ASBO Magazine Bosnia Edition

BOSANSKO IZDANJE

BOSNIAN EDITION

PHOTOGRAPH Andrew Cleminson

EDITORIAL

Valentina Marincic

The life of a diplomat often combines

privileges and challenges. At times,

we also find ourselves in the most

surprising of situations for which we

are ill prepared. In such circumstances,

I felt honoured to be asked to write the

Foreword for ASBO magazine, with this

edition devoted to the most valuable

asset of Bosnia and Herzegovina – its

youth. Life is challenging for young

creatives in Bosnia and Hercegovina

these days. Although our creative

community is vibrant, more than 50%

of young people are out of work which

means that there are limited economic

opportunities for them to express

themselves. Our economy is still

developing and we are working hard

to overcome the impact of the war in

1990s. There is, however, still much to

do.

I was also fearful that the task of

creating this Foreword would not be an

easy one as I’m not particularly skilled at

writing or knowledgeable about fashion.

After turning a few pages, it was there

– the iconic black and white image of a

beautiful young woman, dressed up to

the nines, walking the streets of Sarajevo

in 1994. Could anything be as strong,

heroic and creative? All those years

ago, Meliha Varesanovic showed us

the way. Reviewing the magazine more

closely, shows it is all about creativity.

A universal force not necessarily the

property of rich, developed and strong

nations. Moreover, creativity can be

found in almost forgotten places, tiny

pockets trapped between different times

and different civilizations just as our

capital Sarajevo is a crossroads between

the worlds of the East and West. Our

people blend the beautifully traditional

with the fashionably modern. Examples

include Bozo Vreco’s songs (Sevdah

folk music with a new twist), Plusminus

fashion (bringing the art of etching to

designer collections) and the work of

Edvin Kalic and Marko Feher (featuring

asbomagazine.com 07

monuments to Yugoslavian Partisans

and the latest fashions). Musicians

from Mostar and Tuzla share verses

that are able to effortlessly touch the

human soul. Young fashion designers

from Sarajevo and Banja Luka bring

us work that reflects their connection

to the realities that surround them.

Not always friendly, but permanently

inspiring. Photographers from Sanski

Most share the magic of visual

storytelling. Artists from every corner

of Bosnia and Herzegovina combine

to bring us creative and new voices

form a people that is determined to

look for a better future. Some wounds

still run deeply across our country.

Healing them, successfully, can only

take place through the work of young

people like those featured here as they

share their thoughts and hopes with

the world. Thanks to ASBO magazine

and its collaborators for enabling this to

happen.

The ASBO team started work in Bosnia

and Hercegovina in Spring, 2018. In

less than a year they have laid down

strong routes in our community and

brought together creative artists from

many fields. This showcases talent

from across Bosnia and Hercegovina

featuring models, stylists, designers,

photographers and journalists. It

provides a platform for their work,

engages new international audiences

and demonstrates what can be achieved

by working together in focused creative

teams.

Personally, I’m pleased to see the

publication of this magazine as it shows

how exciting the creative scene is in

Bosnia and Hercegovina. I hope it proves

to be the first in a series of publications

that both shares what we do and creates

opportunity for our young people to

develop careers both at home and

internationally.

Valentina Marincic

Ambassador of Bosnia and Hercegovina

to the United Kingdom

EDITOR-IN-CHIEF

DESIGN

SPECIAL THANKS

AUTHENTIC.

BRITISH.

SUBCULTURE INSPIRED.

THE ORIGINAL ALGENDER CREEPER SHOE + OTHER SUBCULTURAL STYLES. SINCE 1981.

8 BERWICK STREET, LONDON, W1F0PH & STOCKISTS WORLDWIDE.

WWW.UNDERGROUND-ENGLAND.CO.UK

@UNDERGROUNDENGLAND

UGUK_1981

Davide J Wheller

davide.wheller@asbomagazine.com

Sub Editors

Chris Booth

Malcolm Johnson

FASHION

International Fashion Director

Ash Allibhai

ash.allibhai@asbomagazine.com

Fashion Features Editor

Bunmi Abidogun

MUSIC

Music Editor

Will Sare

will.sare@asbomagazine.com

James May

james@asbomagazine.com

Design Assistant

Phoebe Leyton

Commercial Director

Andrew Cleminson

andrew@asbomagazine.com

WORDS

Otto Hashmi , Emily Fortune, Abbie Weight,

Henry Blair, William Bennett, Caitlin Lower,

Eleni Parousi & Ema Rivas Leal

IMAGES

Aida Redzepagic, Sead Šašivarević, Mario

Klein, Hamza Kulenović, Maja Topčagić,

Imrana Kapetanovic, Fraser Crichton, Armin

Durgut, Tyler Petchey, Emmanuel Roberts &

Courtney Mercer

This edition was made possible thanks to

works of staff, internship team and youth

correspondents of Post- Conflict Research

Center (PCRC) and Balkan Diskurs.

Alma Kadunic, Director, Department

for International Trade, British Embassy

Sarajevo, Amila Lagumdzija, Head of Arts,

Western Balkans, British Council, Dr Paul

Lowe & University of the Arts, London

ERDF

As part of the Inspiring Enterprise and Growth

project, which is part-funded by the European

Regional Development Fund (ERDF), the

D-Foundation is supporting young potential

entrepreneurs in creating and promoting

their work. ASBO magazine assists with this

by providing access to its print and digital

platforms.

08 ASBO MAGAZINE

IZDANJE ZA BIH

Issue 5 *Bosnian Edition

CONTENTS

BOSANSKO IZDANJE

BOSNIAN EDITION

BOSANSKO IZDANJE

BOSNIAN EDITION

BOSANSKO IZDANJE

BOSNIAN EDITION

P132_Božo Vrećo - Artistic Revolutionary Of The Balkans P52_Edvin Kalic - Ones To Watch: Bosnia P34_#ŽeneBiH - The Ordinary Heroines of Bosnia &

Herzegovina

10_STUFF - Off-White X Nike

Air Force 1, Casio G-SHOCK,

Gucci x NY Yankee, Pantone,

Phillip Lim X FILA

16_GRITTYWHITE - Tjentiste

- PHOTOGRAPHY Edvin Kalic -

STYLING Emina Smaka

22_MOSTAR ROCK SCHOOL - Music,

Art, Theatre & Culture in

Mostar - WORDS Dino Pehlić

28_PRAISES - In This Year: Ten

of Swords - WORDS Otto Hashmi -

PHOTOGRAPHY Emmanuel Roberts

34_#ŽENEBIH - The Ordinary

Heroines of Bosnia &

Herzegovina

- WORDS Dakota Storm Peterson

40_ASBO LIVE - Dubioza Kolektiv

- PHOTOGRAPHY Arron Watson-McNab

46_SESTER - Advancing The Queer

Feminist Cause

- WORDS Malcolm Johnson

48_FRENKIE’S STORY - PHOTOGRAPHY

Jay Rabanal - WORDS Slobodan

Blagovčanin Armin Durgut

52_EDVIN KALIC - Ones To Watch:

Bosnia - WORDS Amra Dzonlic

PHOTOGRAPHY Edvin Kalic

58_KIDA KUDZ - The Era of

Afro-swank - PHOTOGRAPHY Emmanuel

Roberts - STYLING Roisin O’Hare

64_DEMOFEST - Where Fresh

Sounds Collide - WORDS Sara

Velaga & Anja Zulic

70_MISS BESIEGED SARAJEVO -

Fashion & Beauty as Symbols Of

Resistance - WORDS Anja Zulić

75_DINO AGANOVIC - WORDS Hoyumi

Yashiro

76_BLUTACK - Life is sticky

- WORDS Otto Hashmi -


79_OH I DO LIKE TO BE BESIDE

THE SEASIDE - CREATIVE DIRECTION

Gemma Keighley tik -

PHOTOGRAPHY Tyler Petchey

88_GABBA KIDS - A Youth

Subculture Fighting

- WORDS Abbie Weight

94_SILKY - PHOTOGRAPHY Aida

Redzepagic - STYLING Gasha

Milandinovic - MODEL Ajla Klico

100_Ena Dujmović - Plusminus

Fashion - WORDS Sophie Gagnaire

- PHOTOGRAPHY Hamza Kulenović

102_FUNKY GUERRILLA - Socially

Beneficial Entrepreneurship

- WORDS Andrea Aleksic

104_WARM FESTIVAL - WORDS

Rebecca Zoe Kelley & Dakota

Storm Peterson

112_BRODIE SIAN TABERNER

- Ones to watch: London -

WORDS Ash Allibha - PHOTOGRAPHY

Brodie Sian Taberner

118_FARIS AMIN - A Musician

Transcending Borders

- WORDS Otto Hashmi -

PHOTOGRAPHY Bennie Julian Gay

122_A MEMORIAL FOR THE FUTURE -

Reaffirming Mostar’s Commitment

to Anti-Fascism

- WORDS Dino Pehlic

124_SREBRENICA - Memory Through

Art - WORDS Kristina Gadze

- PHOTOGRAPHY Aida Šehović

130_PEACEBUILDING WITH AN EDGE

- WORDS Martin Christie & Ema

Rivas Leal

132_BOŽO VREĆO - Artistic

Revolutionary Of The Balkans

- WORDS Kashif Malik -

PHOTOGRAPHY Sead Šašivarević &

Mario Klein

134_PAUL & BOBA - A Love Story

Under The Siege

- WORDS Tatjana Milovanovic

136_PCRC - Creating the

Journalists of Tomorrow

- WORDS Leslie Woodward

140_GASHA MILANDINOVIC -

Balkans Design Superstar

- WORDS Kashif Malik

ISSUE_5 BOSNIAN EDITION //Check out our insta @asbomagazine for exclusive content #FASHION.MUSIC.STREET.ATTITUDE

ISSUE_5 BOSNIAN EDITION //Check out our insta @asbomagazine for exclusive content #FASHION.MUSIC.STREET.ATTITUDE

10 ASBO MAGAZINE asbomagazine.com 11

1.OFF-WHITE X

NIKE AIR FORCE 1 “MCA”

GET ‘EM WHILE

THEY’RE HOT

UPCOMING DROPS

2 3 4

1. Off-White x Nike Air Force 1 “MCA” - catch the official store list for the upcoming Off-White x Nike Air Force 1 “Black” and

“Volt” release. 2. New Era “Chance 3” High Crown 9FIFTY Snapback Cap - available now exclusively at lids.com 3. The Casio

G-SHOCK DW-5900 is available now at select G-SHOCK stockists worldwide. - £99.00 4. Oakley x Vetements spiked sunglass

available for pre-order @ LUISAVIAROMA’s online store - €890 EUR


ORIGIN 31

1.Gucci X

NY Yankees

Jewel-Encrusted Beanie

PANTONE X COPENHAGEN DESIGN

collection

The collection extends Pantones love of

colour across a range of lifestyle products

that are designed to be used every day in

the typical work life of creative people.

2 3

1. Gucci x NY Yankees Blue Wool Beanie - available now

at ssense.com - $530 USD. 2. House of Hopscotch Rare

Bird makeup pouch in pink - £20. 3. DHL x CASETiFY case

available now @ casetify.com - £30

All mugs come in 18 colours, plus Colour

of The Year, espresso and tea cup

available in 18 colours, other lifestyle

products like water bottles, flasks, key

chains are available in 8 colours and

stationary items are available in Blue,

Red, Yellow and Cool Grey available @

www.copenhagen.com - £9-22


1.PSYCHWORLD X JIM LONGDEN

Sweatshirt

5.CHINATOWN

MARKET

Utility Chest Rig

2 3 4

6.PHILLIP LIM X FILA

Capsule Collection

1. Psychworld x Jim Longden Sweatshirt, available via jimlongden.com - £100. 2. Hype 101 X Disney Dalmatians Backpack

available via shopdisney - £30. 3. Vetements X Reebok Instapump Fury Graffiti - available via stockists like matchesfashion.com.

4. KIKI ITO Kincharu drawstring bag available @ kikiito.com - £180. 5. Chinatown Market Utility Chest Rig (red/white) available @

thechinatownmarket.com - $60. 6. 3.1 Phillip Lim x FILA collection will be available in select FILA stores and fila.com


Gritty White

PHOTOGRAPHY Edvin Kalic STYLING Emina Smaka MUA Maja Koristovic Talovic



TJENTISTE

The starting point of my inspiration was monument “Tjentiste” in Sutjeska, Bosna I Hercegovina.

When I was age of 7 I saw this monument and was totally impressed, look to me powerful, strong but

in the same time remind me on wings and sounds to me freedom.

At the beginning of my research I start to

developing shapes based on monument

structure. Cutting parts of monuments and

attach them on body to get shape. After

I developed some new shapes I simplify

the monument with geometric lines which

are following monument shapes and got

pattern cuts for my clothes.

I decide to go deeply to research about

dedication of monument. I learned that

monument was dedicated to all Partisans

during WWII (1941 – 1945). Partisans at the

beginning was freelance non-government

force, they have never attacked just

defending their areas attacked by enemies.

Main symbol of recognition was red star

with five edges, so I decide on previously

developed shapes and cuts to include red

colour as main colour of collection. The

Partisans were anonymous people who

defended their places with the bare hands.

My grandmother told me “Partisans”

had never revealed their identity, they

never talked about who was involved in

the defence. When they finish “the job”,

they’ll be back home. Since there were no

organised military units, they often wore

their clothes. Because they didn’t have

uniform, they hand stitching attached

pockets and bags, so that they could bring

food, water, knifes or weapons that they

made by themselves.

After I learned that they needed many

pockets to survive I decide to attach (on

previously developed designs) many small

bags inspired by regular force pockets but

in monument shapes. When you in person

saw the monument, woods in background

totally reminds on camo effect or small

clouds around monument that’s the

reason why I decide to use cloudy lace.

Eco Leather is here because in that time

people were able to use a lot of leather and

wool because they produce it for food and

later used animal skin or wool for clothes.

A lot of Partisans were women, Partisans

doesn’t mean any gender, nationality

or any other parameter. Partisans were

Slovenian, Croatian, Bosnian, Serbian,

Macedonian and other Balkans, better say

all Yugoslavian.

The Yugoslav Partisans or the National

Liberation Army (officially the National

Liberation Army and Partisan Detachments

of Yugoslavia), was Europe’s most effective

anti-Nazi resistance movement. It was led

by the Communist Party of Yugoslavia

during World War II. Its commander was

Marshal Josip Broz Tito. They were a

leading force in the liberation of their

country during the People’s Liberation

War of Yugoslavia. By late 1944, the total

forces of the Partisans numbered 650,000

men and women organized in four field

armies and 52 divisions, which engaged

in conventional warfare. By April 1945, the

Partisans numbered over 800,000. Shortly

before the end of the war, in March 1945,

all resistance forces were reorganized into

the regular armed force of Yugoslavia and

renamed Yugoslav Army.

Yugoslavia left (except painful memories)

brilliant architecture to all the former

republics. Many of these monuments are

futuristic even though they were made in

the 20th century.

WORDS Edvin Kalic


MOSTAR ROCK

SCHOOL

MUSIC, ART, THEATRE & CULTURE:

RISING ABOVE NATIONALISM IN MOSTAR

The war of the 1990s inevitably continues to have a strong

influence on Bosnian society. Divisive nationalism quickly reasserted

itself after the conflict, in Mostar, for example, establishing

two city centers, separated from each other along

invisible but strictly observed ethnic borders. In such circumstances,

what role can artists and musicians play?

“If we ask ourselves whether music can directly change the

world and influence certain processes, the answer is ‘no’, but

when we talk about its indirect influence, the answer is absolutely

‘yes’, says Orhan Maslo, the founder of the Mostar

Rock School.

“Music is not just about someone on stage playing an instrument.

Music is a lifestyle. It connects and entertains people.

I believe that every child and adult should be part of musical

culture. It is a kind of informal education that promotes togetherness

and provides a place where every individual can

present his or her skills. That is what Mostar Rock School

is all about”. But at the end of the 90s, the idea of a new

and unified music scene in Mostar seemed impossible. Later

generations, that did not remember the war, were raised and

educated in a system of division based on “us” and “them”.

The postwar stagnation of Mostar, of its economic, cultural,

and social development, was caused by the systemic stifling

of its institutions: corruption and theft brought galleries,

theaters, museums, archives, and educational and cultural

centers to their deathbed. “In 1998, a small group of people

tried to start a music school. I remember how at that time the

Pavarotti Music Center had a car that could pass through the

checkpoints without any problems, and I used it to pick up

people who lived on the so-called “western” side of the city,”

remembers Maslo.

Two earlier attempts to found the music school failed, but

the third attempt in 2012 saw the idea become reality and the

Mostar Rock School (MoRS) started to assemble music lovers,

experienced musicians, and those who wanted to learn

how to play an instrument. Applications to participate were

coming in from all over Herzegovina.



Although the school presents an informal

approach to education, it has

completed several successful projects

through which it spreads a universal

message of unity and multiculturalism.

Donations are the main source of income.

Mostar Rock School core activities

are supported by Norwegian Embassy

in Sarajevo, Swedish International

Development Cooperation Agency SIDA,

United States Agency for International

Development USAID and City of Mostar.

In 2018 MoRS started a new project,

Mostar Rock School Booking. MoRS

Booking contributes to the development

of the music scene in Bosnia and

Herzegovina, stimulates the work of

young musicians and music professionals,

creates new opportunities and

challenges in the music industry. This

project is supported by the Government

of Switzerland and Norwegian Embassy

this school. The relationship between

them is one of absolute tolerance.

Members of the school show, through

their work, that it is possible to make

the city more positive, despite the old

stories of eternal divisions, intolerance

or conflict. “I have traveled the world

and have seen how developed societies

function. True wealth exists where

diversity is used to unite and solve the

common problems that occur in almost

all societies. I therefore feel that nationalism

does not possess the stronghold

to survive here,” Maslo says optimistically.

“We’ve raised many generations with

completely the wrong values. Many

love the country they live in, but they

don’t love those who are living in it. I

find all this nationalism ridiculous because

I just wasn’t raised that way,”

adds Maslo. The Abrasevic Youth Cultural

Center, meanwhile, which reopened

its doors in 2003 under the initiative

of several informal citizen groups

and organizations, has become a haven

for the realization of young people’s

ideas in Mostar. The Center has fought

against discrimination, domination,

degradation, and nationalism through

the implementation of workshops,

plays, concerts, debates and lectures.

“The center is located on what used to

be a war demarcation line, so a symbolism

exists there for connecting people,”

says Kristina Coric, who organises the

youth center’s activities. “We managed

to revive the prewar Abrasevic Center,

which also used to bring young people

together. We soon became owners

and started renovating it. We have now

created a space for young people who

have ideas for social development, regardless

of their national identity.”

