 May 1992: It was a beautiful sunny day...

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Z

ovem iz Centra Hitne pomoći, obraćam Vam se da nam pomognete... Ovdje se puca na nas! Mi ne možemo izaći, niti bilo kome pomoći... Izgubili smo jedno vozilo...

Samo nekoliko dana poslije, 17. maja 1992. godine dr. Silva Rizvanbegović, specijalista urgentne medicine je ubijena snajperskim hicem. Dogodilo se to dok je u vozilu Hitne pomoći prolazila pored kasarne Maršal Tito u kojoj su se nalazile snage JNA. Dr. Silva Rizvanbegović, odlomak iz knjige 2. maj 1992. Bio je lijep i sunčan dan...

I

’m calling from the Emergency Medical Services I’m asking for help... They are shooting at us! We can’t go out of the building, we can’t help anyone... We’ve lost one vehicle....

Just a few days later, on 17 May 1992, Silva Rizvanbegović, M.D., emergency medicine specialist, was killed by a sniper. She was shot in an Emergency Medical Services vehicle, driving past the Marshal Tito Barracks, where the Yugoslav People’s Army was located at the time.

Silva Rizvanbegović, M.D., 2 May 1992: It was a beautiful sunny day...

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Č

ekamo da neko dođe i da nas izvede odavde. Iz stana koji nije uništen, ali je sablasan. Čekamo treći maj.

Kao da čekamo Novu godinu. Jer trećeg maja mora biti bolje. Drugačije. Nije bilo.

Samo se na kraju, kada smo završile zakucavanje folija, kroz prozore nije više vidjelo ništa. I tako četiri godine.

Vedrana Seksan, odlomak iz knjige 2. maj 1992. Bio je lijep i sunčan dan...

W

e waited for someone to come and get us out of there. Out of the flat that wasn’t totally destroyed, but it was creepy. We waited for the third day of May. As if waiting for the New Year.

For it had to be better on the third day of May. It had to be different. It wasn’t. At the end, as we finished nailing the plastic sheeting on the windows, you couldn’t see anything through them any more. And so it stayed for four years.

Vedrana Seksan, 2 May 1992: It was a beautiful sunny day...

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ucalo je cijelu noć i nismo mogli spavati. Sjećam se da sam narednog dana provirila ispred haustora.

Nikada neću zaboraviti teški miris baruta na tom prelijepom proljetnom danu i taj kontrast između prelijepog vremena, prirode i proljeća sa jedne strane, i ratnog užasa sa druge strane. Koliko nam tako lijepih dana duguju!

Elma Tataragić, odlomak iz knjige 2. maj 1992. Bio je lijep i sunčan dan...

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here was shooting all night and we couldn’t sleep. I remember that I looked outside the front door the next morning. I’ll never forget the heavy scent of gunpowder in that beautiful spring day and the contrast between gorgeous weather, nature and the spring o one side, and the horror of war on the other. They owe us so many beautiful days!

Elma Tataragić, 2 May 1992: It was a beautiful sunny day...

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S

estra, mama i ja smo ostale zatočene od 2. maja do polovine jula u vlastitoj kući, vlastitom gradu, pet minuta od samog centra. Kojeg li apsurda!

Vidjele i čule različite akcente agresorskih vojnika, uglavnom obučene u maskirne uniforme, i sa oznakama JNA...

Sanela Gojak, odlomak iz knjige 2. maj 1992. Bio je lijep i sunčan dan...

F

rom 2 May until mid-July, my sister, mum and I remained prisoners in our own home, in our own city, just five minutes from the centre. How absurd! I saw and heard different accents spoken by the aggressors’ soldiers, most of them wearing camouflage uniforms, with the Yugoslav People’s Army insignia...

Sanela Gojak, 2 May 1992: It was a beautiful sunny day...

