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                <text>Izbor hrvatske muslimanske pripoviedke / priredio Abdurahman Nametak</text>
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                <text>Kratka priča &lt;em&gt;Željeznički službenik&lt;/em&gt; Nafije Sarajlić objavljena je u publikaciji &lt;em&gt;Izbor hrvatske muslimanske pripoviedke&lt;/em&gt; te u čitanci Narodne Uzdanice namijenjenoj početnicima u čitanju i pisanju. Njen stil odlikuje se jednostavnošću izraza, jasnom naracijom i naglašenom moralnom porukom, što je bilo u skladu s odgojno-obrazovnom svrhom izdanja.</text>
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                <text>Uvodni pano izložbe „Žene ljekari u Tuzli za vrijeme austrougarske uprave”</text>
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                <text>Uvodni pano, izložba, javno zdravstvo, žene ljekari, Anna Bayerová, Teodora Krajewska, Jadwiga Olszewska, Tuzla</text>
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                <text>Uvodni pano izložbe Žene ljekari u Tuzli za vrijeme austrougarske uprave donosi kontekst i motivaciju za istraživanje nedovoljno poznate historije prvih žena ljekara u Tuzli. Fokus je na ženama koje su u specifičnim društvenim i kulturnim okolnostima kraja 19. i početka 20. stoljeća dale nemjerljiv doprinos zdravstvu, posebno u radu sa ženama koje nisu prihvatale ljekare muškarce. Pano naglašava pionirske uloge dr. Anne Bayerove, dr. Teodore Krajewske i dr. Jadwige Olszewske, čiji je rad bio vođen etičkim i humanim idealima.</text>
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                <text>Tuzla, Bosna i Hercegovina, 2025.</text>
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                <text>Uvodni pano izložbe "Sjećanje na Miss Irby"</text>
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                <text>Narod – Božićni prilog Naroda, br. 155 (1911), str. 7.</text>
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                <text>15. septembar 2025.</text>
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                <text>Sarajevo, Nacionalna i univerzitetska biblioteka Bosne i Hercegovin, 2025.</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. Ovaj pano donosi uvodni tekst o njegovom životu i radu.</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>Povodom Međunarodnog dana arhiva, 9. juna, i u okviru Međunarodne sedmice arhiva, Historijski arhiv Sarajevo predstavio je izložbu "Femme Archival – Ženski glas iz arhiva", posvećenu ženama čiji su životi, djela i glasovi sačuvani u arhivskoj građi. Uz ovogodišnji moto ove međunarodne manifestacije svjetskih arhiva – Archives are Accessible/Archives for Everyone (Arhivi su dostupni – Arhivi za sve), izložba donosi presjek ženskog prisustva u arhivu — kroz dokumente, rukopise, oporuke, pisma, potvrde, domovnice, memoare, drame, pjesme, novinske zapise, službene dokumente i druge spise koji svjedoče o slojevitim ulogama koje su žene imale u prošlosti, ali i o njihovoj borbi da očuvaju svoje mjesto u društvenom, pravnom i kulturnom prostoru Sarajeva. Koncipirana u dvije tematske cjeline, izložba s jedne strane prikazuje žene u osmanskom Sarajevu kroz građu iz Orijentalne zbirke, a s druge donosi portrete pet istaknutih žena iz novije prošlosti kroz izlaganje dokumenata iz njihovih ličnih fondova koji se čuvaju u Historijskom arhivu Sarajevo.</text>
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                <text>Trinaesti pano izložbe "Sjećanje na Miss Irby"</text>
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                <text>Obilježavanje godišnjice smrti Adeline Pauline Irby (1831–1911)</text>
