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                  <text>Historijski arhiv Sarajevo</text>
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                <text>Četrnaesti pano izložbe "Femme Archival - Ženski glas iz Arhiva"</text>
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                <text>Izložba, arhivska građa, Laura Papo Bohoreta, rukopisi drama&#13;
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                <text>Laura Papo Bohoreta, Sefardska Jevrejka, bila je prva žena koja je pisala i producirala dramske tekstove u Sarajevu toga vremena. Obrazovana žena za svoje vrijeme, govorila je nekoliko jezika, svirala klavir, Laura Papo bila je čuvar sefardske kulture i tradicije, jer je kroz svoje djelovanje pokušavala da sačuva i popularizira maternji jezik – Judeo-Španski ili Ladino, kako bi se prenio budućim generacijama.  Na panou se mogu vidjeti dijelovi njenih rukopisa: &#13;
Drama Esterka je jedna od nekoliko socijalnih drama koje je Bohoreta napisala, a kroz koje njihovi ženski likovi najbolje ocrtavaju teme karakteristične za stvaralački opus Bohorete, odnosno, njenu percepciju feminizma, kroz koje ispoljavanje ona staje u odbranu ženskih prava na obrazovanje i rad. Uz afirmaciju ženskih prava, tu je naglašen i socijalni momenat, odnosno, prikazujući događaje u drami i likove koji učestvuju, dobijamo sliku društvenih problema toga vremena, kada se efekti svjetske ekonomske krize tridesetih godina 20.og stoljeća snažno osjete i u Bosni. Svi ovi elementi su prikazani kroz specifičan kulturni milje sarajevske sefardske zajednice sa njenim običajima, navikama, manirima, jezikom. Pozorišni komad Esterka izvođen je više puta u Sarajevu, ali i u Beogradu, a izvodila ga je Jevrejska radnička omladinska zajednica „Matatja“ iz Sarajeva;&#13;
Ožos Mios / Oči moje – Komad iz sefardskog folklora iz Bosne, misli i sjećanja posvećena našim bakama. Ova drama se igrala u Narodnom pozorištu u Sarajevu u oktobru 1931. godine, igrala je diletantska grupa „Matatja“, a oglašeno je u „Jevrejskom glasu“. Djelo se može shvatiti kao tragikomedija, sa zapletima koji su jednostavni i zabavni, ali istovremeno i tragični. Bohoreta je učestvovala u postavci na scenu i ove drame. U tekstu se pojavljuju skice scena s jasnim uputima o organizaciji prostora, predmetima na sceni i postavci likova što namgovori da je Bohoreta ne samo napisala komad, nego učestvovala i u njegovoj scenskoj izvedbi, a ujedno je pratila na klaviru scensko izvođenje romansi u predstavi;&#13;
Shuegra ni de baro buena – Ritrato social de nuestros dias, Dedicado a Šalom Daniti / Svekrva ne valja ni od ilovače – Društvena slika iz naših dana, posvećeno Šalomu Daniti;&#13;
La pasensia vale mućo – Estampa de folklor del tiempo turko. En un akto Laura Papo, Tiempo: noće de alhat el 7 abril 1934-10 abril 1934 / Strpljivost vrijedi mnogo, Folklorna slika iz turskog doba u jednom činu. Ovo djelo nema radnje, nego se prikazuje svečano sijelo u kući Judači Amara, jorgandžije na blagdan alhata. Pjeva se blagdanska pjesma. Razgovori, šale, zadirkivanja, pjesme;&#13;
La mužer Sefardi de Bosna - A la 'Benevolencia' valerosa amiga del progreso, Laura Papo Bohoreta / Sefardska žena iz Bosne – Posvećeno 'La Benevolenciji' vrijednoj prijateljici napretka,&#13;
Ovo djelo Bohoreta je napisala kao rezultat inspiracije koju je dobila odgovarajući još 1917. godine na uvredljiv članak Jelice Bernadžikovske „Die sudslavische Frau in der Politik“objavljenom u časopisu Bosnischen Post. Svoj odgovor, članak pod naslovom „Die Spanolische Frau in Bosnien“ Bohoreta je napisala također na njemačkom jeziku, da pokaže šta je žena Sefartkinja. &#13;