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Hidajet Delić / Žene opkoljenog Sarajeva

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aj dan sam bila zaljubljena. Sve ostale emocije koje sam tih mjeseci preživljavala (strah, panika, užas, gađenje, zaprepaštenje, nevjerica, optimizam, revolt, euforija) nadvladala je ljubav, pa tako i danas, kada me pitaju kako mi je bilo u ratu, ne znam kako bih odgovorila. Vjenčanje je uslijedilo 477 dana nakon tog 2. maja 1992. a obavljeno je u sarajevskom kafiću SOS koji smo tada zvali “Save our Sarajevo”.

Vesna Andree Zaimović, odlomak iz knjige 2. maj 1992. Bio je lijep i sunčan dan...

I

was in love on that day. All other emotions I had experienced during those months (fear, panic, horror, disgust, astonishment, disbelief, optimism, revolt, euphoria) were overpowered by love. Even today, when people ask me how it was during the war, I don’t know what to say.

The wedding happened 447 days after 2 May 1992, in a café in Sarajevo named SOS, which we then called Save Our Sarajevo.

Vesna Andree Zaimović, 2 May 1992: It was a beautiful sunny day...

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O

O

Milomir Kovačević-Strašni, odlomak iz knjige 2.maj 1992. Bio je lijep i sunčan dan...

Milomir Kovačević-Strašni, 2 May 1992: It was a beautiful sunny day...

d svih fotki snimljenih tih dana ipak mi je fotka žene sa malim djetetom u naručju ostala toliko urezana u sjećanje. Sa tim uplašenim, bespomoćnim pogledom upućenim prema meni kao da me pita šta se dešava ili šta da radi, kuda da krene, sve u želji da zaštiti svoje dijete.

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f all the photos from that day, the one with a woman with a small child in her arms is the one etched in my memory. With a frightened, helpless look directed towards me, as if asking me what is happening or what should she do, where should she go, all with the desire to protect her child.

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USPAVANKA ZA SUADU DILBEROVIĆ

A LULLABY FOR SUADA DILBEROVIĆ

Spavaj bijelom noći Bijela šehidko

Sleep in the white night A martyr in white

Sa bijelom maramicom Na licu spavaj

With a white kerchief Over your face, sleep

Srca bijela spavaj

Whith your white heart, sleep

Preko Mosta Ljubav je prošla Po maslinovu grančicu otišla Spavaj

Across the bridge Love walked To take her olive branch Sleep

Ajša Zahirović

Ajša Zahirović

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D

ok sam sjedila na wc školjki čula sam vodokotliće, iznad i ispod mog stana, kako ispuštaju vodu. To su komšije spirale svoj strah. Bilo mi je lakše što nisam jedina koju je strah. A onda odjednom i teže. Zato što nas je sve strah.

“Ko će nas i kako ćemo se braniti ako nas je sve strah?”, mislila sam. Pustila sam i ja vodu u vodokotliću.

Snježana Mulić, odlomak iz knjige 2. maj 1992. Bio je lijep i sunčan dan...

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A

s I sat on the toilet, I could hear flushes running above and beneath my flat. It was my neighbours flushing their fears. I felt relieved knowing that I wasn’t the only one who was afraid.

But then I felt worse. Because we were all afraid. “Who will defend us and how can we defend ourselves if we’re all afraid?” I thought. And then I flushed the toilet too.

Snježana Mulić, 2 May 1992: It was a beautiful sunny day...

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ledam crno-bijelu fotografiju uslikanu, mislim, u ljeto ‘94. pred razrušenim Olimpijskim muzejom i vidim djevojku koja odiše snagom i odlučnošću, prkosom, mladošću, ljepotom, energijom... Sjetim se sebe i ostalih djevojaka, žena, u opkoljenom Sarajevu. Rat tada jeste bio kontekst našeg života ali je bio i njegov katalizator.

U ratu smo otkrili kako se živi punim plućima, kako se voli, kako se bori srcem.

Kada pogledam ovu fotografiju uslikanu u opkoljenom Sarajevu, u prvom planu vidim nezaustavljivu silinu života.

Nina Pirić-Raštegorac, žena sa fotografije

I

look at the black-and-white photo, taken in 1994, I think, in front of the destroyed Olympic Museum, and I see a girl beaming with strength and determination, defiance, youth, beauty, energy… I remember myself and other girls and women in the besieged Sarajevo.