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&#13;
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                <text>Izložba, arhivska građa, Laura Papo Bohoreta, dokumenti iz fonda</text>
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                <text>Papo Laura Bohoreta – Sarajevo, signatura HAS, O-BP-168&#13;
Laura Papo Bohoreta rođena je 1891. godine u Sarajevu kao Luna Levi i kao najstarija kćerka Jude Leona i Ester Levi, otuda i nadimak „Bohoreta“ – najstarija kći. Luna je njeno pravo, sefardsko ime, a Laura je drugo nezvanično ime koje je dobila slijedom ondašnje mode da se jevrejskoj djeci dā i jedno ime iz zapadne kulture. U periodu od 1900. do 1908. Luna sa porodicom živi u Istanbulu, a taj period života je za nju višestruko značajan, jer se tu obrazovala (tamo je završila francusko-jevrejsku školu „Alliance Israeliti“) i učila jezike: francuski, njemački, pomalo turski i engleski. Španjolski (ladino) joj je bio drugi maternji jezik. Po povratku iz Istanbula, zbog loše materijalne situacije u porodici, pokušava pomoći dajući instrukcije iz stranih jezika i o tome izdaje oglase u novinama. Osim obrazovanja u Istanbulu, Bohoreta je u Parizu završila šestomjesečni „Cours de vacances“ nakon čega je dobila diplomu koja joj je omogućavala poučavanje francuskog jezika i književnosti. Njezina porodica, odnosno, njezin otac u Sarajevu je otvorio salon za šešire i cvijeće – „Chic Parisien“ u kojem su radile Laurine sestre Nina, Klara i Blanka. Udajom postaje Laura Papo, supruga Danijela Pape od 1912. godine. Rodila je dva sina, Judu i Bar Kohbu, ali rano gubi muža i uglavnom sama prolazi kroz život. Zbog takvih životnih okolnosti morala se sama izdržavati, te je radila, ali u isto vrijeme i stvarala. Život joj je završio u tužnim i tragičnim okolnostima, jer su joj oba sina odvedena i ubijena u logoru Jasenovac. Sama, bez stvarnih saznanja o sudbini sinova, Laura Papo je svoje posljednje dane života provela u Sarajevu u jednoj bolnici gdje su je skrivale časne sestre. Umrla je 1942. godine.&#13;
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. „Ona zaista opisuje bosanske sefardske tipove i bosanske prilike, ima u njenim djelima i neke naglašene osjećajnosti koja bi se uvjetno rečeno mogla nazvati bosanskom, jer ona nosi neke tragove iz orijentalne epohe, ali su njene poruke mnogo šire i univerzalnije“, navodi za Bohoretino djelo Muhamed Nezirović, u svome prijevodu njenog djela „La mužer sefardí de Bosna - Sefardska žena u Bosni“, koje je najpoznatije, najviše izučavano i jedino njeno djelo prevedeno na bosanski jezik, izdato u Sarajevu, 2005. godine. Pisala je novele, drame, kratke priče, pjesme, prevodila s francuskog, sakupljala sefardske poslovice, romanse, pripovijetke. Čak je prevela i adaptirala neka djela francuskih autora: Jules Verne Djeca kapetana Granta i Emil de Girardina Veselje plaši. Njena možda i najmanje poznata drama je Elvira, a napisala ju je na francuskom i to je jedino njeno djelo koje nije napisano na Judeo-Španskom ili Ladinu (ova drama ne nalazi se u rukopisnoj zaostavštini koja se čuva u Historijskom arhivu Sarajevo). Napisala je nekoliko pripovjedaka, od kojih je sačuvana „Dulse de rosas“ (Slatko od ruža), a svoje pripovijetke objavljivala je u jevrejskim sedmičnicima: „Jevrejskom životu“ i „Jevrejskom glasu“. Pjesnički opus nije veliki, neke od pjesama su: „Violetas“ (Ljubičice), „Huanita“, „Madres“. Pisala je Bohoreta i članke za novine, većinom osvrte na određene pojave iz njene okoline koje su kod nje izazvale negodovanje, pa bi na njih reagovala putem novinskih članaka. &#13;