The war of the 1990s inevitably continues to have a strong influence

on Bosnian society. Divisive nationalism quickly reasserted itself

after the conflict, in Mostar, for example, establishing two city

centers, separated from each other along invisible but strictly

observed ethnic borders. In such circumstances, what role can

artists and musicians play?

in Sarajevo, BiH. In 2018, MoRS also

started a new pilot project, Mobile Rock

School. Mobile Rock School is focused

at overcoming the limitations of access

of young people to cultural and artistic

contents and activities and encouraging

young people to actively participate

in the community’s cultural life.

Beside Mostar Rock School main donors,

Mobile Rock School is also supported

by Federal Ministry of Culture

and Sports. Mostar Rock School also

organized two camps, Summer Rock

School in 2015 that was supported by

Embassy of the Federal Republic of

Germany in Sarajevo and Summer Rock

School 2016 that was supported by

US Embassy in Sarajevo. According to

Maslo, music and culture can counter

nationalism and aid its neutralization

through the building of trust. Such trust

already exists between the students of

However, the MoRS is only a small part

of the puzzle, many other parts are

missing in order for the city to really

develop. The fact that there have been

no local elections in Mostar since 2008

is evidence enough of the problem. In

the fight against nationalism, Maslo explains

that music can be used to manipulate

and win over the masses, too

- which, to him, means that it can also

be used to promote nationalism.

It is rare for the citizens of Mostar to

publicly declare that they want to divide

the city, but they are de facto living in

such a city because they are administratively

and institutionally divided. The

MoRS is an obstacle for those who, for

years, have been blocking the values of

community in Mostar. The main feature

of the school is talent, the will to learn

and love for music and art.

“Nationalism should not be the primary

part of a person’s natural identity. Anyone

can be aware of their origins, tradition,

or roots, but that should not be

common identity. We should build our

relations based on other identities,” she

adds.

Today, these different identities are

rarely used as a source of our rich cultural

and historical heritage, but it is

precisely through art and culture that

this approach can be revived.

“The institution I lead is Croatian, and

national, and Mostar, and Bosnian Herzegovinian,

and in order for it to be all

of these it must be, primarily, a theater

before anything else,” Coric says. “No

matter what prefix or name some institution

has, it must work on cooperation.

We must accept our diversity - and recognize

ourselves.”

PHOTOGRAPHY Mostar Rock School WORDS Dino Pehlić & Balkan Diksurs


P S

IN THIS YEAR: TEN OF SWORDS


PRAISES IS THE SOLO PROJECT

OF CANADA’S JESSE CROWE, WHO

IS CURRENTLY ON TOUR ACROSS

EUROPE WITH DUMB ANGEL

SUPPORTING HER UPCOMING

ALBUM “IN THIS YEAR: TEN OF

SWORDS”. ASBO MAGAZINE CAUGHT

UP WITH JESSE TO DISCUSS THE

NEW RECORD, LIFE ON TOUR, AND

THE DECLINE OF ARTISTIC SPACES

BOTH IN TORONTO AND LONDON.

Explain the title of your new album

So the title of the new record is ‘In This Year: Ten of Swords’, and

it came about from a tarot reading on New Years going into 2017.

Myself and my partner at the time, we were really looking forward

to the new year and feeling very hopeful and fresh, and we each

did a tarot reading for each other. There was an overriding card

that was supposed to represent your entire year and mine was

the Ten of Swords, which generally is – I mean no card’s a bad

card – but it generally represents anxiety and the weight of these

swords coming down on you. So I just laughed as he drew a Three

of Swords which is a much more powerful and easy going card. It

solidly did represent what the year brought, and writing all these

songs within that year it felt like it summed everything up.

Wow. Does that translate through the entire album conceptually

then?

I think it does. So I wrote a track about this person called ‘Three

of Swords’ and it was about this funny game we played called…

I forget exactly what it was called, but I think it was called the

Cube Game. You’re asked to picture a cube, and you’re asked

to then picture a horse beside the cube. You then picture an

environment that the cube’s in, and you’re asked to picture a

ladder. I don’t remember specifically what everything represented

– but he pictured a floating cube that you couldn’t get to and a

horse running away, and I don’t remember what the ladder was

doing but the weather was awful. The horse was representing

our relationship and the cube was representing accessibility

to yourself, all those kind of things. So I wrote this song based

around that tarot card, and him talking essentially about running

away from someone which ended up being, uh – me, haha. So

yeah that card and the tarot theme kind of runs through, but not

necessarily but what those two cards represented in each other,

if that makes sense?

That’s an in–depth metaphor. Having listened to the record

it seems much more electronic than the previous two EPs, is

that connected to the themes on the album or was it a natural

progression?

I think it was a little bit more natural. It was based around some

restrictions I had in the way that I was writing and recording – I

took on a new space in a warehouse and in that space there was

a piano. I decided I was going to use what I had and I was going

to try to record an entire record and produce it as much as I could

alone. So one of the tools I had was the piano, I had Ableton,

I had a few synths and that kind of thing, and so it became

electronic because I didn’t have a band any more and I wanted

to do everything myself. And then I started falling in love with

those sounds and what could be created by looping a piano,

or taking these natural instruments and making them have an

electronic feel. It was less about being like – oh, I feel like being

an electronic artist now, and more about being like – oh, well I

don’t have any natural drums, so I’m either gonna use the drum

machine or I’m gonna play a drum pad and that kind of thing.

Then a lot of the rhythmic elements came later when I went

into the studio with my former Beliefs bandmate, Josh (Josh

Korody), or I guess current bandmate but that band’s kinda

on hiatus. He’s a huge modular synth guy, and so he heard

all the songs and as we were mixing he was like, do you mind

if I slide in a bit of modular on these? And he started working

with modular rhythms and trip hop samples and that kind of

thing that lended itself to sounding like a massive tech record.

I guess it was the Josh influence with only having Ableton and

no band that created an electronic feeling record.

Has Praises always been a solo thing?

Praises has always been my band or solo project. And then

people have come in and out as like a full band or a duo, or

sometimes I’ll play under that name just entirely solo.

When did you start Praises?

Praises started not too, too long after Beliefs, so maybe about

6 years ago. It started with me just writing more personal songs

on guitar that wouldn’t fit in with Beliefs, or were too personal

to be in a band. And then it kind of transformed into just me

doing everything by myself. It’s always been the thing that just

exists, it comes in and out of focus.

You’ve been touring Europe, how has that been so far?

Touring DIY is always an interesting way to go. It’s been really

fun, and we’ve been touring with our very good friends Dumb

Angel, so there’s been a nice balance having two duos touring

together. But it’s tough. It’s financially straining, you never

know what you’re gonna get when you show up when you’re

doing things yourself. But I think it’s been really, really, really

fun, and every day’s been its own interesting challenge.



You’ve played quite a few dates specifically within

the UK too, how’s the UK treated you?

The UK’s been interesting. Our first show in Manchester

we played for a university film crew who wanted to

test out doing live recordings and live shows. So we’ll

probably get some phenomenal footage, however

there wasn’t really an audience – our audience was

basically this group of people who had to be there.

And it’s really interesting to try to give your full

performance when you’re just in front of people who

are stationary with cameras, rather than a captivated,

paying audience. So Manchester was really funny,

we loved it there though. The bar we played at, I

think it was the Peer Hat, was awesome and we had

a really good time. And then we went to Nottingham

and played at Chameleon Arts Cafe, and it was just a

very sweet small show – it sounded incredible. I would

say anyone looking to play Nottingham play there, it

sounded so, so good.

But you know, small attendance, people don’t know

who we are. You have to do that slog where everyday

you just perform in front of like 20 people and you

hope that someone likes it and listens and comes

back. Where else did we play? Leeds, Leeds was fun.

And then here in London we played in a book store,

which was probably one of the nicest shows of our

tour, because that’s an audience that really wants

to sit and watch you play. They’re not there to get

drunk, they’re not there because they happen to be

there or just showed up, or their friends wanted to go

somewhere cool. It’s like, no, these people actually

just wanna sit and listen to music. And I’m really

happy with choosing an alternative space instead of

choosing a venue for London

It was a really nice vibe for a show, everyone was there

for you guys!

Yeah! I’d rather play in front of 20 people who were

actually there for the performance, than in front of a

hundred people who could care less that you’re there.

You mentioned Beliefs are on hiatus – what’s the

story behind them, you mentioned it’s a duo?

It’s a duo for the most part, but live we end up needing

somewhere between 4 and 6 people depending on the

record. Beliefs started when I met Josh at our friend

Pat’s birthday party, and Pat ended up being our

Bass player. We found out that we both really loved

Shoegaze stuff – My Bloody Valentine, Slowdive, we

were like – ah let’s make a Shoegaze band, no–one’s

doing that! And seven years ago there wasn’t as big

of a Shoegaze revival, so people were really excited

about it. We ended up being one of those, you know,

three guitars with forty–thousand pedals, and you

can’t hear the vocals and we’ll blow you out of the

room, style Shoegaze bands. We made two records like

that and then ended up making a way more electronic

sound for our third record, which really led into what I

was doing with Praises too. So it’s been about 7 years,

and we’ve been on this record label Hand Drawn

“Artistic spaces that we had was not going to be there any more made it so that I was making a

record in this small amount of time, and trying to really connect with the space.”

Dracula the whole time, which Praises

is also on, who are a huge help – but for

the most part touring and stuff like that

ends up being very DIY, and I think a big

part of why Beliefs doesn’t exist any more

in a live setting is that touring was too

financially and emotionally stressful for

us to continue.

So Hand Drawn Dracula are Toronto

based?

Yep, they’re Toronto based. They’re this

really awesome independent label that

give us a lot of freedom. They notoriously

put out really excellent records. I guess

they don’t have that kind of label

expectation where they’re like: you have

to go out 6 months a year and you have

to make sure you sell, sell, sell. They’re

very much like: well we’d like to make

our money back and hopefully you make

good art.

Location seems to play a lot in your

music too. You live in Toronto and are

from Saskatoon, in what way does the

geographical background inspire how

you make art and what art you make?

I think that Toronto played a huge part in

making this record because I was in this

building that was due to be torn down,

and now it’s gone. So even just knowing

that these last artistic spaces that we had

was not going to be there any more made

it so that I was making a record in this

small amount of time, and trying to really

connect with the space. And the city is

just pushing everyone out, I mean much

like London but of course on a smaller

scale, it’s becoming really expensive and

the arts and creatives are being pushed

out. So I think that always seeps into the

music, just feeling like you don’t fit in in

your city any more.

That’s definitely the same story for

London, I feel like it’s most of the western

world at this point.

Totally. And then most of the artists move

to another city and ruin it.

Any future plans post–tour?

I don’t know what we’re gonna do next

year. It’s kind of a funny thing, because

this tour was self–financed, I feel like

I have to take a bit of a breather to just

make the money back to be able to tour

again. For anyone out there who thinks

that musicians make a bunch of money

on tour, if you’re independent – you

probably don’t. I have an EP that is mostly

done that I’ve recorded and mixed myself.

I’ll probably end up taking it to Josh to

mix and do some more rhythmic work

on. It’s getting more and more electronic

because I didn’t even have a piano at that

point. I’ve now just recently moved into

a new space where I have a piano and a

Rhodes and that kind of thing, so I guess

my next goal is to write a more organic

follow up record, and maybe integrate

Mike (Michael J Boyd) who I play with live

into doing more of the guitar stuff with

me and more of the piano stuff as well.

And I’d like to tour a bunch next year, I

just don’t know what the plan is. I guess

do a record release show in Toronto, and

then start booking likely Europe and the

UK again because I’m trying to avoid the

USA.

You were mentioning you’d like to play

Bristol next time?

Totally, just a full Bristol only tour, a

Bristol residency maybe? Maybe just try

to find Portishead and hang out, haha.

That’s my only goal!

Praises’ new album “In This Year: Ten of

Swords” is out December 7th 2018, and is

currently available for pre–order through

Hand Drawn Dracula’s Bandcamp.

WORDS Otto Hashmi


Everybody has heard of the concept of the “glass ceiling”, the barrier that stifles the dreams and

aspirations of women, young and old. When we think about how to shatter it, we often count how

many women are in positions of power, as elected officials, or as heads of private companies.

But we often ignore the ordinary women who pose perhaps the strongest opposition to the

oppressive structures that continue to impede women’s rights: ordinary women like those that

make up #ŽeneBiH, for example.

#ŽENEBIH AND THE

ORDINARY

HEROINES OF BOSNIA

& HERZEGOVINA

The hashtag #ŽeneBiH – meaning “Women of Bosnia and

Herzegovina” - began with three women - Masha Durkalić,

Hatidža Gušić, and Amila Hrustić Batovanja - and their simple

idea to stage a social media campaign last year depicting

everyday Bosnian women who had re-imagined women’s role

in Bosnian society.

Their campaign began in March 2018 with a Facebook post

that shined a light on Staka Skenderova, Bosnia’s first teacher

and social worker. As the women continued to identify and

promote more ordinary heroines, the campaign went viral,

captivating audiences across the Balkans and beyond. Their

passion for women’s history, accompanied by their feminist

and activist roots, inspired the three to take the #ŽeneBiH

Bahrija Nuri HadŽić

initiative one step further, and create a book that tells the

stories of “female artists, writers, poets, social workers,

national heroines, directors, scientists, musicians, doctors,

activists, professors, deans, pilots, and other women who

have been pioneers in their fields.” Each story preserves

the memory of “women who promoted women’s rights at a

time when they did not even exist, women who gave their

lives in the fight against fascism,” as well as those who broke

new ground simply by allowing themselves to dream of and

achieve new heights.

And of course by documenting the remarkable women who

have left their mark on Bosnia, Gušić, Durkalić, and Batovanja

have become part of those stories they seek to preserve.

36 ASBO MAGAZINE

asbomagazine.com 37

Staka Skenderova

Adela Beha

In the face of considerable challenges - lacking infrastructure,

funding and resources - #ŽeneBiH exemplifies what is

possible when an idea is backed up by diligence and passion.

Gušić is convinced that the group’s commitment to organizing,

planning, and leaving nothing to chance is quintessential to

their success. “Believing in your idea is the key,” she notes.

Batovanja says the magic comes as a result of focusing on

your inputs, and what you can control, which allows the

outputs to take care of themselves. “People will question

your idea, but the most important thing is that you believe

in it all the way, even if you fail multiple times throughout

your journey,” she says. #ŽeneBiH plans to launch their book

on 8 March 2019 - International Women’s Day - a year after

their first Facebook post. Comprised of the biographies of

over 50 women from Bosnia and Hergovina it aims to inspire

further documentation and educational initiatives both inside

the country and internationally.The work of #ŽeneBiH and

their vision is a testimony to the fact that the brightest, most

inspiring messages can be developed in the most unexpected

of places. As Batovanja puts it: “You learn by doing, by taking

action, not by thinking about doing something. You don’t

have to know everything in order to start creating.”

What can you tell our readers about the project #ŽeneBiH?

Masha Durkalić: The book #ŽeneBiH is an artistic, activist

and research initiative that is comprised of biographies

of over 50 BiH women who have broken stereotypes and

advocated women’s rights and emancipation. Each woman

was illustrated by a different woman illustrator/designer/artist

from BiH. This is a book about first female artists, writers,

poets, social workers, national heroines, directors, scientists,

musicians, doctors, activists, professors, deans, pilots and

even soccer referees.

What inspired you to make such a book?

Hatidža Gušić: All three of us are feminists and activists.

We take women’s rights seriously and we try to contribute

to the improvement of the position of women in Bosnia

and Herzegovina, through different initiatives and actions.

We constantly talk about amazing women and their

achievements, so we were concerned that women’s history

is being neglected, and we wanted to do something about it.

What lessons have you learned in this creative process?

Amila Hrustić Batovanja: This was a long process and it is

not yet finished. I learned a lot and I am still learning. I would

highlight three lessons that have been repeated many times

through this process: Kick it off, you can only control the

inputs and trust your own guts

How did you found female illustrators to participate in

this project?

Amila Hrustić Batovanja: Since I studied at the Academy of

Fine Arts in Sarajevo, I first addressed my former female

colleagues from the Academy that I thought were great for

this project and asked them to be illustrators of the book.


Sestre Bergman

Jasmila Zbanic

What is the one thing you wish you knew when you started

this project?

Amila Hrustić Batovanja: I wish I knew that there is a great interest

in #ŽeneBiH also beyond the territory of former Yugoslavia.

Perhaps we would have developed this campaign in a few

additional ways and worked more intensively on the strategy of

making the book available in English as well. Considering our

available capacities, it would be very difficult, but I hope that in

the future we will have the opportunity to do this as well.

Who are the woman in your book?

Hatidža Gušić: This is a book about first female artists, writers,

poets, social workers, national heroines, directors, scientists,

musicians, doctors, activists, professors, deans, pilots and

other women who have been pioneers in their fields, who

have advocated emancipation and gender equality, and who

were an inspiration to us.

Do you think that women in our society feel intimidate by

the business world, often dominated by man?

Masha Durkalić: Women in the society of Bosnia and

Herzegovina are marginalized in many areas, not just in the

business area. I would avoid using the word “intimidated”

because that would imply that there is a justified reason they

should be feeling this way.

There is a reason, of course, but it is far from justified. That

reason is patriarchy, a system that does not allow women to

live up to their full potential because of the various forms of

control executed by men.

How do you see future of this book project?

Masha Durkalić: We would love it if this could be our full time

job. However, we know that this is difficult to pull off, so for

now, we are doing our best to finalize the book and send

it to all the people who backed it on Indiegogo on time, as

promised, in February 2019.

We would also like to do a second edition, if the opportunity

presents itself. One of our wishes is to also translate it to

English. However, when we began working on this, we had no

idea we would get this far, which taught us to take it one step

at a time. Thinking about the future is hard when you don’t

have all the necessary resources and logistics to plan ahead,

so for now, we will finish this edition of the book, distribute it

to the backers, and think about the ways to make the project

long lasting, and to include even more women in it.

Finally, as we stated earlier, we are planning to promote the

book on International Women’s Day 2019, with an exhibition

of all the illustrations in the book, and we are currently looking

for sponsors who could help us achieve this and thereby

symbolically close the full circle of one year of #ŽeneBiH.

WORDS Dakota Peterson & PCRC


ASBO LIVE

DUBIOZA KOLEKTIV

PHOTOGRAPHY Arron Watson-McNab @facesplaceslaces

16 42 ASBO MAGAZINE asbomagazine.com 17 43



“We are calling for a change to the social paradigm so that the “other” is recognised and

acknowledged as the same as the widely accepted social norm.”