At the time, the war was the context of our lives, but it was also the catalyst. In the war, we discovered how to live life to the fullest, how to love, how to fight with your heart. When I look at this photo taken in the besieged Sarajevo, what I see is the unstoppable force of life.

Nina Pirić-Raštegorac, women in the photo

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ve je počelo jednog proljetnog jutra ‘92. godine, kada smo osvanuli kao “stanovnici kvart-logora”, ni tada ne sluteći šta nas sve čeka i koliko daleko smo uspjeli otići. A otišli smo, i više nego što je moguće: uspjeli smo preživjeti 2.600.000 bombi, granata, raketa, i još toliko interpretacija, ovakvih i onakvih; ginuli, rađali se, išli svakodnevno na sahrane i rođendane, po vodu i u teatar, neljudski prkoseći nametnutoj, iščašenoj svakodnevnici.

Emira Redžić, iz knjige I nakon svega Sarajevo, antologija poezije o Sarajevu pod opsadom

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Hidajet Delić / Žene opkoljenog Sarajeva

I

t all started on a spring morning in 1992, when we woke up inside a “concentration-camp-suburb”, not even dreaming what was ahead of us and how far we’d get. And we did go far, much further than possible: we managed to survive 2,600,000 bombs, shells, rockets, and as many interpretations of all kinds; deaths, births, daily funerals and birthdays, fetching water, going to the theatre, defying inhumanely the twisted everyday life imposed on us.

Emira Redžić, Sarajevo After All, an anthology of poetry about Sarajevo under siege

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jećam se samo da sam tog dana, prvi put u životu, zapalila cigaru pred svojim, rahmetli, ocem. Ne zapalila pred njim. Zapalila sa njim.

Sjećanje svedeno na sliku. Njegova ruka koja prinosi šibicu Drini, koja mi je među usnama.

Iza svega samo oštra nijansa te fotografije. Svijest da nakon tog dana, nakon onoga što je tada počelo, ja više nikada neću biti ista.

Melina Kamerić, odlomak iz knjige 2. maj 1992. Bio je lijep i sunčan dan...

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remember that on that day, for the very first time in my life I lit a cigarette before my late dad. Not that I lit a cigarette before him. I smoked with him. A memory reduced to an image. His hand bringing a match close to the cigarette between my lips.

After all, there’s just the sharp shade of the photo. And the awareness that after that day, after what had started on that day, I’d never be the same.

Melina Kamerić, 2 May 1992: It was a beautiful sunny day...

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A

ko je bilo ljudi koji nisu htjeli znati – često slušamo kako je rat u Bosni tako komplikovan da je teško razlučiti koja je strana “u pravu” i – sada je sve više onih koji su shvatili ko je ko. Oni također znaju da se rat – zapravo, srpska i hrvatska agresija – mogao, u protekle tri godine, zaustaviti u svakom momentu i na isti način i uz jednako minimalnu primjenu sile (u potpunosti sačuvavši živote vojnika na terenu i civila) kao što se na kraju, i desilo u avgustu i septembru.

Ali Europljani nisu htjeli zaustaviti sukob (i britanski Foreign Office i Quai d Orsay su tradicionalno pro-srpski nastrojeni), a Amerikanci, jedina velika sila koja je spremna priznati da je pravda na strani Bosanaca, nije bila spremna umiješati se. Sada kad je rat obustavljen ili se bar tako čini, iznenada sve izgleda manje komplikovano. Raspoloženje je sada sklonije retrospekciji.

Susan Sontag, iz teksta Tamo i ovde

E

ven if there were people who didn’t want to know – and we have often heard that the war in Bosnia is so complicated that it is difficult to discern which side is “right” – there are now more and more of those who understand who is who. They also known that over the past three years, the war – or rather, the Serb and Croat aggression – could have been stopped at any time and in the same way and in with a minimum of force (fully preserving the lives of soldiers in the field as well as civilians), as it did eventually happen in August and September. But Europeans did not want to stop the conflict (and the Foreign Office and Quai d’Orsay are traditionally pro-Serb), and the Americans, the only major force willing to admit that justice was on the Bosnian side, were not ready to become involved. Now that the war has been stopped, or at least it seems to be, everything seems less complicated. The mood is now more retrospective.