Prvi je osvrt iz 1924. godine, na priču Avrama Romana Bukija Dos vizinas in el kortižo-Dvije susjede u dvorištu. U priči jedan od aktera ustvrdi kako škole uništavaju mlade djevojke, jer želeći učiti i obrazovati se, one tako zapostavljaju osnovne ženine dužnosti kao kuhanje, pranje i sl. Jako ju je naljutilo takvo pisanje, te piše i objavljuje članak pod nazivom Madres-Majke u kojem ošto kritikuje takvo prikazivanje žene i smatra ga apsolutno nepovoljnim uticajem na mlade djevojke i žene. Stav koji ona zastupa u ovom članku, a koji će i kasnije biti njena osnovna nit jeste da žene i djevojke treba da se obrazuju, da teže ka tome i da je u tome njihova mogućnost za osamostaljenje i emancipaciju od konzervativnih vrijednosti koje se moraju mijenjati u korak s vremenom. Drugo Bohoretino reagovanje kroz novine desilo se još i ranije. Naime, 1916. godine u štampi se pojavio članak Jelice Belović-Bernadžikovske Južnoslavenska žena u politici gdje se spominje i sefardska žena koju autorica članka karakterizira kao neobrazovanu i odanu patrijarhalnim vrijednostima porodice i zajednice. Bohoreta piše reagovanje na ovaj članak pod nazivom Sefardska žena u Bosni u kojem nastoji prikazati sefardsku ženu, ne samo u svijetlu tradicionalnih vrijednosti, već kao i ženu koja cijeni porodične vrijednosti i ima niz vrlina i mana koje su sve dio generalne slike žene tog vremena.  &#13;
Ova dva teksta, ali i cijeli njen kasniji opus u kojem preovladavaju teme iz svakodnevnog života sefardske porodice i kuće, u kojima žena uvijek zauzima centralno mjesto i sve se odvija pretežno iz ženske perspektive, ovakvi njeni stavovi su uticali da je se nazove i percipira kao jednu od prvih bosanskih feministica, a definitivno kao prvu sefardsku feministicu. Njen feminizam se upravo i sastojao iz shvatanja značaja obrazovanja i emanicpacije žene u okolnostima u kojim je ona živjela, a ne u današnjem smislu te riječi.&#13;
Najplodnije stvaralačke godine Bohorete bile su 20-te i 30-te godine 20. stoljeća kada aktivno piše, ali i postavlja drame na scenu, pravi kostime, odabire uloge, pa i muzički prati izvođenje vlastitih drama na sceni Narodnog pozorišta u Sarajevu. Njene komade izvodila je Jevrejska radnička omladinska zajednica „Matatja“. Njene najpoznatije drame su: „Esterka – društvena slika iz našeg doba“, „Shuegra ni de baro buena“ (Svekrva ni od blata nije dobra), „Hermandat“, „Avia de ser“, (Nekad bilo-scena iz života sa romansama u jednom činu), „Ožos mios“ (Oči moje).&#13;
Glavna karakteristika Laurinog opusa je da je čitav napisan na judeo-španjolskom jeziku, ili ladinu, jeziku koji se godinama aktivno ne govori među sarajevskim Sefardima, ali isto tako ni u široj svjetskoj jevrejskoj zajednici. Taj jezik je po mnogo čemu specifičan i u stvari predstavlja pretklasični španski iz XV i početka VI stoljeća kojim se govorilo na Pirinejskom polutokou u momentu kad su tamošnji Jevreji prognani i kada su došli u naše krajeve. &#13;
Bohoreta je svojim primjerom, svojim djelovanjem i cijelim svojim životom posvjedočila i dokazala da je potrebno i moguće razbiti sve predrasude o ženskoj inferiornosti, a na drugoj strani bila je jako svjesna, a što nije prestajala naglašavati, značaja borbe za vlastitu kulturu, tradiciju i običaje u drugačijoj sredini, potrebu njihovog dosljednog očuvanja i stalnog njegovanja. Na panou se mogu vidjeti: fotografija Laure Papo Bohorete, palakt za njenu predstavu, rukopisi, isječak iz štampe.&#13;
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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. Treći pano donosi eksponate o radu njegove muzičke škole (dokumente i isječke iz novina).</text>
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