Sestre – ADVANCING THE QUEER

FEMINIST CAUSE

PHOTOGRAPHY Andrew Cleminson & Sestre

Our Sarajevo correspondent, Andrew

Cleminson, met with and interviewed

Sestre. Sestre is a group of women who

are promoting and fighting for LGBTIQ

rights in Bosnia and the Balkans. He found

that progress has been made – but there

is still a long way to go in the battle for

equality and acceptance.

What are the key issues faced by the

LGBTIQ community in the Balkans?

LGBTIQ rights are not a topic discussed

by leading politicians in Bosnia and

Herzegovina. The only party supporting

the LGBTIQ community is yet to gain any

significant political power. In the Balkans,

homophobia generally exists alongside

violent nationalism, under the banner of

patriotism. There is little to no medical

support available to transgender people

for example, who then have to travel

to other countries to receive hormone

therapy. Although hate crime legislation

does exist it is very rarely enforced. There

have been several widely publicised

violent attacks in Sarajevo against the

LGBTIQ community, but none of the

perpetrators have been prosecuted.

What is the current state of the LGBTIQ

movement?

We work on our own without financial aid

and are not part of any larger organisation.

So, it’s difficult to offer an observation on

the state of the movement as a whole.

Across the country, most resources for

the LGBTIQ community are in the big

cities. For those in smaller towns and

rural communities, services such as

counselling, legal aid and opportunities

to socialise in a safe way are harder to

come by.

Can you tell our readers some more

about Sestre? You seem to be a very

energetic group

Sestre grew out of a desire to make

our contribution to the community in

Sarajevo. At first, we organised different

theme parties. Recently we have been

exploring nationalism. We have looked at

symbols of national identity and how they

(don’t) relate to us. We incorporated the

EU as it has been a very dominant political

presence throughout our lives. It has

also played a big role in shaping how our

society views itself. Political engagement

with our work is very important, as we live

in a society that is organised according to

rigid ethno-religious and gender divides.

So, why posters? Can you explain your

thinking in taking traditional themes

and given them a new twist to raise

awareness about key issues?

We believe that we have the right to create

symbols according to our reality, even

though they may “violate” established

conventional ideas. Recognised social

symbols such as the Bosnian flag and

coat of arms are redefined to demonstrate

just that. We are calling for a change to

the social paradigm so that the “other”

is recognised and acknowledged as the

same as the widely accepted social norm.

Most of the posters have been torn down.

One was covered by a political campaign

poster, and we have been accused of

“disrespecting sacred symbols” by some

Bosnian nationalists. Ironically, Serbian

nationalists came to our defence.

What campaigns do Sestre have

planned for the future? Where do you

see the movement going?

We are currently working on a video

and accompanying song inspired by

the Bosnian women working illegally as

elderly caregivers in Germany and the EU.

Hundreds of them cross the border every

day, but their hardships are not reported

in the media. Much of the work previously

available for them was taken away firstly,

by the war, then by the capitalism that

followed. Now, they are told that due to

their age and lack of documented work

experience, they are unemployable.

We want to honour their struggle.

Ultimately, Sestre is just the two of us and

our ideas. We don’t limit ourselves to a

specific medium. We are limited however

by lack of money and use anything

that helps us deliver our socio-political

commentary, now and in the future.

WORDS Malcolm Johnson


HIP HOP

REGGAE

DRUM’N’BASS:

Frenkie’s Story

PHOTOGRAPHY Jay Rabanal & Armin Durgut WORDS Slobodan Blagovčanin & Balkan Diskurs

ADNAN HAMIDOVIĆ, PUBLICALLY KNOWN AS FRENKIE, IS ONE OF THE

RARE ARTISTS ON THE BOSNIAN MUSIC SCENE THAT, FOR ALMOST

TWO DECADES NOW, CONTINUOUSLY INFLUENCES POSITIVE CHANGE IN

SOCIETY AND IN YOUNG PEOPLE THROUGH HIS WORK.


FATHER

HUSBAND

SON

BROTHER

ARTIST

ACTIVIST

Frankie explains that his work is largely inspired by his environment

and points out that “our cruel society does not allow any time for

rest” and that he simply must create. “From my experience, I am

convinced that the situation around me greatly influences the work

of artists,” he says. Such influences are visible throughout his

work over time, which he describes was much more aggressive at

the beginning. “I’m particularly referring to songs such as Hajmo

ih rusit (Let’s bring ‘em down) and others that deal with societal

issues. Over the course of my career, I have released classic hiphop

songs as well as songs with paternal motives.” Indeed, when

we delve deeper into Frankie’s body of work, we can feel the

changes and follow his maturation as an artist. He was creating

and contributing to the critique of society as he was growing up

and evolving along with the problems that were surrounding him.

When we talk about Frenkie, we almost immediately think of the

FMJAM crew, and vice versa. Created in 1999, FMJAM was a radio

show on Tuzla’s Kameleon Radio that presented hip-hop culture

and music. Frenkie explains how it all came together: “This is

my team, my party. A huge part of my career. We, in the ‘crew’,

gathered around a common love for hip-hop. Over time, we were

able to launch our careers through the radio show and we began

to think more about the further establishment of FMJAM. We were

guided by the idea that the more of us that work together the

greater influence we can have on our community.

FMJAM went on to influence a completely new direction for music

in BiH. Anyone and everyone who has made a contribution to the

hip-hop scene over the past 20 years, from both BiH and the

region, has been involved with them. Frenkie comments further

about his song Hajmo ih rusit was produced: “On one Monday

in 2005 while we were at the aforementioned radio studio, our

frustrations regarding the corruption, nepotism, nationalism, and

other problems within our society culminated in the spontaneous

recording of this song. The first version of the song was so

spontaneous, in fact, that I believe we recorded it in one day

and released it the same night.”The song later found a place on

Frenkie’s album as a duet with another famous Bosnian musician,

Edo Maajka. It was playing on all the radio stations for days,

weeks, and even months topping all the music charts at the time.

Frenkie’s collaboration with artists from other countries also

gained him regional popularity at the time when it was considered

“dangerous” to cross borders due to the conflicts of the 1990s.

He continues to regularly produce music with regional artists and

recently captivated his audience with a duet with Serbian hip-hop

artist Sajsi MC. “We have known each other for a very long time.

We were fortunate that Indigo (a music producer and FMJAM DJ)

made us a beat that suited us both and our cooperation comes as

a real surprise to all our fans in the region.” Frenkie mentions that

this is just one of many collaborative efforts and emphasizes the

perfect synergy between him and another Serbian hip-hop artist,

Marchelo.

As far as other musicians go, Frenkie’s dream is to perform

alongside Tom Hardy and Riz Ahmed - British actors and rappers.

Frankie is now working full-time with hip-hop artist Kontra and

Indigo to “cook up” a new album for their audiences: “We recently

released the song Egzil, which was written to those who, due to

BiH’s difficult environment, are choosing to leave the country

and depicts the feelings of loss that those who are left behind

are experiencing as a result. It was a hit and helped propel us to

create a new album on which we are dedicating our full efforts.”

As a final note, Frenkie’s gives a few pieces of advice to the youth:

“If you want it fast, go it alone. If you want to go far, go as a team.

Be active! Tear down the barriers and don’t poison yourselves

with reality shows!”

Follow Frenkie’s work on his Facebook page @Frenkieofficial

or on FmJam’s YouTube channel @FmJamRecords


ONES.TO.WATCH

_SARAJEVO

(EDVIN.KALIC)



“AN ARTIST

SHOULD NEVER

LOSE THE SPARK

THAT MADE HIM

OR HER FALL IN

LOVE WITH WHAT

THEY DO.”

Located in the heart of the Balkans, Bosnia and

Herzegovina is often depicted as a post-conflict state

in transition, but the country has so much more to offer

than just stories of political, social, and economic strife.

Bosnia represents a convergence of East and West and

has given birth to a number of inspirational young people

who have decided to pursue their passios and have

achieved success in the arts. One such success story is

that of Edvin Kalić, a young and talented photographer

who has dedicated his life to the art of visual storytelling.

“Since I was a young boy, I’ve been surrounded by a wide

variety of art, movies, photography, and other visual

media that blew my mind, but I was always the type of kid

that kept my creative side hidden. Even though I tried a

lot of different channels, I didn’t quite know how to best

express the things that were in my mind. However, when I

started getting into photography, I knew that it would be

the medium I would use to share my vision and aesthetic

with the world,” says Edvin. Edvin describes the creative

industry in the Balkans as space where hidden talent is

just waiting to be explored. “The Balkans has a quite a

flourishing creative scene and more and more young

people are now searching for employment opportunities

in the creative sector. There are many exceptional artists

from this region who have gained international acclaim

and Slavic countries have been serving as a source of

artistic inspiration in recent years, so I think that Balkan

talent is going to be the next big thing to hit the creative

scene.”

Edvin’s creativity and talent drove him to move from

his hometown of Sanski Most to Bosnia’s capital city of

Sarajevo where there are greater opportunities to pursue

a career as an artist - and to get your work and your name

out there. But to succeed as a young entrepreneur in the

field of photography takes a lot of hard work and sacrifice.

“I was still a teenager when I made the move to Sarajevo.

Back then, my main goal was to find ways to cope with

my anxiety and low self-esteem, but as my passion and

love for photography grew, I saw myself becoming more

confident and content with who I am. I had to work hard

to get to where I am today and I think that my passion and

drive to study new photography techniques have helped

me to be more commercially successful. Now, it’s how I

pay the bills.” Edvin recalls some important lessons that

he has learned throughout his journey: “When you’re first

starting out, you quickly come to realize that your work

isn’t always going to turn out the way you envisioned

it. You go through a lot of trial and error. You need to

make mood boards and take down notes about whatever

it is that’s inspiring you. Another thing that really helps

you succeed is surrounding yourself with people that

inspire you. ” According to Edvin, the support of a close

friend who shares the same dream of having a career in

the creative sector has been one of the most important

sources of support he could have asked for. He also

says that his relationships with people from within the

industry are not negatively competitive. “As far as

Sarajevo goes, photographers have good relationships

among each other. It’s a small community and there is

a constant exchange of ideas and techniques.” Edvin’s

work is unique and impactful and one of his primary

focuses includes shooting fashion and beauty editorials.

Although his images are powerful, he is very modest

about his work. “The uniqueness lies in the growth of

my persona over the years. I love being surrounded by

other creative and interesting people who inspire me to

do more and continue to progress. The people I work with

make my job that much more interesting. Sarajevo truly is

a place full of exceptionally talented people.”

With a bright future ahead of him, Edvin’s hard work and

the risks he has taken to follow his dream have given him

the opportunity to work in a field he really believes in and

add to it. “I’m working on improving myself, but would

also love to contribute more to the world of photography,

fashion, and the arts in Bosnia and Herzegovina. I am

trying to find new ways to get inspired to create new

projects and photography series.”

Edvin’s advice to other young and emerging artists in

Bosnia is that every day brings new inspiration and “an

artist should never lose the spark that made him or her

fall in love with what they do.”

WORDS Amra Džonlić & Balkan Diskurs


KIDA

KUDZ

WITH

AFROBEATS

BECOMING

HIGHLY

INFECTIOUS

WITHIN THE UK’S

MUSIC SCENE, KIDA

KUDZ IS HERE

TO MAKE

AFRO-SWANK

KNOWN.

After the past

couple of years of

tremendous growth,

Afrobeats - originating

out of West Africa,

from the regions of

Nigeria and Ghana, is

continuing to push the

UK’s eclectic talent to

the surface. In only a

short period of time,

this type of music has

produced some of

the most well-known

artists in the UK

including Yung Bxne,

J Hus, Fuse ODG and

Wizkid.

PHOTOGRAPHY Emmanuel Roberts STYLING Roisin O’Hare



“So, right now

if you hear

a Kida Kudz

track you’ll

know that’s

my track …

it sounds

different from

everybody

else, and that’s

what makes it

stand out”

Representing that West African culture,

Afrobeats has impacted artists not only

based across African regions, including

South and East Africa but has grown

far further a field and solidified itself in

UK music. Mixing African rhythms along

with the iconic vocal styles and flows,

it’s no surprise that with the rise of this

music, shaking the globe and certainly

the UK music scene, upcoming artists

are pushing to develop their own type of

sound within the genre.

One of these artists, who is getting a lot

of respect from both the native home of

Afrobeats and the UK, is Nigerian-native,

Kida Kudz. Hailing from his birthplace

of Nigeria, Kida has been making music

since he was fourteen years old and only

started pursuing it professionally five

years ago, after winning the Peak Talent

Show in Nigeria, which was really the

beginning of his musical career. Speaking

on his beginnings and the scope of his

sound, Kida says:

“For past 5 years since I started, I have

been searching for my sound but last year

I dropped my track, ‘Issa Vibe’ and after

I dropped it - I knew what my sound was.

Before I was trying to mess about with

different sounds but right now I know

what my sound is, I know what I’m meant

to do, and it sounds natural.” The Afrobeat

movement is one thing for people who

might not necessarily be aware of the

cultural impact, however, being from

Nigeria of course has had an impact in

the type of music that Kida has made and

asking him this, he said confidently, “The

culture is very important. You must know

about the origination of Afrobeats and

the people that’ve been doing it. I’m a fan

of Wizkid and Burna Boy, those are my

inspirations. It’s mixing our culture even

being here in the UK, it’s seeing what we

can learn from being in the UK but also

what the UK can learn from Nigerians,

so for me it’s mixing the two and it’s very

important.”.

It’s not just about hearing the music but

also understanding the origins and what

that music can mean in different places.

As the scene has developed quicker in

the UK than anywhere else, it poses the

question of how people feel about that

growth, Kida explained his view saying,

“Right now the Afrobeat scene is huge

and everybody is trying to jump on it.

There are people that are trying to take

it in a different direction, there is Afrofusion,

Afro-rap, Afro-pop and all sorts

of different parts of it people are trying

THE ERA OF AFRO-SWANK

Kida Kudz wears Atika London, Fila UK, Hi-Tec, KSwiss, Kappa (courtesy of Rich PR) & Umbro, (Fabric PR)

to create. So where does he fit in to all of this - “for

me, I call mine Afro-swank, it’s me interpreting my own

Afrobeats.” Although the growth of this genre has shed

light on so many artists, and created a whole new scene

within the UK’s music culture, are new artists who don’t

have as much knowledge on the genre taking away the

authenticity of what Afrobeats stands for? It’s a very

interesting question and one that made us both think,

“I’ll appreciate the fact that people that I see are doing

Afrobeats, but at the same time not everybody can do

it, it’s not for everybody. People can support it, dance

it, vibes to it but it’s not for everybody - so I just say

it’s better to just stick to what you know.” Moving on

from other artists and re-directing the attention back to

Kida, we talked about what he’s doing differently with

Afrobeats, “my genre is Afrobeat, but my sound is Afroswank,

swank is another way of saying swag, but swag is

outdated so Afro-swank is the way I express myself. So,

right now if you hear a Kida Kudz track you’ll know that’s

my track because there is a way it sounds that is different

from everybody else, and that’s what makes it stand out”.

Getting to this point has been a process of trial and

error and it seems that Kida is solid in what he wants

to be known for, right now it’s all about mastering his

sound. Taking the time to craft it, is something that

people have recognized him for, with artists such as Kojo

Funds, Dremo, Abra Cadabra, Ekeno and Olami having

had the chance to work with the rapper. Speaking of his

collaboration with Dremo on his latest single, ‘Last Last’,

Kida speaks of how that collaboration came about. “‘Last

Last’ is slang that people were using in Lagos and I felt

I needed put it in a song and it was like a message to

anybody going through anything that last last it’s going

to be alright everything is going to be good. I played the

song for Dremo and he sent me something at 5am and

said he would record something and at 5:30am, I got it

back!” So, with the extra attention Kida is seeing this

year, we had to know if there’s any future collaborations

in the works. “I would love to work with Mr Eazi. At the

moment I’m looking to work with Burna as well, we were

meant to do something before, but it didn’t happen but

I’m hoping that we’ll be able to do something soon.”. As

the conversation comes to an end, we are establishing

what Kida’s plans for the future are. “I’m working on a

lot of singles at the moment and working with a lot of

different people, a couple of DJs. I’m also working on my

EP that I want to drop for Easter time and so I’m busy with

that and just in general more collaborations and more

singles for me. There is more music this year I feel like

last year was slow, I only released four tracks - but this

year there is more music coming.”

The yet to be titled EP itself will be the first solid body

of work that we hear from Kida and he already knows

what he wants it to sound like. “The EP is based on the

Afroswank sound I’ve been talking about, on that Issa

Vibe sound. Most of the songs will be good vibe music

but there is a couple that will have some messages in

here”.

And so, with all that being said and everything that has

been discussed in the conversation, I’m curious to know

how Kida is able to stay true to himself, in terms of his

creativity and as an artist and it’s clear that Kida isn’t

having any hesitations or doubts about this as he speaks

with confidence saying, “By being myself 100. I always

say people just have to be real, keep everything organic,

stay focused and your own thing. It’s so easy as an artist

to see what other people are doing and want to do things

like how other people are doing things but you have to

focus on your energy and just believe in yourself and stay

true to yourself and with that you will grow, it might take

time, but you will grow with it.”.

WORDS Emily Fortune


DEMOFEST

DEMOFEST

DEMOFEST

DEMOFEST

WHERE FRESH SOUNDS COLLIDE

PHOTOGRAPHY Tarik Zlatarevic & Tea Jagodic WORDS Sara Velaga, Anja Zulic & Balkan Diskurs



The first Demofest, organized in 2008, lasted

for a record eight days and, from its inception,

caught the attention of the media, music

critics, and, of course, those for whom it was

conceived - demo bands. The festival is a

gathering of artists, musicians, and ordinary

citizens from Bosnia and Herzegovina (BiH)

and the region (Serbia, Croatia, Macedonia,

Montenegro, and Slovenia) who enjoy

alternative music and want to give their

support to new, unknown bands and up-andcoming

musicians. The event takes place each

summer inside the walls of Kastel Fortress

in Banja Luka, the city’s oldest historical

monument.

Demofest is not just a festival but an identifier

of new, high-quality music and has become

a recognizable brand of Banja Luka, the

Republika Srpska entity (RS), and BiH as a

whole. Demofest has been described as the

most successful product of the RS by all six

of its participating countries and beyond and

has become a meeting point for an audience

looking for fresh sounds and bands that

have something innovative to offer to the

generations to come.