Susan Sontag, There and Here

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U

kućani su preživjeli rat. I još smo svi, Bogu hvala, na okupu. U ratu sam dobila sina, i nisam bila ni razmažena trudnica, ni razmažena mama, kako je to moja mati slutila. Sreća njihova, bi rat.

Amina Šiljak-Jesenković, odlomak iz knjige 2. maj 1992. Bio je lijep i sunčan dan...

M

y family survived the war. And, thank God, we’re all still together. I gave birth to a son during the war, and I wasn’t spoiled while I was pregnant, nor was I a spoiled mum, as my own mother had predicted. Fortunately for them, it was war.

Amina Šiljak-Jesenković, 2 May 1992: It was a beautiful sunny day...

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tišla sam ugasiti televizor. Na ekranu sa logoom TV SA pisalo je: “Mole se strane u sukobu da se uzdrže od upotrebe oružja.” Stajala sam sa daljinskim upravljačem i buljila u tu rečenicu. Nisam mogla skontati ko su sukobljene strane. Znala sam da su četnici i JNA ti koji su izazvali sukob, ali ko su drugi koji se sukobe nije mi išlo u glavu.

Jesmo li to bili mi u gradu? Pa mi se nismo sukobili.

Snježana Mulić, odlomak iz knjige 2. maj 1992. Bio je lijep i sunčan dan...

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went to turn off the TV. The screen with the TV SA logo said: “The parties in conflict are kindly asked to refrain from using weapons.” I stood there with the remote control in my hand, staring at this sentence. I couldn’t understand who the parties in conflict were. I knew that the Chetniks and the Yugoslav People’s Army provoked a conflict, but who the other parties were – I couldn’t work it out. Was it us in the city? We had no conflict.

Snježana Mulić, 2 May 1992: It was a beautiful sunny day...

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a se sjećam, to je možda bilo 1994. godine, jedne djevojčice od petšest godina, koju je majka vodila za ruku kada ju je kod pijace Otoka pogodio metak. Djevojčica je već bila mrtva kada ju je majka donijela... Ne mogu zaboraviti tu majčinsku tugu. Ona je, jednostavno, nije htjela pustiti. To je bilo grozno, jedva smo odvojili djevojčicu od majke, koja je bila sva krvava. Kada smo sa djevojčice skinuli haljinicu, našli smo i metak koji je prošao direktno kroz srce. Ona je bila trenutno mrtva...

Dr Jasminka Kovačević, piše: Ermin Čengić, magazin Dani, 2002. godina

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t was in 1994, I think, and I remember a little girl, five or six perhaps, walking and holding her mother’s hand near the Otoka market, and a sniper shot her. By the time her mother brought her in, she was already dead… I cannot forget her mother’s sorrow. She just didn’t want to let her go. It was terrible, we barely managed to take the girl from the mother, who was soaked in blood. When we removed her dress, we found the bullet, which had gone directly through the heart.

She had died instantly…

Jasminka Kovačević, M.D, by Ermin Čengić, Dani weekly, 2002

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mala sam petnaest godina, završavala prvi razred srednje škole, planirala puno toga, i jedino od svega uspjela sam preživjeti. Nisam ni znala šta me čeka, jednostavno bila sam još uvijek nezrela djevojčica koja nije vjerovala da postoji takva količina zla, da postoje ljudi koji mogu napraviti toliko lošeg, bila sam dijete koje je vjerovalo da su svi ljudi dobri a da onih loših ima jako malo...

Mediha Šuvalija, odlomak iz knjige 2. maj 1992. Bio je lijep i sunčan dan...

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was fifteen, I was about to finish 1st grade of secondary school, I had lots of plans and the only thing I managed was to survive. I had no idea what was ahead of me, I was just an immature little girl who didn’t believe that there could be that much evil, that there were people capable of doing so many bad things, I was just a kid believing that all people were good and bad ones were but a few…

Mediha Šuvalija, 2 May 1992: It was a beautiful sunny day...