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                <text>9.-17. juni 2025.</text>
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                <text>Četvrti pano izložbe "Femme Archival - Ženski glas iz Arhiva"</text>
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                <text>Izložba, arhivska građa, orijentalna građa, ugovori, potvrde, pismo</text>
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                <text>Na četvrtom panou izložbe "Femme Archival - Ženski glas iz Arhiva" predstavljena je selekcija dokumenata iz Zbirki i fondova na orijentalnim jezicima - kupoprodajni ugovori, potvrde koje govore o ženama kao zajmodavcima ili korisnicama novčanih zajmova, pismo trgovačkog i poslovnog sadržaja sa ženskim akterima.</text>
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                <text>This work is licensed under a Creative Commons Attribution 4.0 International License (CC BY 4.0)</text>
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                <text>Sarajevo, Bosna i Hercegovina, 2025.</text>
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                <text>Četvrti pano izložbe "Franjo Maćejovski - kompozitor, dirigent, pedagog i humanitarac (1871-1938)"</text>
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                <text>Franjo Maćejovski (26. mart 1871., Nechanice, Češka - 16. april 1938., Sarajevo), bio je češki kompozitor i dirigent koji je djelovao i u Sarajevu. Četvrti pano donosi eksponate o obilježavanju 25 godina njegovog umjetničkog rada u Bosni (dokumenti-čestitke i program proslave).</text>
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                <text>Autor izložbe: Adnan Kalesić; Dizajn panoa: Velid Jerlagić</text>
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                <text>5.-6. decembar 2024.</text>
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                <text>DARIAH-BIH, Univerzitet u Sarajevu</text>
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                <text>Dio projekta DARIAH-BiH</text>
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                <text>Jelica Belović-Bernadzikowska bila je svestrana i inteligentna žena koja je kroz svoj pedagoški, etnografski, književni, prevoditeljski, novinarski rad, kao borac za prava žena također, ostavila trajno sjećanje na svoje postojanje i djelovanje. Na ovom panou se mogu vidjeti dokumenti iz fonda o Bernadzikowskoj: stranice iz njenih memoara kao Jelice Belović Bernadzikowske (Ljube T. Daničić) u rukopisu, pismo na njemačkom jeziku od hrvatskog književnika Vladimira Tresića Borote, pismo Stevana Radića, tajnika Ženske dobrotvorne zadruge iz Srema u kojem odaje priznanje Jelici B. kao „prvoj književnici među svojim drugama na slovenskom jugu, koja ste sa svojim književnim radovima, te svojom iskrenom ljubavi prema rođenoj braći Hrvatima i Srbima, koja provejava svaki vaš rad, stekla priznanje i ljubav...“, posebno hvali njezin rad o narodnim vezovima, Kratko pisanje Jelice Belović kao desetogodišnje djevojčice: „Svaka ptica...“ ,  slika Jelice Belović Bernadzikowske u narodnoj nošnji sa sinom Vladimirom, itd.</text>
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                <text>Franjo Maćejovski (26. mart 1871., Nechanice, Češka - 16. april 1938., Sarajevo), bio je češki kompozitor i dirigent koji je djelovao i u Sarajevu. Deseti pano prikazuje notne zapise muzike za pozorišne predstave koje je Maćejovski komponovao, plakat za predstavu, te novinske objave   (pozorišni komadi "Ajiša" i "Arslambeg", predstava "Zulumćar", najave iz novina "Narodno jedinstvo").</text>