Organized by Aquarius, a marketing agency

from Banja Luka, the festival has recently been

nominated for two awards – the UK Festival

Awards under the category of Best Overseas

who performed at the tenth annual Demofest

in 2017, was awarded the festival’s main prize

as well as the award for the best guitarist. The

trio from this underground rock band tells

us that they decided to sign up to have fun,

meet new people, and experience something

nice. Their first album, “Beauty in the Mind”,

produced thanks to the support of the festival,

was released in late July and was promoted

at this year’s Demofest. For Slonz, Demofest

operates at a much higher level than other

festivals in the region and they only have

words of praise about the audience: “Suffice it

to say that every demo band gets the chance

to perform its songs in front of more than 300

people minimum compared to other festivals

where demo bands don’t even get a proper

platform.”

Ivan Scapec and Dimitrij Mekotanovic of the

band Seine, from Zagreb, describe their music

as an expressive romantic punk-folk and the

duo was designated as the ninth Demofest’s

best demo band. This is yet another band

that received promotion and funding for

development as a result of their Demofest win.

“Winning Demofest enabled us to, record an

album in a top-notch studio and bring with it a

certain reputation and important recognition,”

Ivan explains. As for this year’s winners, they

include the bands Sergio Lounge and Vin

Triste from Belgrade, Serbia and Fire in Cairo

“Every demo band gets the chance to perform its songs

in front of more than 300 people minimum compared

to other festivals where demo bands don’t even get a

proper platform.”

Festival in 2016 and under the category of Best

Medium-Sized Festival in 2017. Nominations

at such prestigious festivals give the festival

organizers confirmation that all of their efforts

and investments throughout the years have not

been futile. They are also listed on UNESCO’s

list of projects of special importance for their

contribution to connecting and developing

cultures in the countries of Europe. In 2012,

when it was announced that the festival’s

organizers lacked sufficient funds and support

to continue coordinating the event, the event’s

significance was immediately demonstrated

when people spontaneously organized and

launched a Demofest fundraising campaign.

“Our audience has shown their commitment,

respect, and love for what we do in a way that

even some of the world’s greatest festivals

can’t boast about and we will be forever

grateful for it. We are going to make every

effort to thank them by making the festival

entry fee more affordable in the coming years

and will continue to work on enhancing the

quality of festival program,” noted Aquarius.

The festival gathers bands that play a variety

of alternative music. From soft and hard rock

to romantic punk-folk, Demofest showcases

the best and freshest sounds it can find

across the region. The main condition that

all the bands must meet is that they have not

released an album with any of the region’s

major production houses. Over the past eleven

years, the festival has not only featured demo

bands but has also included concerts by world

renowned musicians such as Max Romeo,

Mando Diao, Ky-Mani Marley, Rudimental

(DJ portion), Gentleman & the Evolution, and

Kosheen. Slonz, a band from Sabac (Serbia),

from Zagreb, Croatia.

Concerts are often high energy and can

pass by in an instant, and if were not for

great photographers like Tea Jagodic, some

moments would surely be fleeting. “I went

to music festivals in Serbia and Croatia, but

Demofest is a festival in my city, and that’s a

special experience,” she says, adding that her

job is very challenging because many things

are happening at once and it is necessary to

keep track of every moment. Today, Demofest

takes place over a period of three days and

three nights. Tea says that she takes an

average of 2,000 photos a night, but that can

vary and the number is often much higher.

Situated in Banja Luka – the second largest

city in Bosnia – the festival takes place each

year during the summer (around the 20th of

July) allowing visitors to enjoy not only great

music but also this vibrant city. Banja Luka

has been known as ‘paradise valley’ and the

‘city of greenery’ due to its large number of

green areas (parks and tree-lined streets). In

addition, the city has a great number of cultural

and historical monuments and carries a spirit

of different cultures that have intertwined

here throughout its history.

Preparations for the next festival have already

begun and the approximate ticket price is 5

BAM (2.27 £) per night. The ticket includes

entry to all concerts and events taking place

as part of the festival program.

To stay updated on news about Demofest and

to take part in the 2019 festival, visit their

website demofest.org or follow their Facebook

page @Demofest.


Miss Besieged Sarajevo

FASHION AND BEAUTY AS SYMBOLS

OF RESISTANCE

1

2 3

4

5


This image of Meliha Varesanovic, captured by British

photographer Tom Stoddart, went all around the world. It has

become iconic – a classic of reportage. Yet back in 1994, while

people overseas were opening their morning newspapers and

talking about the beautiful women in the picture, Meliha was

just thinking about how to survive another day.

“I put on one of my favorite dresses and sandals. I remember

that it was the first morning with a new short haircut, because

there was no water and shampoo. But I somehow straightened

my hair into style. I put lipstick on, mascara and red nail polish.

I walked slowly with my head held high. I never ran, especially

during the war. I did not want those who saw me through

snipers’ scopes to know that I was scared. I always liked to

put on makeup, but at that time I wanted to do it more than

ever. During the war, I wore the very best clothes I had in my

wardrobe,” she says.

Sarajevo was under siege for 1,460 days. Despite the shortage

of basic food items and other goods, plus the lack of electricity

and water, people took a pride in their appearance - and

attracted the attention of foreign journalists and women’s

magazines. In the absence of other forms of power, women

used clothing and beauty as a means of expression, sending

a message that they were not just going to sit around waiting

for the war to end. Appearance and attitude were a form of a

rebellion.

Exhibitions, workshops, and roundtables have been dedicated

to urban fashion culture in Sarajevo over the years, including

the war period. A normal dress code was respected prior to

the state of emergency – it depended upon your job or role

in life - but in the nineties, these rules were abandoned.

Hairdressers worked in bomb shelters, mostly free of

charge. Women did not give up their fur jackets, short and

long, or their hats, handbags or high-heeled shoes. Even

when their journey on foot to work was many kilometres

long.

One of the means of obtaining clothes was through

humanitarian aid or by refurbishing old pieces of clothing.

Fashion designer Amna Kunovac designed ‘ready to wear’

items from fabrics that came from abroad. In times of great

scarcity, such clothes were often bought by those who

worked for foreign organizations, but other women also

saved money to buy something beautiful for themselves.

Media reports about besieged Sarajevo were of course full

of photographs and images of destruction and killings. But

in 1993, a “Miss Besieged Sarajevo” beauty competition

was organized - a bizarre idea but one that proved beauty

could still send a strong message.

17-year-old Inela Nogic was selected as the winner, walking

the catwalk while the song “Eve of Destruction” played

from the loudspeakers. Along with the other contestants,

she held up a banner which pleaded “Don`t let them kill us”

- a photo that became a part of many subsequent reports

about the besieged city.

“The aim of the competition was to show that war is more

than just men and weapons and that women also played

a role in defying the goals of the killers, through raising

morale and celebrating life. It was a crazy thing during the

6

WEARING A DRESS WITH VIOLET-BLUE FLOWERS, HIGH-HEELED

SANDALS, LIPSTICK AND MATCHING NAIL POLISH, A WOMAN WALKS

WITH CONFIDENCE AND DIGNITY. NOTHING UNUSUAL, YOU MIGHT

THINK. BUT SHE IS WALKING THE STREETS BETWEEN THE SNIPERS’

NESTS AND MACHINE GUN POSTS OF A CITY AT WAR - THE BESIEGED

BOSNIAN CAPITAL OF SARAJEVO IN 1994.

war, but we tried to live a normal life. It

was some sort of a defense mechanism

that we all had.” Nogic recalls. Amateur

film footage of the competition was

later used by movie director Bill Carter

to create the documentary “Miss

Sarajevo”, which was broadcasted

internationally. The footage can also be

found in the video for the song “Miss

Sarajevo” recorded by the U2 with the

Italian opera singer Luciano Pavarotti.

Clothes inevitably carry many varied

messages. The one that is visible at

first glance, such as a person’s status,

or belonging to a particular group in

society. But there are also hidden ones

that in certain circumstances serve

as a response or challenge. The photographs

of Meliha’s dress and Inela’s

swimsuit were much more than just

pieces of clothing: they were symbols

of resistance.

-Captions-

1. In 1993, Inela Nogić won the title of

“Miss of Besieged Sarajevo”. The image

of her holding up a banner that read

“Please do not let them kill us” became

a symbol of resistance.

2. The Executive Council Building after

being hit by artillery fire in 1992

3. Overall view of downtown Grbavica, a

suburb of Sarajevo. March 1996.

4. The remains of the building of Sarajevo

newspaper Oslobođenje, kept as a

memorial for several years after the

siege.

5. Destruction in Sarajevo’s Dobrinja

district photographed after the siege

6. Meliha Varešanović in Sarajevo in

1994.

7. Heavily damaged apartment

buildings near Vrbanja bridge in the

Grbavica district on the left bank of

the Miljacka river

WORDS Anja Zulic

Images via Wikimedia Commons, SPC Mmoses Mlasko & Bosnia 1992 - 95 by Gary Knight

7

asbomagazine.com 75

DINO AGANOVIC

WITH HARD WORK, ANYTHING CAN BE ACHIEVED

Dino Aganović, known professionally as

“Hibrid”, is a dynamic and cutting-edge

music producer from Sarajevo. Hugely

popular, he has produced many songs,

as well as videos and an album, since

starting his career as a DJ aged only 16.

All well-known and talented musicians

know how to use music as a platform

for expression and creativity. What is

unique about Dino is that he likes to let

his listeners define his music instead of

describing it in his own words.

“Everyone has a different hearing

sense and that is what makes music

unpredictable,” he says.

Dino’s music has been evolving since he

started, from club and dance styles, to his

current transition to ambient music that’s

“more for a chilled-out atmosphere”, as

he puts it.

“The messages and emotions that

I broadcast through my music are

connected with dreaming and loss, and

are ultimately a critique of society.” As for

the future, he’s looking towards abstract

dance and motion. Dino is always

ready for new challenges. He has been

incredibly active in the worldwide music

scene and has played across Europe,

including in Croatia, Serbia, Greece,

and the Netherlands. His ambition is

unstoppable. In 2014, he started his own

digital publishing house - “Submarine

Vibes” - and has backed over 150 artists,

60 editions and 80 mixes, at more than

30 events across Europe. He treats each

collaboration as unique and special.

Inspiration comes from all directions,

but especially from Sarajevo, where

Dino spends most of his time. Here, he

gets inspiration from local music, while

his tracks are lapped up by Bosnian

fans. With the launch of a new label -

“Submarine” - his new goal is to promote

the experimental arts scene in Bosnia and

Herzegovina. The experience of violent

conflict followed by the political, economic

and societal fall-out, might lead some to

think Bosnia and Herzegovina would be a

tough place for a music career. But Dino

is not pessimistic. He believes there’s

plenty of infrastructure, role models and

inspiration to successfully promote the

potential of musicians in the country.

“With effort and hard work, anything can

be achieved. It is important to focus on

yourself, to educate yourself, in terms of

both creating and marketing your music.”,

he says.

“The road is difficult, so I would advise

all young musicians that love what they

do to constantly seek new opportunities,

new acquaintances and potential

collaborators.”

WORDS Hoyumi Yoshiro & PCRC


Blutack

PHOTOGRAPHY Courtney Mercer

BLUTACK ARE A DUO SPLIT BETWEEN NORTH WEST AND SOUTH EAST LONDON,

CREATING ART AND MUSIC THAT REFLECTS THE CULTURE OF THEIR CITY. ASBO

MAGAZINE SPOKE TO THEM TO SEE WHAT THEY’RE ABOUT, THEIR THOUGHTS ON

CURRENT MUSIC, AND THE CITY THEY KNOW AND LOVE.

Blutack are a duo split between North

West and South East London, creating

art and music that reflects the culture of

their city. ASBO magazine spoke to them

to see what they’re about, their thoughts

on current music, and the city they know

and love.

What is Blutack?

Tarmac: Blutack is me – Tarmac, and

Plastic. It’s an electronic music band,

um… Plastic: I’d say we’re kinda one

with everything, out aim really is to get

our fingers in a few pies, film and art and

music really.

Almost a multimedia group?

Plastic: Yeah exactly, that’s the goal

right you know. Right now mostly music

and Tarmac’s been doing a lot of art. The

music side’s a bit more busy. Tarmac:

That’s what we’re doing right now really,

with films and stuff eventually.

Tell me about your latest project.

Tarmac: Hmm yeah what’s going on. So,

we’ve made a lot of music, and have been

making a lot of music for like the last year,

or two years, so right now we’re moving

towards an EP and working on art as one

big package. Plastic: We just wanna get

moving I think. We don’t wanna just…

I dunno. We’re really motivated by our

friends and the people we’re around.

From Bootprint (Bootprint records) back

in the day to now, everything that’s

around us.

Tarmac: In terms of the project, we have

a collection of songs coming out soon, I

don’t really know what to say about them

but it’s something. Plastic: I think that

it’s a really good image of our time that

we’ve spent together. Tarmac’s spent a

lot of time away in Austria, he was living

there. I visited him once though, we just

lived some crazy movie. we had nowhere

to stay so we slept in the uni, locked out

climbing into the windows, making art

with some pretty amazing characters,

we could go into so much detail but

eventually we got stuff rolling when he

came back, everything finally kicked

into gear, you know. We connected a lot

artistically and personally. Tarmac: Yeah

we went through some shit. Plastic: We

did, we did haha. Really went through

some stuff. That’s always good creatively

though. Plastic: Yeah! And then we

recently spent some time apart, just to

breathe away from each other and do our

own thing. Tarmac’s been really on his

art and we’re both really on it with music

separately. So I feel very hopeful for the

future with what’s been going on now. I

feel very ready.

So it’s almost like a marriage for you

two?

Plastic: Yeah yeah! Tarmac: It’s

something haha. Plastic: Somehow. It’s

very close to that.

What would you say your influences

are for your creative output, be that

music or art?

Tarmac: That’s a great question. Right

now for me, I’m really into garage and

also pop music. I think they’ve both been

hitting us a lot recently. Plastic: Yeah

definitely, It’s mad when you really deep

it, we enjoy and take a lot from everything.

Not even just music but also in day to day

general life. I mean a lot of our music

comes from an inhuman amount of

hours for a few days, it just happens. It’s

almost like a catch up, reflecting what’s

been going on around and inside us, as

much as music does inspire us, being

really present inspires us the most really.

but yeah.. sonically we do want to stay

as fluid as possible. Tarmac: It’s quite

cliché, but I think the city inspires us a lot.

We’re responding a lot to where we are

and how we’re living. Also in terms of the

art we’re making, it’s a reflection of our

environment so we use a lot of imagery

you would see all over the city – we want

to make something that people can easily

relate to. One thing we like doing is taking

logos and recognisable images and using

those as source materials. I’m big into

logos right now. But in terms of actual

influences there are a lot that we like, I’m

trying to think of some off the top of my

head but there’s so many. I don’t even

know.

Plastic: Definitely loads of people.

Tarmac: Even more jazzy things.

Standing on the Corner, they’re amazing.

Lot’s of Garage. The Mitchell Brothers.

They’re magic.Plastic: Tirzah, Mount

Kimbie. These people also. Toro y Moi, as

a kid. He made me think okay I can do

this, I can do music.

Tarmac: Bro, I started listening to Toro

y Moi again like a few days ago. Plastic:

Yeah and it’s mad because everything’s

under his belt in the sense of: he has

his art company, he’s stepped into so

many fucking genres – not genres sorry,

colours of music. He’s gone into rocky

type band stuff with What For?, and

super electronic with Causers of This in

the early stages, to Samantha.

Tarmac: I think that’s something we’re

into too. Plastic: Definitely. We play a lot,

we have sessions with different set ups

and trying different stuff. Tarmac: We

started really lofi weird noisy. Plastic:

Super lofi, super muddy. Tarmac: Kinda

nuts, that’s how it started. And then it

went really clean and then I guess now

we are where we are.

You mentioned about the city. What

are your thoughts on music in London

at the moment? Do you think there’s a

sound or spirit of this generation?

Plastic: One thousand percent, without

a doubt. I feel the people that we’re

surrounded with and the culture that

we’re really in and taking responsibility

for, it’s the most moving thing, I think.

Work with all of our friends, everyone in

bands. We’ve got the Denzel [Himself]

side of things, the whole Set Count

collection of people. Then we’ve got the

whole nine8 collection of people, the

whole Bin Weasel family, the Reservoir

family. They don’t necessarily go hand

in hand musically, but they are very big

influences on us.

Do you think they’re saying the same

thing?

Plastic: I think if I’m gonna be honest,

there’s definitely an honest movement

within it. I respect different artists for

different things in our generation, there

are some people where I don’t fuck with

their music, I don’t fuck with their intent;

but I really fuck with their motivation and

the way they work and their work ethic,

especially in this day and age where it’s

so easy to get lost and fall for quick


“Everyone’s depressed, everyone’s so fucking sad all the time. And it

doesn’t have to be like that.”

gratification, just doing nothing. And then there are people I

really love, LOVE artistically, and I’m like – wow, you are gonna

change something. You’re definitely gonna change something.

I think that for me it’s such a blessing to wake up with that.

They’re all on a their own mission and we respect that.

Tarmac: And there’s a lot to do cause we wanna leave our

stamp. Plastic: Me and Tarmac, after every show we go to, we

leave and we’re like – cool, this is our time, we need to do this.

We need to get busy and not fall behind. Tarmac: I think we also

wanna make a scene around ourselves, a group of people and a

family. Plastic: We definitely wanna have hella musical babies!

Tarmac: We want it to be this really big, all-encompassing

lifestyle kinda thing. Almost like a brand or something. Extremely

strong art, great music and lovely parties! Plastic: And for the

right reason. I don’t think it would ever get tainted with the idea

of…Tarmac: Clout. I didn’t wanna say it. Plastic: Clout, yeah.

Tarmac: Appreciate the art!

Plastic: And I want other kids to be doing it. Every time I’m on

the bus going home from Kensal Rise, I see a little dusty kid. Like

some dusty little kid that goes QPCS, I’m like, rah that used to

be me, ahaha. And I just wanna be like - bruv oi, whatever you

do bruv, just do it. Discipline yourself and get at it.

Big up the QPCS mandem.

Plastic: Ahahahaha Tarmac: Some dusty yutes. Plastic: In them

dusty tracksuits man, for real. Eating prawn cocktail flavoured

spirals. The flashbacks are too vivid.

If you could say one thing with the product that you create

as Blutack, what would you say?