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ratu sam naučila da je strah nešto što osjetiš negdje s prednje strane butina, pa se počne kretati naviše, dok ti ne dođe do pluća, pa malo teže dišeš. A i ruke ti se malo tresu i poprime neku ljubičastu boju. Ali svašta možeš kad moraš.

Amira Sadiković, odlomak iz knjige 2. maj 1992. Bio je lijep i sunčan dan...

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n the war, I learnt that fear is something you first feel at the front of your things, and then it moves up and up, until it reaches your lungs and it’s hard to breathe. And your hands tremble and turn a bit purplish. But you can handle all kinds of things when you must.

Amira Sadiković, 2 May 1992: It was a beautiful sunny day...

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jećam se da je tata i taj dan snimao pucnjavu kroz prozor i da se mama ljutila, jer ju je bilo strah da ga ne vide “oni tamo”, a da smo Selma i ja još uvijek tražile dovoljno veliku šerpu koja bi zaštitila tatinu glavu dok snima!

Lejla Pajević-Sarić, odlomak iz knjige 2. maj 1992. Bio je lijep i sunčan dan...

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remember that on that day too, dad was filming the exchange of fire through the window and mum was upset because she was afraid that “those over there” would spot him, and Selma and I were still looking for a cooking pot large enough to protect dad’s head as he held the camera!

Lejla Pajević-Sarić, 2 May 1992: It was a beautiful sunny day...

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a bolnom preciznošću sjećam se vonja prsluka u kojem je tata svaki put nakon tog majskog dana 1992. odlazio na liniju ratišta. Znam samo da sam bila sretna kada bih osjetila taj prijatni smrad, jer je to značilo da se vratio kući, u svom prsluku. Ni sama ne znam da li je to sjećanje ostalo u meni iz mržnje ili morbidne nostalgije. Mama je još davno bacila tatin prsluk, ali on u mojoj mašti još uvijek ponosno visi na ofingeru u špajzu, pored vojnog ranca.

Maja Pećanac, odlomak iz knjige 2. maj 1992. Bio je lijep i sunčan dan...

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have painfully clear memories of the smell of the vest that my dad wore to the front line every single day after that day in May 1992. I remember how happy I was to feel the smell, because that meant that dad had come back home wearing the vest. I don’t know whether the memory stuck out of hatred or morbid nostalgia. Mum threw out dad’s vest ages ago, but in my imagination it is still there, hanging proudly in the closet, next to his army backpack.

Maja Pećanac, 2 May 1992: It was a beautiful sunny day...

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ene je i dalje bilo strah, užasan strah, da me ne izrešetaju, rane i unakaze nasred prljavog i blatnjavog asfalta. Strah, ne od aviona, topova, bombi i granata, što ide uz rat, nego strah od ljudi. Strah od ljudi koji su jedini gospodari nad mojim životom.

Irma Kolar, magazin Dani, 2002. godina

I

was still afraid, terribly afraid, of being riddled with bullets, wounded or maimed right on the dirty, muddy asphalt. I feared – not the planes, cannons, bombs and shells, all that comes with a war, but of people. I feared people, who were the only masters of my life.

Irma Kolar, Dani weekly, 2002

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Fotografija / Photography: Milomir Kovačević-Strašni

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BIOGRAFIJA

BIOGRAPHY

Hidajet Delić rođen je 1948. godine u Sarajevu.

Hidajet Delić was born in Sarajevo in 1948.

Fotografijom se počeo baviti u srednjoj školi.

Prve anagažmane kao fotoreporter imao je u listovima Spektar, Naši Dani, Oslobođenje, Svijet.

Kao fotoreporter novinske agencije Tanjug počeo je raditi 1968. godine sve do raspada bivše Jugoslavije.

Bio je saradnik američke novinske agencije AP više od 20 godina. Tokom opsade Sarajeva objavljivao je fotografije u svjetskim novinskim izdanjima: The New York Times, LA Times, Time, Herald Tribune itd.