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                <text>Belović – Bernadžikovski Jelica – Sarajevo, signatura: HAS, O-BJ-86&#13;
Jelica Belović-Bernadzikowska bila je svestrano obrazovana i aktivna žena koja je govorila devet stranih jezika, napisala i objavila preko pedeset knjiga, poznata kao začetnica moderne etnologije na južnoslavenskim prostorima. Rođena je 1870. godine u Osijeku, u Hrvatskoj, od oca Josipa Belovića, gimnazijskog profesora i majke Marije Katarine (rođ. Fragner), koja je također poticala iz učiteljske porodice. Takvo okruženje učinilo je da je Jelica od najranijeg djetinjstva pokazala veliki interes za učenjem i ličnim razvojem. Svakako je tome doprinio i njen ambiciozni karakter i želja da uvijek bude prva i najbolja. Obrazovala se u Osijeku (Niža pučka (narodna) škola), u Đakovu (Viša djevojačka škola u Samostanu sestara milosrdnica), u Zagrebu (Ženska učiteljska škola (preparandija) u Samostanu sestara milosrdnica) koju je završila kao jedna od najboljih učenica. Kroz cijelo vrijeme obrazovanja učila je samostalno, najprije u djetinjstvu kada je pohađala još i privatnu njemačku školu, a kasnije je pored redovnih obaveza, učila i strane jezike – francuski, talijanski, engleski, i druge. U vrijeme dok je bila u Učiteljskoj školi započeo je njen književni angažman, tada je napisala svoju prvu pjesmu i objavila svoje prijevode u Glasniku sv. Josipa. &#13;
Radni vijek je započela kao učiteljica u Zagrebu, a nastavila u Rumi i Osijeku, do dolaska u Bosnu i Hercegovinu 1896. godine, i to u Mostar, gdje je djelovala u krugu pjesnika i književnika Šantića, Dučića, Šole i drugih. Tu je upoznala sudskog činovnika, Poljaka Janka Bernadzikowskog za kojeg se udala iste godine i prešla da radi u Sarajevo kao učiteljica Trgovačke škole. Nakon dvije godine, 1898. prešla je Banja Luku, gdje je radila na mjestu upraviteljice Više djevojačke škole do 1902. godine kada je umirovljena, kako se negdje navodi, zbog „nacionalnog djelovanja“, a negdje se kaže „radi teške histerije i očne bolesti“. Jelica Bernadžikovski je bila otvorenih vidika i svojim djelovanjem je nastojala povezivati narode naših područja, što svjedoči i svojim životom i radom u gotovo svim južnoslovenskim zemljama, posebno Hrvatskoj, Srbiji i Bosni i Hercegovini tog doba. Stoga je često ostajala i neshvaćena, pa i proganjana. U takvim okolnostima, došlo je do ranog penzionisanja, provjeravana je na poslu slanjem brojnih nadzornika, što se sve odrazilo i na njeno zdravlje.&#13;
Cijelo ovo vrijeme Jelica je spisateljski aktivna, a uz svoja česta premještanja i promjene sredine počinje skupljati narodne pripovjetke i vezove. Pisala je često pod raznim pseudonimima: Jela, Jelica, Jasna, Hele, teta Jelica, mlada gospoja Ana i Ljuba T. Daničić. U Sarajevu je 1896. godine počela u nastavcima objavljivati svoj rad Građa za tehnološki rječnik ženskog ručnog rada, što je kasnije objavljeno kao knjiga koju mnogi smatraju njenim najvažnijim etnografskim djelom. Uslijed ranog penzionisanja imala je mnogo više vremena da se posveti svom etnografskom radu, koji se sastojao od rada na terenu po Bosni, ali i po bibliotekama i muzejima tadašnjih evropskih prijestonica. U više evropskih centara priređivala je izložbe i držala predavanja o narodnom vezu iz Bosne. Njoj pripadaju velike zasluge zbog ove promocije bosanskog veza među evropskim istraživačima. Nastavila je i sa svojim bogatim spisateljskim opusom. U Sarajevu je ponovo od 1906. do 1914. godine, a početkom Prvog svjetskog rata prelazi sa sinom u Osijek, da bi se u Sarajevo vratila već 1916. i tu ostala sve do 1927. godine. Poslednje dvije decenije svog života provela je u Novom Sadu (1927.-1946.) gdje je i preminula 30. juna 1946. i sahranjena na Uspenskom groblju. Njeno grobno mjesto nije sačuvano, pa je na inicijativu Kola srpskih sestara Eparhije bačke 2021. godine postavljena spomen-ploča sa njenim podacima.&#13;