Plastic: I think it’s just art, it’s up to you. I’d say live beautifully

is probably the closest summary of our intent. Really look at

what’s happening now and just appreciate where you’re at. Me

and Tarmac met when we were at an awkward place and then

flourished so nicely. We just wanna be like, yo kids – everyone’s

depressed, everyone’s so fucking sad all the time. And it doesn’t

have to be like that. I just people to be like, rah - I can care about

these things and not have to succumb to pressure, Instagram

followers and all that. Tarmac: Yeah I feel that. I think another

thing is integrity, which I think goes with what you were saying,

not worrying about followers and stuff, and even with the art

it’s about living - just living for it. Plastic: Be honest, man. Just

be honest. If you love what you do and you wanna make an

impact, you wanna make a change. Change has always come

from something impactful. Like rock music, rock n roll, the early

impact in the 50s, it didn’t happen because someone else did it,

it happened because it was something new, an innovative thing.

If I take it to the UK, Jungle, Garage, Grime, the whole shebang –

it’s kids linking up and fucking about. So think in the mentality of

moving forwards, fuck about and have fun, and just do you with

that balance. Tarmac: Do you. I like that.

Plastic: Be yourself. To the one hundred. It’s okay to feel set

back sometimes, it’s okay to feel like, rah... Tarmac: And just

being aware of it. Plastic: Be aware of it, it’s a journey, passing

thoughts and passing emotions. Everything’s calm. Tarmac:

Yeah, something like that is where we are. Plastic: That’s literally

where we’re at. Make happy music, we’ll show our emotions you

know, sometimes it’ll feel sad. Tarmac: Yeah. We never go too

sad though. We’ve never made that sad a song really, I don’t

think we did? Some are melancholy.

Plastic: That’s it yeah, that’s what I was gonna say. Tarmac: I

think we wanna make people happy, or at least aid them to reach

that point for themselves.

Blutack’s latest single is available on their Soundcloud now.

WORDS Otto Hashmi

Oh i do like to be beside

the seaside

CREATIVE DIRECTION & STYLING Gemma Keighley PHOTOGRAPHY Tyler Petchey MODELS Tobias Emare & Daniel Hopwood




86 ASBO MAGAZINE

88 ASBO MAGAZINE

asbomagazine.com 89

G A B B A

KIDS

A YOUTH SUBCULTURE FORMULATED TO FIGHT BACK AGAINST THE REPRESSION.

90 ASBO MAGAZINE

asbomagazine.com 91

IN RESPONSE TO THE

REBELLION IN UKRAINE IN

EARLY FEBRUARY OF 2014

THE YOUNGER

GENERATION

OF THE

CAPITAL FIND

THEMSELVES

STRUGGLING

TO DEVELOP IN

A SOCIETY OF

EXPECTATION

AND HARDSHIP.

BY EMBRACING YOUTH

CULTURE AND EXPRESSION

THROUGH FASHION, CITIZENS

ATTEMPT TO REBUILD

SOCIETY IN THE MIDST OF AN

ECONOMIC UPROAR.

Gabber is a style of electronic music and a subgenre of

hardcore techno, although arguably a house variant from

Detroit, techno music reached Amsterdam in the late 1980s,

and it was the producers and DJs from Rotterdam in the early

1990s who evolved it, mixing it with industrial into a harder

house variant which is today known as “gabber”.

The specific sound of Rotterdam was also created as a

reaction to the house scene of Amsterdam which was

seen as “snobby and pretentious”. Though techno tracks

from Frankfurt’s Marc Acardipane were quite similar to the

Rotterdam style, it was the popularity of this music in the

Netherlands which made Rotterdam the cradle of gabber.

The e,ssence of the gabber sound is a distorted bass drum

sample, overdriven to the point where it becomes clipped into

a distorted square wave and makes a recognizably melodic

tone.

Often the Roland Alpha Juno or the kick from a Roland TR-

909 was used to create this sound. Gabber tracks typically

include samples and synthesised melodies with the typical

tempo ranging from 150 to 190 bpm. Violence, drugs and

profanity are common themes in gabber, perceptible through

its samples and lyrics, often screamed, pitch shifted or

distorted.Through embracing youth culture and expression,

the youth are attempting to rebuild society in the midst of an

economic uproar. And what typically does disenfranchisement

within the youth result in? Subcultures. Think punk, hiphop

and hipsters. In addition, most subcultures burgeon from

most and it’s no exception within the Ukraine. Ukraine is

the centre of a burgeoning ‘rave revolution’ amongst the

younger generation, rehashing a 90s rave subculture, known

as Gabber. In 2018, we’re now seeing the second coming

of Gabber; borne from the 2014 rebellion, the revolution of

dignity. Over the last decade we have seen a substantial of

up coming designers emerge from Ukraine in the middle of

political and economic havoc. The revolution has brought

quirky, modern designs represented by those depressed

with conflict, looking for a way of expression in times of such

hardship - bringing back the rave subculture.

In modern society; social pressure, economic turmoil and

a time of change creates a desire to form expression. The

rebellion youth of the capital was known for the generation

with ‘nothing to get up for, nor nothing to go to bed for either’.

Job losses were at a high. So, as always, a youth subculture

formulated to fight back against the repression. So the

city of Kieves, soon became the hub for the ultimate rave

destinations around the world, allowing citizens to embrace

expression.

CXEMA is one of the key rave set up groups. In true rave

subculture style, the best raves are always illegal - due to

the high influx of drug taking at these events. However, in

the midst of economical uproar authorities are struggling

to control such illegal activity including illegal substances.

The appeal to many, to take drugs comes from a sense of

displacement and wanting to get away from the economic

92 ASBO MAGAZINE

asbomagazine.com 93

disparity, giving an instant release of liberation and freedom;

however, every come-up has a come-down. The illegal raves

allow freedom and rebellion with the exhilarating risk of police

seizure in derelict buildings. It’s a new type of expression,

developing its own style, unifying the younger generation

together amongst turbulent times.

Fashion has always been an intrinsic factor in the development

of subcultures. In the Ukraine, fashion has become more

accessible than ever with cheap flea markets and vintage

clothing on the rise, enabling individuals to upcycle their

wardrobe with the recycle of the capital. The markets

are becoming well known to the country’s visitors, and is

evolvolving to be the secrets of the Ukrainian youth. They

highlight social poverty but also show the material culture of

Ukraine youth, encouraging entrepreneurial opportunities.

The 90’s trend of rave culture is presenting to become a

cycle by embracing everything vintage. This is becoming

foreseen and represented as iconic wear for self-expression,

worn at key party events especially at festivals followed and

embraced by youth around the globe.

The catwalk is reflecting the rebellious nature and selfexpression

of the rave scene in current culture. Anton

Belinskiy is an up and coming Kiev designer and former

LVMH Prize finalist. Belinskiy represents modern design

based on Ukraine’s troublesome politics, using a range of

politically oriented references to symbolically outline his

views, whilst including recycling fabrics. His late collection

in 2017 used fur of a hat worn by cabinet members and

featured a chestnut brown puffer coat to impersonate the

leather couches in the Ukrainian parliament.Additionally

Gosha Rubchinskiy, a designer, filmmaker and designer

takes influence from the fall of culture in society to portray

and inspire his work. The Russian youth are coming of age

and looking back at the counties past, to control their own

future. Gosha’s S/S 18 collection, represents the carving of

the younger generation being the first cohort since the fall

of the Soviet union. The show challenges the real look of

Russian beauty, showing real people from the outskirts of

society, represented by a range of ‘nerd’ looking ravers, right

in context with the burgeoning rave subculture. The model’s

overall image are described as “mixed of sportswear with

a nightclub-rave feeling”, creating a guaranteed general

appeal. Gosha’s united vision encourages creativity with

the freedom to travel since the economic change, presented

with opportunities their parents didn’t have. Having an

open mindset and individual self-expression will open new

gateways for Ukrainian youth to thrive in modern society.

There’s never been much room between subculture and

what’s happening in the mainstream. With the rising

popularity of sportswear as a fashion statement merging

with the surging popular festival scene and upcoming ravers

and gabbers, we’re evolving into a global community of

individuals who are looking for a vital form of expression.

Ukraine symbolises the younger generation as a whole,

trying to develop being the minority in a culture of pressure

and hardship.

WORDS Abbie Weight

“Ukraine symbolises the

younger generation as a whole,

TRYING TO DEVELOP

BEING THE MINORITY IN A

CULTURE OF PRESSURE

AND HARDSHIP.”


Silky

PHOTOGRAPHY Aida Redzepagic STYLING Gasha Milandinovic

MUA Renata Ponjevic MODEL Ajla Klico



100 ASBO MAGAZINE

asbomagazine.com 101

Ena Dujmović and Plusminus

Fashion: FUSING MODERN

ART WITH GRAPHIC DESIGN

Bosnian native Ena Dujmović is pioneering the fusion of modern art and graphic

design as a method to create the fashions that make up her brand Plusminus.

Dujmović views her brand as an opportunity to innovate: “the inspiration came

from the world of graphic design and its artists who frequently remain closed off

to opportunities that break the traditional mold within which they operate, but

who are now opening themselves up to a whole new vision.”

Dujmović, who studied Product Design at the Academy of Fine Arts in Sarajevo,

recalls the moment when she first realized she wanted to pursue a career as

a fashion designer. “I had the opportunity to work for one of the rare fashion

houses in Sarajevo. This was a special experience because I was immediately

‘thrown into the fire’. I had to do a lot of things that weren’t in a designer’s job

description, but all of this helped me to make my brand more serious later on.”

PHOTOGRAPHY Hamza Kulenović MUA Naida Đekić MODEL Hana Hasanefendić

Dujmović’s experiences at the Art Academy and at the Sarajevo

fashion house helped her to discover her own unique aesthetic

and signature as a designer and motivated her to create her own

fashion brand. When asked to describe the Plusminus brand,

she emphasizes the concept of contrast that is present in all

of her creations—black versus white, positive versus negative,

plus versus minus. Each of her pieces, a work of contemporary

art hand printed onto natural fabrics that tells the story of each

artist in the form of graphic fashion. The process behind the

production of her designs is as intricate and innovative as the

concept of the brand itself. The first step in her artistic process

is to gather inspiration from the creativity she channels from

within herself. “When I want to accomplish my own creations I

feel like running off to somewhere without technology so that I

can get in touch with myself and elicit my own creative energy.”

This is followed by an initial concept sketch for each design.

Once a concept comes to fruition, molds are created to transfer

art onto fabric in unique, handcrafted ways.

“A large part of the process goes toward experimentation with

graphic expression and the application of these expressions

onto to textiles. We currently combine copper-etching and

linocut techniques to create our designs and I’m always working

with the artists to explore new ways of expressing their art

form,” says Dujmović.

Dujmović discusses Bosnia’s fashion industry and how it was

once booming just 25 years ago. Post-war, however, there are

only a few notable companies left, and this presents a major

disadvantage to the youth that are attempting to enter the

industry. When asked of the hardships she faces working in

this post-conflict and highly complex society, Dujmović says,

“Sarajevo is not a very inspirational environment for designers,

but when you are carrying the creativity inside of you, it finds a

way to come out.”

Struggles and roadblocks are not unfamiliar to Dujmović and she

has faced many challenges along her journey to create her own

brand. “You can’t expect anyone to help you because there are

very few people that will believe in your success. So, in many

ways, you are on your own, and you often need to think carefully

about your every move and what you will do next,” she states.

However, despite the challenges and disadvantages that may

come along with working in Bosnia, she explains that there are

silver linings: “Because the fashion here is not developed, it was

easy to reach customers and achieve goals very quickly.”

Dujmović’s self-reliant approach, creative energy, and

dedication to her passion fuel her to continue pushing ahead

in this industry. “When you look back, you know that your hard

work wasn’t for nothing. So every day, I wake up, make plans

for the day, and believe in myself and work.” She continues to

promote and support Bosnia’s fashion industry and the designers

that are a part of it. “I try to inspire myself on my journey and

motivate as many creators as possible to take the same step.

We are stronger together,” she expresses. The advice she gives

to young aspiring artists is: “Work hard, believe in yourself, and

don’t blame anyone else if you don’t succeed.”

WORDS Sophie Gagnaire & PCRC

102 ASBO MAGAZINE


he idea behind “Funky Guerilla” was born five

years ago, when a local organization – the “Most”

- or “Bridge” - association decided to identify

young residents and provide them with the funds

to begin working in the community. “Over the past

two years alone, we’ve made more than 150 different products

of our own.

The brand has become especially recognized through our

hoodies and our dresses, which have been our best-selling

items,” explains Predrag Borojević, the executive director. “We

use the highest quality natural materials: cotton, viscose, and

modal. For the dresses, we also use materials that are highly

durable and long-lasting.” But that’s not the only aim. 100%

owned by “Most”, which predominantly works with young people,

Funky Guerilla’s vision is not only to develop a high-quality

product but also to provide local talent with the opportunity

to showcase their skills and abilities. Being successful in the

market allows them to invest their profits into community work

and provide help for children and young people. “These goals

have been our motivation for the past two years and they have

been pushing us forward because, at the end of the day, we

have to know why we’re doing something. It’s not just about

how many products we are putting out there,” he added. “We

are committed to providing training so that young people can

master skills that make them more competitive in the job market,

so that they can find employment more easily. We collaborate

extensively with the Job Search Club, which operates within

the Employment Bureau of the Republika Srpska. We hold job

interview simulations with trainees and try to give them advice

on how best to talk to potential employers,” explains Borojević.

A project like this is far from easy, but anything is feasible with

enough will and dedication. “When you have a good team of

people who jointly push an idea and fight to make it a reality,

then it’s easy to attract people who have the specific skills

and competencies you need, which, in our case, were in the

production of clothing. The initial funds can come from various

sources: from credit lines, employment incentives, and grants,

as well as support from a number of different programmes run

by local foundations. People often think that funding is the

biggest obstacle to accomplishing an idea, however, but I don’t

agree. It is important, of course, but the team’s perseverance

and dedication are the most critical factors, especially in the

first 18 months of operation.” Like every start-up, Funky Guerilla

has faced challenges. It took the company more than a year to

get in touch with the right suppliers and establish access to a

reliable supply of quality materials. But Predrag is now looking

to the future:

“Cooperating with more Bosnian artists is the direction we

want to take in the near future. We have plenty of plans and

crazy ideas to connect artists to the Funky Guerrilla brand,

but everything is still in the idea development phase. It’s going

to take both time and money - and dedication - to make that

happen.” Check out Funky Guerrilla’s clothing online at www.

funkyguerrilla.com!

WORDS Andrea Aleksić & Balkan Diskurs

Young entrepreneurs

from a small town in

Republika Srpska are

showing that having

an original idea and

tenacity can really pay

off. The creative team

behind Funky Guerilla has

embarked on a business

adventure – to create,

market and sell unique

clothing while doing

something to help the

local community.

FUNKY GUERRILLA

SOCIALLY

BENEFICIAL

ENTREPRENEURSHIP


PHOTOGRAPHY Aida Redzepagic STYLING Gasha Milandinovic

MUA Renata Ponjevic MODEL Ajla Klico

WARM Festival

“THE ACTIVE CONTRIBUTION TO

AND DISCUSSION AMONG FESTIVAL

ATTENDEES ABOUT THESE IMPORTANT

TOPICS”

PHOTOGRAPHY WARM Archive WORDS Rebecca Zoe Kelley, Dakota Peterson & PCRC

Enrico Dagnino’s exhibit “Untitled” is unveiled in Sarajevo during the 2016 War Art Reporting

and Memory (WARM) Festival. (Photo: Tatjana Milovanović)

Enrico Dagnino Exhibition


Night Shift 1

A coroner removes the packaging tape from the face of a victim of summary execution dumped in Don Carlos

Street, Barangay 190, Pasay City. A total of 8 summary execution victims were found in Pasay and Makati City.

(Photo: Raffy Lerma)

Night Shift 2

Jennilyn Olayres holds her partner Michael Siaron, 30, a pedicab driver who was shot and killed by unidentified motorcycle-riding

vigilantes along Pasay Rotonda, EDSA on July 23, 2016. A placard was left beside the victim’s body which says, “Pusher ako, wag

tularan” (I’m a pusher, do not copy me). According to Olayres, Siaron was not a drug pusher. (Photo: Raffy Lerma)


Two sisters with a shared childhood

conjure up entirely different memories

about the place they call home. Their

perceptions are clouded by the realities

of war. One woman notes her disdain

for Sarajevo while her sister expresses

love for the very place in which they

both grew up, although it was painted

red and besieged by war. Both women

have adapted and continue to change

while these memories shape their

actions and emotions. These are their

truths and they unravel in their fluid

and unstable reality, remaining timeless

– indicative of what was, but also what

can be.

Memory acts as a pivotal foundation

in the ephemeral nature of the social

and political interactions that unfold

in post-conflict settings. Capturing

the sisters’ truths holds these sociopolitical

acts accountable through the

action of remembrance. Remembrance

also provides the critical groundwork

for post-conflict transitional processes

such as preserving truth, maintaining

historical facts, and creating a space

for the prevention of future conflict.

The WARM Foundation’s Inception

In April 2012, on the 20th anniversary

of the siege of Sarajevo, hundreds

of journalists reunited in Bosnia’s

capital city for a week-long event

initiated by French photojournalist,

war correspondent, and documentary

filmmaker, Rémy Ourdan and other

foreign correspondents who covered

the war in Bosnia from 1992 to 1995.

This event was the first of its kind:

never before had war reporters

collectively returned to the place where

they had previously covered conflict,

to find old friends and reconnect with

the country. However, this event was

meant to serve a greater purpose—

to officially announce the launch of

the War Art Reporting and Memory

Foundation (WARM), an organization

dedicated to addressing contemporary

and past conflicts through artistic

expression that promotes a culture of

remembrance.

WARM’s founder, Rémy Ourdan,

made the decision to establish the

Foundation following a marked career

covering war and post-war eras in

countries across the globe, including

Croatia, Rwanda, Burundi, Congo,

Eritrea-Ethiopia, Kosovo, Sierra Leone,

Israel-Palestine, Afghanistan, Iraq,

Mexico, Egypt, Libya, Central African

Republic, and Bosnia and Herzegovina.

Now, WARM comprises an incredible

network of world renowned artists,

war correspondents, filmmakers,

academics, and activists. The network

includes members such as Christiane

Amanpour (journalist at CNN), Janine

Di Giovanni (journalist and author),

Ron Haviv (Photographer), Gregory H.

Stanton (President of Genocide Watch

and research professor at George

Mason University), and Danis Tanović

(filmmaker).

In order to develop the Sarajevo

branch as an international hub for

dialogue and collaboration among

journalists, activists, scholars, and

other stakeholders that are dedicated

to combating and preventing war and

genocide, WARM needed a strong

local partner. Velma Šarić, Founder and

President of the Post-Conflict Research

Center (PCRC) and a prominent figure

in the world or conflict reporting, was,

thus, elected as the Foundation’s

Sarajevo project manager and PCRC

now plays a primary role in the planning,

coordination, and implementation of

WARM’s Sarajevo-based activities.