Jedan je od osnivača novinske agencije BiH - BHPRESS, a kasnije urednik fotografije Federalne novinske agencije FENA. Tokom Olimpijade 1984. godine pratio je sva dešavanja vezana za Olimpijske igre nakon čega je i nastala izložba o Olimpijskom Sarajevu.

Osamdesetih godina je, u okviru izložbe “Narodne i borbene igre na stećcima”, izlagao fotografije koje prikazuju kamene nadgrobne srednjovjekovne spomenike BiH koji su i u evropskim razmjerima izazvali pažnju obzirom na svoju formu, reljefe i natpise.

Tokom rata u BiH, izložba njegovih fotografija koje prikazuju surovu stvarnost građana Sarajeva, predstavljena je u Italiji, a kasnije i u drugim zemljama.

He discovered photography in secondary school.

His first photojournalism engagements were for daily and weekly publications such as Spektar, Naši Dani, Oslobođenje, Svijet.

In 1968 he joined the Tanjug news agency as a photojournalists and stayed with them until the dissolution of Yugoslavia.

He was an associate for the Associated Press for more than 20 years. During the siege of Sarajevo, his photographs were published by leading daily newspapers such as The New York Times, The LA Times, Time, International Herald Tribune etc.

He was one of the founders of the BHPRESS – the BiH news agency, and later worked as the photo-editor of the FENA Federation BiH news agency.

During the 1984 Olympics in Sarajevo, he reported from all the events, and these photos were later shown at the Olympic Sarajevo exhibition.

As part of the 1980s exhibition series “National and Military Dances on the Stećci Tombstones”, he presented photographs of medieval Bosnian tombstones, whose form, reliefs and inscriptions captivated audiences across Europe.

Autor je i saradnik na nizu fotomonografija o ljepotama BiH.

During the war in BiH, an exhibition of his photographs depicting the cruel reality of life in Sarajevo was presented in Italy and then in several other countries.

Sa Salinasom Prajsom je radio fotografije za knjigu “Homerova slijepa publika o Troji”, u dolini Neretve.

He authored or collaborated on a number of photo-monographs about the beauties of Bosnia and Herzegovina.

Najveći opus fotografija Hidajeta Delića čini dokumentarna fotografija kojom je nastajao da javnosti prikaže istinitu, objektivnu i stvarnu sliku nekog događaja.

He was the author of photography for the “Homer’s Blind Audiences of Troy”, a monograph about the valley of the River Neretva, by Roberto Salinas Price.

Umro je u Sarajevu, u februaru 2017. godine, u 67-oj godini.

Most of the work by Hidajet Delić was on documentary photography; he wanted the public to always see an objective, accurate and trueto-life image of an event.

He died in Sarajevo in February 2017, at the age of 66.

Hidajet Delić / Women in Sarajevo under Siege

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----------------------------------------------------CIP - Katalogizacija u publikaciji Nacionalna i univerzitetska biblioteka Bosne i Hercegovine, Sarajevo 77-055.2:341.323(497.6 Sarajevo)”1992/1995” 821.163.4(497.6)-1(082) ŽENE opkoljenog Sarajeva = Women in Sarajevo under siege / [autor fotografija, photography by] Hidajet Delić ; [autori/ autorice poezije korištene u knjizi, poets cited in this book Bisera Alikadić ... [et al.] ; [prijevod, translation Amira Sadiković]. - Sarajevo : Međunarodni teatarski festival - Scena MESS : Fondacija Heinrich Böll Stiftung, 2017. - 95 str. : ilustr. ; 27 cm Tekst na bos., hrv., srp. i engl. jeziku. - Biografije: str. 95.

ISBN 978-9958-506-13-0 (Međunarodni teatarski festival - Scena MESS) ISBN 978-9958-577-20-8 (Fondacija Heinrich Böll Stiftung) 1. Delić, Hidajet COBISS.BH-ID 23955462 <-----------------------------------

WOMEN IN SARA JEVO UNDER SIEGE ŽENE OPKOLJENOG SARAJEVA