Jelica Belović-Bernadzikowska bila je svestrana i inteligentna žena koja je kroz svoj pedagoški, etnografski, književni, prevoditeljski, novinarski rad, kao borac za prava žena također, ostavila trajno sjećanje na svoje postojanje i djelovanje. Iako ona sama sebe nije smatrala feministicom, ipak je istom znatno doprinijela: prva je na ovim prostorima upotrijebila termin „žensko pismo“. Ona je to objašnjavala na način da: „drugačije žena gleda na svijet i život, drugačije muškarac i ta osobenost je velika vrijednost od koje se ne smije odstupiti.“ Vjerovala je da žene moraju biti načitane i obrazovane i da moderna žena nije ograničena ulogom supruge i majke, te da mora učestvovati u socijalnim i kulturnim dešavanjima društva. Međutim, bježala je od tzv. „salonski ušuškanih žena“ - feministica, a borila se za stvarna ženska prava. Govorila je, stvarala i objavljivala na hrvatskom i srpskom jeziku, ali i na njemačkom, francuskom, engleskom, poljskom, ruskom, talijanskom, slovačkom češkom, mađarskom i latinskom jeziku, a objavljivala je pod više pseudonima. Njena pojava je specifična iz više razloga, a ipak nedovoljno poznata. Svojim životom i djelovanjem bila je povezana i sa Hrvatskom gdje se rodila i školovala, i sa Bosnom i Hercegovinom  gdje je provela možda svoje najplodnije radne i stvaralačke godine, ali i sa Srbijom gdje je također djelovala i na kraju i završila svoj put. Svugdje gdje je dolazila, dobro se prilagođavala bivajući ženom otvorenih i širokih vidika, imajući poštovanje prema svima, što je dokazala kroz svoja djela, ali i etnografski rad.&#13;
Na panou se predstavljeni dokumenti iz fonda o Jelici Belović.</text>
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                <text>Književni opus Jelke Ostojić nije veliki i ne predstavlja neku naročitu umjetničku vrijednost, ali ostaje svijetli primjer žene pisca, kao rijetke pojave u tadašnjoj bosanskoj sredini. Vezana uz rodni Zvornik, uz svoju porodicu, intimno povučena u svoje lične bolove zbog stradanja bližnjih, i male radosti, njene pjesme pisane upravo na te teme (očeva smrt, majčin dan, sestrina smrt, društvena događanja tog perioda), ne prelaze okvire osrednjih lirskih tvorevina.  Nije štampala mnogo radova, svega nekoliko pjesama izašlo je rasuto po raznim časopisima i novinama, počevši od 1905. pa do pred rat 1941. Štampala je u časopisima „Srpska riječ“, „Ženski svijet“, „Gajret“, „Novi odjek“, „Budućnost“, „Politika“, itd.&#13;
Napisala je i dvije pripovijetke: „Posljednji osmijeh“ i drugu nedovršenu „Opklada“. Obje priče opisuju događaje iz Prvog svjetskog rata. Od njenog književnog rada ostalo je još nešto aforizama, članaka, pjesama, te se time završava književno stvaralaštvo Jelke Ostojić. Ova skromna žena, pisac u par svojih članaka izrazila je i nekoliko misli o ženskom pravu, o radu i njegovoj neodoljivoj snazi,o religiji, o vjeri u bolju budućnost, kao i o svojim unutrašnjim trenucima slabosti, bola, čežnje i radosti. Na panou se mogu vidjeti arhivski dokumenti iz fonda o Jelki Ostojić: njene pjesme u rukopisu i štampi.</text>
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