The WARM Festival

The annual WARM Festival has

become one WARM’s most popular

events. Together, WARM and PCRC

have successfully organized five

international WARM Festivals, bringing

together more than 1,000 attendees

from the Middle East, Europe, and

the Americas. The Festival’s résumé

now includes 54 films premiers, 32

exhibitions launches, and more than

50 conferences, workshops, and

discussion panels.

“The Festival’s first year was a big one

for us and drew a lot of media attention.

We managed to fly in around 120

Libyan freedom fighters from Tripoli

to Sarajevo for the premier of Florent

Marcie’s film, Tomorrow Tripoli - The

Revolution of Rats. It was a massive

undertaking for us, from organizing

logistics to obtaining visa approvals,

but it put WARM on the map,” explains

Tatjana Milovanović, PCRC’s manager

of field operations.

In its subsequent years, the Festival

has featured the work of many notable

My Body A War Zone

“That night, they took me into the basement of the school and threw me to the floor. I couldn’t see their faces.

I prayed and begged for them to stop, but nothing helped.” H.B., Bosnian survivor of wartime sexual violence.

(Photo: Midhat Poturović)


artists from around the world. In

2016, Enrico Dagnino’s photography

exhibition “Untitled” was unveilved,

revealing images that captured the

photojournalist’s lived experience

working in the field of war. Alisa

Kovalenko’s documentary film “Alisa

in Warland” was also debuted in 2016.

The film tells the story of the twentysix-year-old

film student from Kiev

who decided to record the escalating

tensions that were erupting throughout

Ukraine and follows her experiences

after joining a group of Ukrainian

soldiers on the front lines of war where

she was forced to endure a myriad of

perilous encounters with separatist

snipers, mortar shell explosions, and

capture and interrogation by pro-

Russian forces.

“The Night shift”, a photography and

video exhibition that displays the

extreme violence caused by the Filipino

government’s war on drugs, also made

its Balkan debut during WARM Festival

2017, featuring work from twelve

night shift regulars: Ezra Acayan, Alyx

Arumpac, Dante Diosina, Kimberly Dela

Cruz, Vincent Go, Eloisa Lopez, Carlo

Gabuco, Brother Jun Santiago, Basilio

Sepe, Jes Aznar, Raffy Lerma, Jay

Ganzon, and Linus Escandor.

In addition to featuring the stories

of international conflict, Milovanović

expresses the importance of

incorporating perspectives on the

Western Balkans and on the conflicts

that happened in this region. “We would

like to promote things that matters to

the citizens of Sarajevo, this country,

and this region and that help us to deal

with our past in a constructive way.

WARM Founder Remy Ourdan’s The

Siege, a film about resistance, survival,

and coexistence in Sarajevo during

the war, sparked vibrant discussion

amongst locals.

“The active contribution to and

discussion among Festival attendees

about these important topics is what

makes this Festival truly unique, And

the topics presented don’t have to be

directly related to war,” Milovanović

explains. “For example, we screened

Srđan Šarenac’s Two Schools, film that

details the issue of segregation within

the Bosnian school system.

This is a contemporary issue that,

although tied to our history of conflict,

is one that could potentially lead to

future conflict. It is, thus, an important

subject to address.”

“My Body: A War Zone”, an exhibition

produced by PCRC and PROOF: Media

for Social Justice was also among the

projects feature during the WARM

Festival that broached a topic of utmost

importance to Bosnia’s transitional

justice and peacebuilding processes.

The exhibition, which features the

portraits and testimonies of survivors

of wartime sexual violence not only

from Bosnia, but also from Nepal,

Colombia and the Democratic Republic

of the Congo, aims to bring individual

stories of injustice to the broader public

in an effort to overcome the silence and

stigma associated with crimes of sexual

violence. The exhibition is also aimed

at replacing the culture of impunity for

sexual violence with one of deterrence.

The Future of WARM

With 2018 coming to a close, WARM

and PCRC will look to the coming

summer to continue documenting and

disseminating the stories of today’s

conflicts with launch of the 2019 WARM

Festival on Contemporary Conflicts,

which will take place from the 8 - 13

July and will feature exhibitions, books,

films, discussions, and interactive

workshops on why we must remember.

This coming festival will additionally

provide more insight into WARM’s

long-term strategy to establish the

WARM Center where archives and

documentation on contemporary

conflicts can be available to students,

researchers, and those interested in

learning more about conflicts around

the world. In conjunction with this

effort, PCRC plans to incorporate more

youth representation and participation

to the 2019 agenda by implementing a

WARM Academy for local, regional, and

international students and by organizing

a youth multimedia showcase that

features work of up-and-coming

journalistic talent from Bosnia.

Sewing the practices of memory

and truth-telling into the fabric of a

post-conflict society can result in

a long-lasting peace. A culture of

remembrance does not mean we must

dwell on the past, but is a mechanism

so that we “Never Forget” our past

mistakes and do not repeat them as we

move forward and build our future.

Enrico Ranho was sleeping beside his daughter when unidentified masked men barged into

his house and shot him in the head. Eight-year-old Erica was left with her papa’s dead body,

blood, and trauma. (Photo: Eloisa Lopez)

Night Shift 3

b112 ASBO MAGAZINE asbomagazine.com 113

ONES.TO.WATCH

_LONDON

(BRODIE.SIÀN

.TABERNER)


- Dark, twisted and vibrant: ASBO meets up with one of London’s

hottest new photographers -

“I TAKE

INSPIRATION

FROM THE

THINGS

HAPPENING

AROUND ME –

Brodie Siàn Taberner is a Yorkshire born

photographer who now resides in London.

Her style is what can only be described

as dark, twisted and vibrant. During her

early years at high school, Taberner was

always experimenting with her artistry,

it was upon finishing school that she

realised that her true passions were

within film and photography.

Recognised for her keen eye in capturing

the cinematic with her unique concepts

and bold aesthetic, Taberner studied

at the prestigious Camberwell College

of Arts and went on to gain her MA

in Fashion Photography at London

College of Fashion. Her work reflects a

fashionable and cinematic take on the

real emotions and experiences that we

go through in daily life bringing them to

the foreground of conversation. ASBO’s

profiles the rise of the UK’s most prolific

and thought-provoking photographer.

How did you get started in Film and

Photography?

Art has been something I’ve been

passionate about for as long as I can

remember. Many of my family members

were/are artists, mainly in traditional

drawing and painting. I found my love

for photography as a medium through

my love of music and film, which are still

today, the very essence of my work. I

started gaining an interest of taking

photos when I used to snap photos of

my friends on stage on my phone during

high school. I got my first camera in high

school too, which encouraged me to

study photography throughout college.

I then chose to continue through

university as I developed a love affair

with the medium. It has always been

something I can put my whole self into,

and I think that is something really

special. I’ve been in education for a long

time and it was only until last year where

I felt like I was reaching my full potential

in terms of aesthetic and conceptuality.

Photography in particular Fashion

Photography is a very competitive

industry, what makes you stand out?

Personally, I’m tired of seeing photos that

are just selling a garment. That has been

something that never really appealed

to me, so I’ve always been on the fence

of being a fashion photographer and an

artist. I focus more on the story and the

emotion of my subjects and I think in an

industry like this you have to be bold and

slightly controversial which is something

I have done in regards to talking openly

and creating work based on my personal

experiences with mental health and

creating a conversation around that

instead of focusing around fast fashion.

You recently had some of your work

published. How did you feel about

getting your work published?

My most recent publications have been

the most exciting as they have been

under my real name and they are works

that more represent me as an artist. It

always feels great to have my works seen

by an audience that may not know of my

work. My next goals are to aim for bigger

platforms as well as submitting my films

into film festivals.

Your editorials have a very specific

style, a somewhat cinematic feel to

some of your recent editorials, how

would you describe your style and

aesthetic?

I would describe my aesthetic as cinematic

and stylized violence.

116 ASBO MAGAZINE


What motivates your aesthetic and how would you describe

your creative process?

My love for crime and thriller movies really inspires my aesthetic

as well as my own personal experiences. The recent editorial I

created, ‘I see the Devil more than I see God’ was a take on my

personal battle with depression and those images were infused

with green shadows and yellow highlights and vibrant reds.

I play with colour theory to create that sense of mood and feeling

I am after... A lot of my themes influence the type of colours I like

to use but to generalise everything I like to use strong female

figures and they are usually covered in blood. I take inspiration

from the things happening around me – relationships, feelings

and my personal life.

I always carry a small notebook and pen so whenever an idea

pops into my head I can jot it down and sketch stuff out. Then

it’s just the case of getting everything I need and models I can

vibe with.

Do you listen to music during your creative and editing

process if so, what are you listening too?

I listen to a lot of soundtracks mostly. I’m a little bit repetitive

sometimes and I create playlists for different moods. I find

myself listening to the John Wick: Chapter 2 soundtrack a lot

recently – Specifically the first track.

Location vs. studio?

I definitely prefer working on a location. There’s something

about using either the natural environment or a domesticated

space that can set the tension of the scene or take the viewer

back to a time where they were in a similar state of mind within a

certain setting - but I also think it is incredibly important to learn

how to work within a studio environment.

Do you prefer motion editorials or are still a traditionalist at

heart and prefer print?

Why not both? I love making moving image alongside my prints!

I think both mediums can offer a range of perspectives.

Tell us about any exciting projects you are working on?

I’m currently working on my initial ideas for my second series.

I don’t have a title for it yet but if you’re a fan of my current

work you can expect a lot more cinematic stories and a lot more

moving image.

I also have a group exhibition coming up in March where I will

be showcasing my latest series and debut film. The private view

will take place in the evening of 14th march at the Bargehouse

in London.

If you can keep up with Brodie, follow her on both Facebook

and Instagram @brodiesianart

WORDS Ash Allibhai


FARIS AMIN

- A MUSICIAN TRANSCENDING BORDERS -

Hey Faris, tell me about yourself.

Currently I am based between Berlin and Ramallah. I was born

in AlBireh and lived between there and Ramallah till I was 17, and

came to Berlin in 2015. I came to study my bachelors in Classical

Music and Humanities. Right now I am finishing my final year of the

degree, and I graduate next Summer. I’m very excited about that,

because I’ve been a student for way too long. In terms of skill, I

am a cellist and I play a tiny bit of piano, I enjoy both a lot. I usually

perform with cello, and recently I decided to experiment with my

voice, I sang on a stage of a ‘House of Living Colours’ event.

Growing up how did you get into music and what made you

want to be a musician?

My parents, god bless them, encouraged my creativity since I

was 6, so I started with Violin, levelled up to Cello when I was

11. Ever since, I’ve embarked on a journey that has brought an

array of wonderful things. The opportunities music brought

made me curious about the music/art world. I am quite curious

person, and intuitive as well. So it was organic for me to take up

musicianship. My friends, god bless them as well, encouraged

me a lot to take music more seriously.

120 ASBO MAGAZINE


Does your focus as a musician lie more

with Classical or Popular music? Do

you think there is an overlap for the

two?

As a musician I draw focus to sound in

general, because music to me is sound. I

hear and feel it everywhere, so whether it

is a performance of a Renaissance piece

or a Moses Sumney concert, I am drawn

to both. I think Classical music, as an art

form, was used as a tool of imperialism

to culturally subdue other non-western

arts, and values. The African-Americans

who sang spirituals sparked the start of

Blues, and Jazz; historically, this music

and what came from it – like Rock, Metal,

Funk, Soul, Hip-Hop, Trap, and Techno

– owe a good deal of their foundation to

classical music. It is one line of evolution

cut into divergent streams, so yes there

is an overlap. I am interested in the

virtuosity and complexity of classical

Being a young person in Palestine varies

from a person to another, there are many

young people in Palestine, more than you

can imagine. Each have their own stories,

and realities, depending on location and

history. Everyone there has a complex

life, there are problems striking in all

conceivable ways. The Israeli Occupation

is the first, largest, most urgent one to

tackle. The everyday life of a Palestinian

is mainly based on survival, resistance,

and striving for freedom, dignity and life.

To be honest, I would not do justice to

the Palestinian cause by simply speaking

about experience due to these the complex

conflicts. On the bright side, at the moment

there are huge things happening there

in the flourishing creative cultural scene,

follow BLTNM to be updated!

How does your identity as a Palestinian

effect your musicianship and the art

which you create?

We work in different domains, mine is

mostly the creative and managerial side.

Last August we threw numerous parties

around Palestine and some in Jordan, but

there was one particular event of raging

success. An album release concert, with

an amazing line-up, amazing venue, we

worked on organising and marketing

it expecting 200 guests and ended up

with around 600. It was crazy, it looked

more like a festival rather than a normal

Thursday Ramallah night.

Is there an overriding message behind

the output of BLTNM?

There are many messages within BLTNM.

The overriding one would be authenticity,

collectivity, and high-quality. Our

interdisciplinary work allows us to work

with a variety of artists, and today we aim

to create a spider-web of connections,

a platform for artists to represent

FARIS AMIN IS A YOUNG PALESTINIAN MUSICIAN WHOSE

MUSIC GOES BEYOND BORDERS, BOTH STYLISTICALLY

AND GEOGRAPHICALLY. ASBO magazine spoke to him from Berlin

to find out more about his current pursuits.

music. I’m also intrigued by how it was

reimagined by popular artists who today

use technology to transcend music into

the magic it is today.

Does Classical music influences your

approach to Popular music?

Yes it did, and vice versa. Getting into

classical music made me meticulous,

more than I already was. I learnt to hear

in a new way, to use different techniques

of hearing and listening, and to construct

criticism for improvement, that’s what I

do today, whether it is music or my life,

I listen to develop. Regardless of the

positive development, it can also do the

opposite. It did sometimes limit me from

listening freely, so I had to find another

way to deconstruct the same hearing

that I appreciated actually, so it is quite a

paradoxical hassle, haha.

You study in Berlin but still have strong

ties to Palestine. What does it mean to

be a young person in Palestine today?

Palestine is a main inspiration. The

people and the land are main subjects

in my life and art. Being a Palestinian is

a struggle but a blessing at the same

time. I wouldn’t have preferred to be born

anywhere else. I owe so much of who I am

to my experience with those people and

that land, so naturally it is recurring in my

art. What I learnt there, like resilience,

resistance, and rebelliousness, is what

drives me to make art, and I portray that

and pay respect to and solidarity with

my community. I guess you’d perceive it

better if you’d see or hear my art.

Tell me about BLTNM and your

involvement with them.

BLTNM is a new digital independent

label based in Ramallah. We started

constructing the idea 3 years ago,

and officially set about it in early 2018.

Released singles for ShabJdeed and Al

Nather, and we’ve been thriving ever since.

Today the team is made up of Muktafeen,

ShabJdeed, Al Nather and myself.

themselves and the communities they

come from. A label that collectively

develops and inspires the Palestinian,

MENA, and global art scenes.

What does the future hold for you,

Faris?

Wow, big question. Haha. Your questions

are difficult to answer in a few words, but

I’ll try. By the end of 2019 I would have

finished my bachelors in music, and from

there I would like to go back to Palestine

for a while to continue establishing

myself. I still want to obtain different

skills in many many things. Currently,

I’m composing my debut EP, an ambient

project made of what I call meditations.

That will take around a year. Also

collaborating with people I already have

collaborated with: Khadija, Charlotte Dos

Santos, Slimgirl Fat and others. And of

course, I want to keep working in BLTNM,

collaborate with my people, curate art,

organise events there, and just keep on

keepin’ on… thank you!

PHOTOGRAPHY Bennie Julian Gay WORDS Otto Hashmi

122 ASBO MAGAZINE


A MEMORIAL TO THE FUTURE

- REAFFIRMING MOSTAR’S

COMMITMENT TO ANTI-FASCISM -

neo-fascist organizations gather and glorify

the crimes of WWII. In such circumstances,

young people find themselves at a crossroads,

unsure what the right thing is or what path is

better for them – the one that leads to an open

or to a closed society.

The Partisan Memorial Cemetery speaks of

sacrifice for the common good, the struggle

for coexistence, rather than separation. As

such, it must be a lesson for young people who

plan on living here, not only in Mostar, but in

cities throughout Bosnia. Young people who

intend to fight against those who, under the

cloak of nationalism, have demolished and

plundered their homeland, and pushed people

into pointless conflicts. Mostar, through the

symbolism of its resistance, must present an

example to new generations in modern times:

that respect for historical events must not be

interpreted as a platform for new wars, but as

a lesson from which we will learn the value of

peace.

WORDS Dino Pehlić & Balkan Diskurs

The iconic city of Mostar is witnessing heated disputes about the reconstruction and

renovation of a key WWII site, the Partisan Memorial Cemetery. Even though more

than 70 years have passed since the conflict endedt, its meaning is still challenged in

the territories of former Yugoslavia.

In completely abandoned surroundings, the memorial stands defiant,

but alone. Then, every year on 14th of February, which marks the day of

Mostar’s liberation from fascist occupation during WWII, the memorial

becomes the center of attention again. Anti-fascists from across Bosnia

and Herzegovina and the former Yugoslavia, come to pay tribute to the

fallen heroes and heroines. All attendees share the same wish – to see

the cemetery restored to its former glory, with its headstones radiantly

shining in remembrance of those to whom the memorial is dedicated.

At one point in our history, fascism was defeated, but it’s making a

comeback. There have been many attempts to destroy or delay the

renovation of this cemetery in an effort to forever erase the names of

the brave men and women of Mostar from the city’s history. There are

even certain groups of young people who regularly participate in the

desecration of the memorial, with no response from the broken local

government.

In 2003, the Mayor’s office established the Partisan Memorial Cemetery

Renovation Committee, but a lack of political will and finance mean

no progress has since been made and in 15 years the renovations still

haven’t begun. The struggle of Sead Djulic shows what it takes to fight

for the acceptance of universal and civilized values in a dysfunctional

city. After he was elected president of the Association of Anti-fascists

and Fighters of the National Liberation War of Mostar, he actively sought

support from local and state institutions, and non-governmental and

international organisations, to renovate the cemetery. “The Partisan

Memorial Cemetery is our Statue of Liberty, our triumphal arch, our Taj

Mahal” Djulic says. “The Memorial Cemetery is the City of the Dead

juxtaposed with the City of the Living. It is a reflection of Mostar and its

history. To abandon this monument is to give up on ourselves and the city

of Mostar itself.” Djulic points out that every eighth citizen of Mostar gave

his or her life in the fight against fascism. The memorial must serve as a

vision for the future. “To renounce anti-fascism means to stand on the

other side, on the side of anti-civilized teachings. That’s why it should be

a monument for the future, for the education of future generations based

on the ideas of humanity, and love for the city and the country. A day

spent at this memorial is an inspiration for a better understanding of life

and love, but also death, sacrifice, and the belief in an idea and a vision,”

he adds. “I don’t know if the city will support the restoration at this time.

Most of the people currently running the city believe the site should be

repurposed and used for something else. They even already have project

plans. The only reason it is difficult for them to proceed with such plans

is the fact that the memorial has been listed as a national monument.

Additionally, many of the anti-fascists are well-organized, and we are not

alone. But, through neglect, they encourage those who want to destroy

the monument to continue damaging it until it is finally beyond repair. But

the Partisan Memorial Cemetery will be restored in spite of everything

and everyone,” Djulic says.

He fears that Mostar is a city that has fallen far and has given up on its

past: “When a city loses its centuries-old identity, when it’s witnessing

new values, it’s easy to create an environment for the emergence of neofascism.

If you walk, on a daily basis, along the streets named after the

fascist ideologues and warmongers of World War II, and the system is

telling you that they’re national heroes, then it

becomes clear why fascism in Mostar is growing

and why it isn’t being opposed,” he says. The

question is: what is needed to stop the rhetoric

of neo-fascism? Courage, absolutely, but also the

determination to make Mostar a city of freedom

and equality. Nationalism and fragmentation in

Mostar are fueled by the official policies of the

political parties that have controlled the city from

the end of the war to the present. Upcoming

generations have not been able to grow and

develop in a healthy environment for years -

instead they are growing up in an environment

that is based on ethno-national divisions, in a

whirlpool of fear in which they learn that any view

different from ‘theirs’ is negative.

Another simple question must be posed: why is it

important for society to consider historical events

after so many years? Today, talk surrounding the

role of Nazi collaborators, or the heroic feats of

the fighters and partisan forces who liberated

the occupied territory, remains only whispered

about. As if their very mention should be a cause

for reticence. The proof that fascism has not

been eradicated once and for all is its constant

reappearance in Europe, where in many cities

124 ASBO MAGAZINE


SREBRENICA

“WE HAVE TO EDUCATE

THOSE WHO HAVE NOT

HEARD ABOUT SREBRENICA

AND TO “SYMBOLICALLY”

STAND IN OPPOSITION TO

SUCH CRIMES.”

MEMORY THROUGH ART


1 2 3

4

1. Damaged building at Kogelgaten in een gebouw in Srebrenica after the war. 7 August 2008, 2. Delegates of the International

Association of Genocide Scholars (IAGS) examine an exhumed mass grave of victims of the July 1995 Srebrenica massacre, outside the

village of Potočari, Bosnia and Herzegovina. July 2007.

3. Skull of a victim of the July 1995 Srebrenica massacre. Exhumed mass grave outside the village of Potocari, Bosnia and

Herzegovina. July 2007. 4. Women at the monument for victims of the July 1995 Srebrenica Massacre. At the annual memorial

ceremony in Potocari, Bosnia and Herzegovina. July 11, 2007.


Banja Luka native Aida Sehovic was just 15 years old when war broke

out. To escape the conflict, her family first fled to nearby Turkey, then to

Germany, and, finally, to the United States.

Now, Aida has made it her mission to use art as a means to commemorate

the victims of genocide and to educate citizens worldwide about the

consequences of war.

Images via Aida Šehović, Ismeta Curkić © Aida Sehovic & Wiki Commons

“The war hit when I was 15 years old. Many of the

questions I had back then still remain unanswered”, Aida

Sehovic tells Balkan Diskurs. “What were the causes of

this war? Why did people who used to live together in

peace, take on arms and become criminals? Who is to

blame and why didn’t the world do anything about it?”

Sehovic is using art to explore these questions, having

obtained a Master of Fine Arts from Hunter College in

New York. Her first travelling exhibition, in 2006, was

“Why Aren’t You Here?” and marked the commemoration

of July 11th – the official day of remembrance for the

Srebrenica genocide. In a public performance, Sehovic

poured coffee into more than 900 donated fildzani –

traditional Bosnian cups.

“This is a public monument that grows in front of

everyone’s eyes,” she says. “The goal is to pay tribute to

the victims of Srebrenica, who were murdered brutally

and systematically killed, as well as to mark this as a

day of unification among all people. We have to educate

those who have not heard about Srebrenica and to

“symbolically” stand in opposition to such crimes.”

“The very idea of this “traveling monument” is part of

a long process that remains ongoing,” Sehovic says. It

all officially began in 2004 when she visited Bosnia and

Herzegovina (BiH) for the first time after leaving her

home country. “That was around the time when the first

mortal remains of the victims were being uncovered,

identified, and laid to rest in Potocari, which had a

huge impact on me. So I began reading stories about

survivors and those who had lost their loved ones. I

remember the story of one woman, in particular, who

said she missed her husband the most because she no

longer had anyone to drink coffee with,” says Sehovic,

emphasizing that coffee is a huge part of the Bosnian

culture and that the fildzan cup represents this longstanding

social tradition.

Coffee is part of the culture in Bosnia and Herzegovina,

a beverage that has been connecting people since

1522. A coffee call means someone wants to spend

time together. Sehovic, therefore, wants to educate

people about the painful past through this intimate

ritual. Genocide is a crime against humanity. This is why

the participation of people of different nationalities,

skin colors, and beliefs is such an important part of the

performance – because it represents a united stand

against hatred. “People still view Bosnia as a country

that is stuck in its past. It did not turn a new page, but

is instead leading a kind of peaceful war that continues

through other mediums,” says Sehovic, adding that we

cannot proceed into future without resolving the issues

of the past. The title “Why Aren’t You Here?” was inspired

by a well-known song by Jadranka Stojakovic’s, a singer

from the former Yugoslavia. Sehovic explains, however,

that the title’s meaning cannot be fully translated into

English as it encapsulates an inexplicable sense of loss.

The installation was exhibited in Sarajevo in 2006 and

in Tuzla in 2008. The traveling monument has also been

displayed in Stockholm, Chicago, Burlington, Toronto,

Geneva, and New York.

“When I was pouring coffee into the fildzani at the first

exhibition in Sarajevo, women offered to help. It was in

that moment that I realized that the people should be

the ones who to carry out the performance, a notion

that was later incorporated into the Tuzla performance,”

recalls Sehovic, who, during that process, began to

recognize the power of art as a way of bringing people

together. The latest presentation of this monument was

in Zurich in July this year. “The number of collected

and donated fildzani has steadily increased since

the first installation of 2006, and after 13 years it has

approached the number 8372, the exact number of

victims of the Srebrenica genocide. I particularly want

to emphasize the contribution and commitment of

coordinator Ismet Curkic.”

“Art provides an important channel to bring people

closer to past events. War can happen to anyone; no

one is an exception. For most people, however, it is

a difficult subject to talk about. That is why art plays

such an important role when it comes to topics that

are difficult to approach,” explains Sehovic, adding

that people risk becoming indifferent because they are

bombarded daily with negative information.

Sehovic believes that young people, especially those

who survived war or genocide, have a responsibility to

spread awareness regarding the problems that arise

through war, nationalism, and fascism. “I believe in

young people from Bosnia and Herzegovina because

they have proven they can be successful in the world.

They have built new lives from nothing, just like my

family who came to the US empty-handed did. However,

I am also aware that the political situation in Bosnia

does not facilitate change,” says Sehovic.

“I think that anyone who had the opportunity to be with

us, to hold a fildzan in his hand, to put it on the ground

and fill it up with coffee for one of the Srebrenica

victims, will never forget it, no matter who they are and

where they come from,” she concludes.

WORDS Kristina Gadže & Balkan Diskurs

130 ASBO MAGAZINE

TWO FATES WOULD COLLIDE, TWO

FUTURES WOULD BE FOREVER ALTERED,

AND TWO PATHS WOULD BECOME

ONE WHEN TWO WOMEN WHO, UNTIL

THE SUMMER OF 2010, HAD LED VERY

DIFFERENT LIVES ON OPPOSITE SIDES OF

THE WORLD.

Velma Šarić was a woman driven by

her personal experiences growing up

in the small town of Kladanj, Bosnia and

Herzegovina (BiH) and living through the

Bosnian War from 1992 – ’95. Listening to

thousands of testimonies from victims and

witnesses during her work as a journalist

left a lasting impact on her. She saw how

they were living, without any support

or help, and she wanted to give them a

voice. Leslie Woodward, a small-town girl

from Oklahoma, was driven by the need to

experience other cultures and a wish to

help those who were less fortunate than

herself. After she spent time working in

Kenya, she was deeply impacted by the

stories of women and children who had

been victims of war and poverty, many

of whom had escaped to Kenya from

Rwanda, Sudan, the Democratic Republic

of the Congo and Somalia.

Leslie would soon venture to Bosnia to

volunteer and take part in a study abroad

program. It was a study abroad program

that happened to be organized by Velma.

After the two met, they were moved by

each other’s spirits and began to form an

unbreakable bond, united by a common

interest in peacebuilding and youth

education, they began working together

to construct what is today known as the

Post-Conflict Research Center (PCRC).

As they developed their ideas and plans

for their future organization, they made a

promise to each other that whatever they

created they “could never let it be boring!”

Now, PCRC is dedicated to restoring a culture

of peace in the Western Balkans by

creating, implementing, and supporting

unconventional and innovative approaches

to peace education, post-conflict

research, human rights, and transitional

justice. One of the most innovative and

exciting aspects of PCRC’s work is its

use of art and multimedia, which sets

the organization apart from other NGOs

that are operating within the Western

Balkans. The role of art in peacebuilding

and transitional justice may still be an

emerging concept, but it has served to

highlight the enduring travail of conflict,

making the victims visible and allowing

them a voice. “The benefit of using art

and multimedia is that it gives the viewer a

unique insight into a situation. It is simple,

it does not impose opinion or appear too

theoretical, which is why we believe it to

be a key pillar of our work,” expresses

PCRC Founder and President Velma Šarić.

Film and photography, in particular, have

become integral components of PCRC’s

educational and outreach strategies and

have proven to be an effective tool for

engaging young people. Approximately

1.4 million people in the Western Balkans

and 370 million people worldwide have

seen PCRC’s productions. PCRC is now

currently working on two upcoming

multimedia projects that deal with two

marginalized communities in BiH: orphans

and the Roma community. The Sarajevo

Camera Kids is a project that came about

through photographer Chris Leslie from

Glasgow, who spent the summers of 1997

to 1999 at the Dom Bjelave orphanage

in Sarajevo, teaching young orphans

of war the basics of black and white

photography, film development, and

printmaking techniques. He then provided

the children with cameras and sent them

out into the city to capture life from their

vantage point. Now, more than 20 years

later, Chris Leslie has partnered with

PCRC to develop these never-before seen

images and to reconnect with the children

(now adults) who took the photographs

to find out where they are today. The

photos and stories of the camera kids will

become part of a multimedia exhibition

that PCRC plans to utilize as an advocacy,

“ARTISTIC SPACES THAT WE HAD

WAS NOT GOING TO BE THERE ANY

MORE MADE IT SO THAT I WAS MAKING

A RECORD IN THIS SMALL AMOUNT

OF TIME, AND TRYING TO REALLY

CONNECT WITH THE SPACE.”

educational, and awareness tool to elicit

policy change and provide support

and visibility to organizations who are

working to improve the status of BiH’s

orphaned and marginalized children.

PCRC Vice President Leslie Woodward

explains how The Sarajevo Camera Kids

project exemplifies PCRC’s unique way of

combining visual arts with education and

advocacy: “Photographers will come to us

with their work and an internal sense that

something can be done with it, but they

look to us to really develop something that

can make an impact,” explains Woodward.

Educating and inspiring young people as

well as initiating impactful dialogue are

primary aims when PCRC develops the

concepts and plans for its multimedia

projects. “On the Margins” is another

such project that PCRC is launching in

collaboration with the Bosnian Roma

community. The idea behind this project

is to visually combat the stereotypes that

plague the Roma communities through the

use of photography and accompanying

testimonies from Roma citizens. In the

interest of providing opportunities to young

talent from BiH, PCRC commissioned upand-coming,

local photographers to tackle

the project.

While peace education is at the heart of

many of PCRC activities, these two new

projects have the further aim to initiate

constructive dialogue with relevant stakeholders

regarding the policies that directly

affect these communities. Furthermore,

PCRC has had the opportunity to work

with photographer and organizations from

other parts of the world, providing a global

component to many of their exhibitions.

Namely, the projects Ordinary Heroes,

My Body: A War Zone and Transitions

are done in collaboration with partners

and artists from Cambodia, Rwanda, the

Holocaust, the Democratic Republic of

Congo, Nepal, Colombia and the United

States. The importance of bringing a global

component to peace education is that it

allows young people to gain perspective

and better understand and engage with

their own situation.

“Introducing other contexts to our young

people helps them to more objectively

approach their own situation and can

show them that many other countries have

walked, or are walking, paths to their own,”

says Woodward.

Ordinary Heroes is perhaps one of PCRC’s

most well-known projects and uses the

medium of film to feature four uniquely

distinct tales of heroism and inter-ethnic

cooperation that took place during the

Bosnian war. These films show that

there were still shreds of humanity within

people at a time when only the worst of

the human condition was at play. Just

as Šarić recognized art for its ability

to teach instead of preach, Woodward

praised film for its ability to: “Help youth

connect and empathize with people from

other ethnicities, religions, and political

affiliations. These powerful stories help to

directly combat the dehumanization that

often results when you are inundated with

media that tells you that ‘the other’ side

is bad.” It is clear that peace education,

especially engaging young people, is a

pillar of PCRC’s peace building agenda.

In this realm, perhaps PCRC’s greatest

achievement has been the initiation of

‘Srđan Aleksić Youth Competition’, named

after a Serb soldier who was murdered by

VRS (Republika Srpska Army) forces as he

attempted to save his Bosniak neighbor

from persecution. Since its inception in

2013, ‘Srđan Aleksić Youth Competition’

has encouraged its participants to discover

stories of inter-ethnic cooperation that

occurred both during the Bosnian war and

in the post-conflict era. Overall, PCRC’s

method of peace education focuses on the

essence of reconciliation and promotes

positive cooperation. As summarized by

Šarić: “In Bosnia and Herzegovina there is

a lot of ‘finger pointing’ in the process of

reconciliation and transitional justice. We

at PCRC do not aim to do this with young

people as we feel it has an adverse effect.

This is why our goal is to try and promote

positive stories of heroism to inspire

young people.”

Learn more about PCRC’s work on their

website www.p-crc.org or by following

them on Facebook, Twitter or Instagram

(@pcrcbih).

PCRC would like to give a special thank

you to the National Endowment for

Democracy, Robert Bosch Stiftung, and

the Rockefeller Brother Fund whose

support has made their work possible.

PEACE

BUILD-

ING

WITH

AN

EDGE


USING CREATIVE

MULTIMEDIA & VISUAL STORYTELLING TO

TRANSFORM CONFLICT

WORDS Leslie Woodward & PCRC


Bringing the the traditional musical musical genre

of Sevdah genre to of the Sevdah next generation to the next is

not generation only an honor is not & an only opportunity; an honor it

is very hard work. Nobody knows this

better than Bozo Vreco, a modern

Balkan superstar.

& an opportunity; it is very hard

work. Nobody knows this better

than Bozo Vreco, a modern Balkan

superstar.

BOŽO VREĆO THE ARTISTIC

REVOLUTIONARY OF THE BALKANS

PHOTOGRAPHY Sead Šašivarević & Mario Klein

Bosnia & Herzegovina as a country and the Balkans in general

have often been described as patriarchal, verging on male

chauvinist. So for someone embracing both feminine and

masculine traits to reach the height of success in Bosnia’s

music industry of Bosnia is an incredible achievement

So who is Božo Vrećo? Who better to ask than the man

himself?

“I stand for freedom - to be what you want to be, say what

you want to say, and dress how you want to dress. Božo Vrećo

is always about love - I live for my art and everything in my life

is dedicated to my work. That is my life and

that is me.” It is perhaps easier said than

done, considering the prejudice he has had

to challenge. “This society is completely

backward, self-conscious. primitive and

reserved. It despises differences, condemns

those that are different, and does not

support emotions or love. If you are not

like other people, they want to harm you,

verbally and physically. Freedom for people

such as myself in Bosnia is a risk.” But in

some sense, these negative experiences,

are also at the heart of the genre of music

that he adores - Sevdah. It’s a genre of

music conceived from tragedy and loss in

one’s own life. Something which is, to some

degree, relatable to everyone, regardless of their ethnicity,

religion or indeed, gender. Considering the history of the

Balkans, tragedy and loss are perhaps felt on a deeper level

here.

”Throughout history, we have experienced all possible

tortures and wars, all of which left traces somewhere, and

through our tradition and customs and by being separated

from people dear to us. All of this has affected the way that

sevdah is now performed - as the common creation of all the

peoples who have existed on Bosnian soil or in the Balkans.”

Božo Vrećo, however, emphasizes the importance of love

in his music. He says his mother and sister have played an

essential role in his success. “Everything comes from the

family - the upbringing of a child is crucial, it’s the support

“FREEDOM

FOR

PEOPLE

SUCH AS

MYSELF IN

BOSNIA IS A

RISK”

and the love for everything that comes later. I was lucky

that my mother and sister always accepted me as I was. My

mum would say, I gave you birth as you are, and society has

nothing to do with it.

“My muse is my mother and I always dedicate everything I

create in music, writing, fashion or painting to her; everything

is created through a love for her and my gratitude for

everything.”

Sevdah is a musical genre that thrives on contrast and

contradiction. On the one hand, it invokes feelings of tragedy,

injustice and heartbreak. On the other, in

the words of Božo Vrećo himself, Sevdah

is first and foremost about love. To truly

experience love we need to also feel hate,

scorn, and tragedy. Just as Božo Vrećo is

brutally honest about his own identity and

his emotions, so too Sevdah is completely

honest in its message. His very identity

seems to be formed on the contrast

between male and female. Only he would

not describe his identity as one of dualism,

but rather one of harmony between these

two apparent “opposites”.

The best artists reveal their emotions in

their most naked form. And they leave

themselves vulnerable to their audience, just as Božo Vrećo

did during a 2015 concert: he first performed in clothes

traditional for a man, and afterward came out dressed in

women’s clothing. The audience applauded his courageous

honesty and vulnerability.

In his advice to the young people struggling to find their

path, Božo Vrećo stresses the importance of staying true to

yourself, staying focused on your goals and being patient in

achieving them.

He quotes Dostoyevsky: “If you look at the dogs barking as

you walk down the street, you will never reach your goal.”

WORDS Kashif Malik & PCRC

134 ASBO MAGAZINE


Paul Marchand in Sarajevo during the early 1990s. Boba’s personal archive

“HE DEEPLY CARED

ABOUT PEOPLE OF

SARAJEVO AND THE

WAR CRIMES THAT

WERE HAPPENING

IN THE CITY. THAT

IS WHY HIS RADIO

REPORTS WERE

SOMETIMES ‘TOO

MUCH’, EVEN FOR

HIS EDITOR.”

During the war in Bosnia and Herzegovina

(BiH), families across the world sat

down every evening to watch scenes of

besieged Sarajevo from their living rooms.

What the viewers didn’t see amidst the

footage of horror and destruction is how

the Siege of Sarajevo could also result

in a love story like that of war radio

reporter Paul Marchand and journalist

and marketing expert Slobodanka (Boba)

Lizdek. Their love grew unexpectedly,

developing deeper throughout the war in

Bosnia and beyond. And it exists, even to

this day.

The first time she met him, Boba never

thought that this man would mark her

life forever. “He had specific mannerisms

that, as I later found out, he picked up in

Beirut. I first thought he was a Bosnian

who just spoke good French. And I was

not at all impressed.” Paul tried talking to

Boba several times but was completely

ignored. After a while, they went on an

assignment together. “The first thing

I told him when I realized I was going

on an assignment with him was: Oh,

horrible. It’s you,” Boba says with a smile

remembering the time they met.

Even during their first date in Sarajevo,

Boba tried to push Paul away by talking

about random, weird things. “I decided

to just talk of silly things so that he

would think I was dumb and leave. But

the more I spoke, the more I noticed

how fascinated he was with everything I

said. I thought to myself: I won’t be able

PAUL & BOBA:

A Love Story under the Siege

to run away from this one.” And one day,

while they were in the iconic Holiday Inn

hotel in Sarajevo, Boba started to feel the

same. Their love grew over the years and,

even though they did not live in the same

country following the war, they always

stayed connected.

At the time when they met in Sarajevo,

Paul was in his thirties and Siege of

Sarajevo was his biggest reporting

assignment after Lebanon and Beirut.

For many people in Sarajevo, Paul is

remembered by his daredevil behavior,

driving through the streets in a beat-up

Ford Sierra with “Do not shoot. Waste

your bullets. I’m immortal.” written on

its bonnet. However, Boba believes that

his eccentric behavior was just his way

of hiding the real, soft, and modest side

of himself from other people. “I don’t

think many people knew the real Paul.

He liked people of Sarajevo and tried

to help them in many ways, but he still

wanted to keep his distance from them

so as not to reveal his true self. People

who really knew him would never call him

an ‘adrenaline junkie’ or a ‘weirdo’, but

they remember him as I do: a sweet and

loving man who enjoyed life.” This helping

side of Paul and his reporting is revealed

in the new film, Sympathy for the Devil,

shot on the streets of Sarajevo in winter

2018. The movie, directed by Guillaume

de Fontenay was filmed after Paul’s book

with the same name published in 1997.

The upcoming movie will showcase Paul

as he was remembered by people in

Paul in Sarajevo, 1993. Boba’s personal archive

Sarajevo—a hard-working war reporter

whose documentation told the world

of the tragedy unfolding in this city and

whose commitment to helping people

trapped under the siege will never be

forgotten. After writing his book, Paul

showed it to Boba and that is when the

idea for the movie came about. “Paul met

with Guillaume and Guillaume’s first idea

was to make the book into a play in which

Paul would narrate his war experiences.

Later was decided that the book would

be best visualized as a movie.” However,

movie production was stalled due to

various challenges, including those of

funding and location permits, and the

final movie production started in 2012,

but this time without Paul.

Paul was severely wounded in Sarajevo,

which prevented him from continuing

his work as a war reporter. He almost

completely lost the ability to move his arm

and this is an event that marked the rest

of Paul’s life. After numerous operations,

he settled in Montreal and later in Paris

but never truly felt the same. “I believe

his pride stopped him from going on new

missions. After many years of therapy, he

was able to work with his arm, but he still

considered himself crippled and decided

to end his reporting career,” Boba notes.

Tragically, in 2009 Paul made the decision

to end his own life. “We were two opposite

sides of one heart. I was the light and he

was the darkness. He was drawn to death

and that is why he came to Sarajevo.

Paul’s Ford Sierra as shown in the movie, 2018. Boba’s personal archive

Slobodanka (Boba) Lizdek today. Photo by Ivana Belančić

“He was one

extremely

caring, smart,

and generous

man. I’ve

never met

such an

incredible

combination

of intelligence,

kindness, and

consideration

in one

person.”

I was thrown into the war, but he came

here willingly. Paul always flirted with

death and, while in Sarajevo, he talked a

lot about how if a person cannot live the

life they deserve, they should end their

life.” Sympathy for the Devil will show

both Paul’s emotional and aggressive

sides. “He deeply cared about people of

Sarajevo and the war crimes that were

happening in the city. That is why his

radio reports were sometimes ‘too much’,

even for his editor.” The editor of Radio

France who was working with Paul told

him several times that it was difficult

to play such brutal recordings in the

morning news. But Paul didn’t give up, as

he wanted to shock the world and show

the real picture of suffering that occurred

under the siege. “You will hear the actor

reading these reports in the movie. They

will shock you even today.” Sympathy for

the Devil is a story of love, dedication,

hardship, and perseverance of one brave

young man, and, as noted by Boba:

“shows the absurdity of war, presents

one daring, kind heart and serves as an

homage to our undying love.”

The movie itself was filmed on the streets

of Sarajevo and director’s primary aim

was to authentically showcase the siege

and living conditions in the early 1990s.

“Filming lasted for 34 very intense

days and nights. We filmed in Holiday

Inn in Paul’s hotel room and the TV

building and everything was kept very

authentic… I believe it’s important for

young generations to see the movie and

to realize what took place here and how

Sarajevo suffered. And to never again

consider the possibility of war.”

Sympathy for the Devil will be released in

2019 – 10 years after Paul’s death and 27

years after Paul and Boba met and fell in

love.

WORDS Tatjana Milovanović & Balkan Diskurs

136 ASBO MAGAZINE


CREATING THE

JOURNALISTS OF

TOMORROW – Post Conflict

Research Center, Sarajevo, Bosnia and

Hercegovina

As a result of the Post-Conflict Research Center’s (PCRC) specialized youth correspondent training and mentorship,

our organization has been able to provide Bosnian youth from across the country with skills, knowledge, and visibility

through our Balkan Diskurs platform, which has resulted in a number of successes.

PHOTOGRAPHY PCRC Archive

138 ASBO MAGAZINE


any of our trainees have gone on to receive

awards for their publications as well as jobs

in the fields of media and journalism. PCRC

and Balkan Diskurs’ work is made possible

through the gracious support of the National

Endowment for Democracy (NED), Robert Bosch

Stiftung, and Rockefeller Brothers Fund.

1. ARMIN HALILOVIĆ

Armin is a Balkan Diskurs trained youth correspondent

from Zavidovići. He is finishing his Bachelor’s degree

at the Faculty of Philosophy in Sarajevo, Department

for English Language and Literature. He works as an

interpreter and a tutor of English language and PCRC

quickly recognized his hard work and determination.

Now, Armin serves as PCRC’s primary translator and

interpreter and he has played an important role in

several conferences, videos, and workshops. “The

Balkan Diskurs platform is, in my opinion, a unique one

for Bosnia and, therefore, provides a great opportunity

for young people who want to work and make a positive

change in society. Publishing texts in English is also

a great thing because it makes our work even more

important and accessible to a broader audience.”

2. TATJANA MILOVANOVIĆ

Tatjana is a youth activist and human rights defender

from Brčko District with over 10 years of work

experience. She currently serves as PCRC’s Manager

of Field Operations and as an associate editor for Balkan

Diskurs. Tatjana holds an MA Degree in Democracy

and Human Rights from the University of Sarajevo and

University of Bologna. She plays an integral role in

organizing PCRC’s annual youth correspondent training

program and is the primary mentorship coordinator,

responsible for providing instruction and guidance

to the Balkan Diskurs youth correspondents to help

them apply the citizen journalism techniques they have

learned in the field. Tatjana has coordinated the work of

over 50 youth correspondents from 30 regional cities.

The correspondent selected to contribute to ASBO

Magazine’s first Bosnian edition can be found below.

3. ARMIN DURGUT

Armin is a Bosnian photojournalist and Balkan Diskurs

trained correspondent from Zenica. Armin was selected

to serve as a lead photographer for PCRC’s “On the Margins”

“WORKING WITH

PCRC WAS A

LIFE CHANGING

EXPERIENCE FOR ME.”

photography project aimed at challenging common

stereotypes and discriminatory practices against BiH’s

Roma population through visual storytelling. In May 2018,

Armin was awarded first place in the Goran Terzić Memorial

Photography Competition for one of his photographs taken

as part of the “On the Margins” project. Armin’s works have

been published in media outlets such as Forbes, NY Post,

Wall Street Journal, The Sun, The Sunday Times, Daily

Mail, National Geographic, and Bild, among others. Follow

Armin’s work on Instagram @armindurgut. “After the Balkan

Diskurs training, I was further empowered to do both do

photography work and write articles. I managed to publish a

variety photo stories and gained several important contacts,

including the invaluable connection to PCRC through which

I was given the opportunity to exhibit my photographs at

City Hall in Sarajevo.”

Amra Džonlić

1 2

3 4

5 6

7

8 9

4. SARA VELAGA

Sara is a Balkan Diskurs trained correspondent

from Jajce. She studied Public

Relations at the Communications College

in Banja Luka and received recognition

from UN Women for her articles promoting

inclusiveness and the fight against

discrimination. Sara currently works

as a media monitor and analyst at the

OSCE Mission to Bosnia and Herzegovina

(OSCE BiH) in Sarajevo.“Working with

Balkan Diskurs and PCRC provided the

foundation of my informal education because,

while working with them, I realized

how much knowledge existed,outside of

Bosnia’s higher education institutions and

that wasn’t accessible as a part of these

formal programs. I met great people, some

of whom are still my good friends to this

day. The experience and the references I

gained through this work is something I

am incredibly thankful for.”

5. KRISTINA GADŽE

Kristina is a Balkan Diskurs trained youth

correspondent from Mostar. She studies

journalism at the University of Mostar’s

Faculty of Philosophy. In addition to her

studies, she writes for the student portal

Treći.ba and runs the morning program

for the Treći student radio. Kristina has

published numerous articles on Balkan

Diksurs on topics ranging from environmental

law and animal protection to the

Srebrenica genocide and issues related

to media freedom in BiH. “The workshop

on documentary photography and civic

journalism was my first exposure to these

concepts and I must say that it has paid

off in every sense. Journalists should

be constantly learning new things and

gaining new skills, and PCRC and Balkan

Diskurs gave the opportunity to do this,

and much more.

This is an invaluable experience. Balkan

Diskurs helped me to establish myself as

a journalist and do what I love, but has

also encouraged me to go further with my

training and to continue writing.”

6. MLADEN LAKIĆ

Mladen is a Balkan Diskurs trained

correspondent from East Sarajevo. He

studied Journalism at the University

of East Sarajevo and, in addition to his

journalistic endeavors, works as a human

rights researcher and activist. Mladen was

awarded the United Nations Population

Fund (UNFPA) BiH Annual Award for

journalistic excellence on his reporting

related to women survivors of rape. He

is currently working as a reporter for the

Balkan Investigative Reporting Network

(BIRN) and the Balkan Insight portal in

Sarajevo. You can read more of Mladen’s

work on the Balkan Insight Facebook

page @balkaninsight. “I am proud of

many things that marked my time with

PCRC, especially the unselfish support of

the Balkan Diskurs editorial team.

This platform helped me understand

the importance of citizen journalism,

especially in Bosnia where most of the

topics we covered rarely find a place

in the mainstream media. They bring

together young people with different

professional orientations, but with the

same desire - to show a side of Bosnia

that is hidden by most media.”

7. AMRA DŽONLIĆ

Amra is a Balkan Diskurs trained

correspondent from Sarajevo. She holds

a Master’s degree in International and

Public Relations from the International

University of Sarajevo (IUS) and has

worked for several local NGOs, including

the Erasmus Student Network Sarajevo

and the Centre for Security Studies.

Amra has also worked as a translator

for several researchers, journalists, and

newspapers, including The Guardian and

The Nikkei Magazine. As a representative

of PCRC, Amra was given the opportunity

to particapte in the 4th edition of the

Young Peacebuilders Forum, organized

by the United Network of Young

Peacebuilders (UNOY), that took place in

September 2018 in The Hague. Her work

drew the attention of Television N1 and

Radio Free Europe, who interviewed Amra

and showcased her work and opinions

on youth life in Sarajevo. “Working with

PCRC was a life changing experience for

me. Previously, I was mainly focused on

my grades and being a good student,

but working with PCRC opened my eyes

and changed my mindset, motivating me

to become a hard worker and to not be

afraid of the unknown.

“Balkan Diskurs

is a great

platform for

youth voices.

They value

diversity.. I was

able to write

about things that

are important

to me and my

community”

Alma Mujanović

The projects I had a chance to take part in

were groundbreaking for me in the sense

that I realized that many young people

are not even aware of the social problems

that surround us or how to initiate change

for the better.”

8. ALMA MUJANOVIĆ

Alma is a Balkan Diskurs trained youth

correspondent from Sarajevo. She is a

student at the University of Sarajevo’s

Faculty of Medical Sciences. Alma was

born with hearing impairments and

finished her elementary education at

the Center for Hearing and Speech

Rehabilitation. Today, Alma is a human

rights activist, photographer, and

musician working for several Sarajevobased

non-governmental organizations.

She is also the Founder of ‘Znak za rijec’

(Sign for a Word), a Facebook community

that promotes sign language in Bosnia

through creative multimedia. Follow

them on Facebook @znakzarijec. “Balkan

Diskurs is a great platform for youth

voices. They value diversity and I was able

to write about things that are important

to me and my community – the deaf

community in Bosnia and Herzegovina.”

9. SLOBODAN BLAGOVČANIN

Slobodan is a Balkan Diskurs trained

correspondent and youth worker from

Bijeljina who currently lives and works

in Tuzla. He is studying Pedagogy

and Psychology and the University of

Tuzla and serves as Project Manager

for the Youth Resource Center in Tuzla

where he is developing youth projects

on preventing violent extremism and

radicalization. He is also the youth

coordinator for the PRONI Center’s CAT

(Citizens against Terrorism) campaign.

Follow the campaign on Facebook @

CATBIH.

“The most visible development for me was

the fact that my articles were published

on a platform outside of my personal

blog. I was extremely pleased with the

way that Balkan Diskurs managed the

process of publication and didn’t try to

dictate my approach and style of writing.

They truly want to give us a voice without

censorship.”

10. VUK VASOVIĆ

Vuk is a Balkan Diskurs trained

correspondent from East Sarajevo. He

is a student of journalism at the Faculty

of Philosophy in Eastern Sarajevo. Vuk

contributes to a couple of local portals

and has participated in various NGO

workshops and seminars. He has also

been an active member of a folklore

group for many years. PCRC provided

Vuk with the opportunity to take part

in the project “A Step Together” and

created a social media campaign aimed

at promoting peace and intercultural

understanding, and increasing awareness

around important local issues, such as

the divisive historical narratives that

affect young people in BiH.

“The seminars and workshops organized

by PCRC as a part of the ‘A Step Together’

project left a lasting impact on me. After

six months of preparing and working on

social media campaigns, my colleague

and I succeeded in creating a campaign

that was awarded the third place prize

by the International Office of Migration

in Bosnia and Herzegovina. I believe that

such projects are crucial in the effort to

increase awareness among our citizens

and to train young people how to think

critically and better recognize media

manipulation and propaganda.” Read

more of the works produced by PCRC’s

Balkan Diskurs youth correspondents

on our website balkandiskurs.com or

following us on Facebook, Twitter or

Instagram (@balkandiskurs).

This edition was made possible thanks

to works of staff, internship team

and youth correspondents of Post-

Conflict Research Center (PCRC) and

Balkan Diskurs. Support for the works

in this publication has been graciously

provided by the National Endowment for

Democracy, Robert Bosch Stiftung and

Rockefeller Foundation.

WORDS Leslie Woodward & PCRC

140 ASBO MAGAZINE

GASHA MILANDINOVIC

BALKANS DESIGN SUPERSTAR

Think fashion or design: think Paris, London or Milan. But… Bosnia

and Herzegovina? Don’t be surprised. There’s a thriving scene in the

Balkans, and Gasha Miladinović is right at the heart of it.

All industries strive to monopolize. And the fashion and design

industries are no different in this respect. But they have a

strangely paradoxical relationship. Any designer worth their salt

will tell you that new and fresh ideas are worth ten times the

‘tried-and-true’ recipes that fashion conglomerates produce en

masse. But these new ideas, if they gain popularity, are almost

always absorbed into the industry in a never-ending cycle.

Sarajevo is a place where local talent is trying to distance

itself from centralized ideas. At the forefront: designer Gasha

Miladinović.

She co-founded the firm “Re: Design” concentrating on interior

design and architecture, and recently she has co-founded the

Hive Creative Agency. Previously she won the entrepreneur

of the month award, sponsored by the US State Department,

and studied design at the Instituto Marongini in London, before

establishing herself in Sarajevo

It’s inspiring but also surprising to see a woman succeed in a

patriarchal society such as Bosnia and Herzegovina. When asked

about the working environment in regard to her gender - and

women in general - her reply was a nuanced one: “I don’t think

women are any more or less intimidated by the business world

here than anywhere else. Hard work is a universal language.

Nevertheless, it is important to understand the environment

where you want your business to thrive. This awareness of the

possibilities and limitations is extremely important if you are to

avoid pointless effort and burnout with few results.”

That’s not to say she denies the existence of discrimination

and sexism. But Miladinović seems to be more keyed towards

a realistic mentality: how to navigate a challenging environment

to the best of her abilities. We asked her for advice for readers

wishing to get ahead in the creative industry:

“To never stop learning, exploring, that everything is good for

something, that no skill is a useless skill, to work on focus and

goals, and to take care of themselves and learn to dance to the

beating of their own drum. There is no manual for lif:, I’ts ok to

have your own time line and your own path.”

WORDS Kashif Malik & PCRC

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UNDERGROUND is the registered trademark of Urban Brands UK Limited and is used under licence.

ASBO Magazine Bosnia Edition

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