N1BOS — broadcast
20261029 143000 UTC
473 transcript segments
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[00:00:00] However, despite let me
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[00:00:10] over time, those facts will actually
[00:00:13] gain new strength and
[00:00:16] change, uh, let me say, reality. Thank
[00:00:19] you very much for your time for
[00:00:21] N1.
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[00:05:53] Sarajevo roses are slowly disappearing due to time, renovation
[00:05:56] and changes in the urban space. In order to
[00:06:00] preserve these unique traces of memory, the Cantonal
[00:06:03] Institute for the Protection of Cultural, Historical and Natural Heritage
[00:06:07] has launched an action to supplement and update the records
[00:06:10] that created an interactive digital form. We talk about
[00:06:14] the importance of institutional protection of collective memory
[00:06:18] in the show Novi Dan with historian Amra Čusto from
[00:06:21] the Cantonal Institute. Good morning and welcome. Good morning
[00:06:25] to you. What is the current state of the Sarajevo
[00:06:29] roses, this important memorial, uh, which
[00:06:32] testifies to the siege of Sarajevo and many
[00:06:35] lives that were lost
[00:06:38] during that period?
[00:06:40] How
[00:06:42] successful are you at finding them today at all? Yes,
[00:06:46] well, you yourself said, in the announcement, Sarajevo roses are
[00:06:50] indeed one of the most recognizable symbols
[00:06:53] of the siege of Sarajevo and represent
[00:06:56] special, special places of memory that are important
[00:06:59] in the collective identity of the city
[00:07:02] and citizens of Sarajevo, which
[00:07:05] specifically refer to such a sensitive
[00:07:09] past as the siege of Sarajevo was. Mm.
[00:07:12] Sarajevo roses in the area of four city
[00:07:15] municipalities, fortunately, are still located
[00:07:20] authentic places and in their
[00:07:24] original state, however, I must
[00:07:27] emphasize that our initiative, which you
[00:07:31] also mentioned in the introduction, was actually
[00:07:34] inspired by the efforts
[00:07:37] and the actual situation which is somewhat
[00:07:40] unsatisfactory on the ground.
[00:07:43] The Cantonal Institute has been keeping records
[00:07:46] for almost two decades, i.e., mapping,
[00:07:49] researching, valorizing Sarajevo
[00:07:52] roses. I must emphasize that they have also
[00:07:56] been valued as special heritage
[00:07:59] assets that have an exceptionally memorial
[00:08:02] significance. In this regard, they are also subject to
[00:08:06] protection measures for preservation. However, in
[00:08:09] recent months, we have noticed that the situation on the ground
[00:08:13] is quite, I would say, different compared
[00:08:17] to, for example, a year ago. We have noticed
[00:08:21] the disappearance of certain Sarajevo roses, especially those
[00:08:24] marked. It is clear to us that with the passage of time,
[00:08:28] due to the influence of the atmosphere, water, rain, ice, snow,
[00:08:31] i.e., with the passage of time, uh, they are exposed
[00:08:35] to the risk of disappearance, but in practice it has been shown
[00:08:38] that the actions of people,
[00:08:41] that is... especially during
[00:08:44] the execution of works on public areas, many of them
[00:08:48] have been removed and disappeared from public areas. Then we
[00:08:51] also noticed some interventions
[00:08:55] that jeopardized their originality
[00:08:58] and authenticity, which were not approved by the competent service
[00:09:01] of our institute, and that then prompted us first
[00:09:05] to send calls to
[00:09:08] local communities, municipalities that are responsible in their
[00:09:12] territory. Then it seemed
[00:09:16] very important to us to send a call to citizens and here I really
[00:09:19] thank all those who contacted us and
[00:09:23] provided information they had in that regard. What is
[00:09:26] the response? Has that
[00:09:29] uh path been simplified? You also have a digital
[00:09:33] application with the help of which citizens can
[00:09:36] report senior roses in their neighborhoods. Well,
[00:09:39] yes, we are very satisfied and for us it is important
[00:09:43] that the importance
[00:09:44] of the information we received from
[00:09:48] citizens, in fact, how much we received feedback and confirmation
[00:09:52] of what we had already recognized, how important they are
[00:09:55] in our collective and individual memories
[00:09:59] related to the siege of Sarajevo. The response
[00:10:02] was really good and citizens contacted
[00:10:06] us at our email addresses. In the meantime, if I may
[00:10:09] mention, this call actually... prompted
[00:10:13] a company that, if I may say,
[00:10:17] self-initiated, helped us, the GDI company, which
[00:10:21] actually created that digital form
[00:10:24] that can be accessed through our
[00:10:28] websites and social networks. It has
[00:10:31] facilitated the submission of that
[00:10:34] information, so that every citizen who had
[00:10:38] information about a Sarajevo rose on that map, in that digital
[00:10:41] form, could also locate
[00:10:44] the area where the Sarajevo rose is located
[00:10:47] or leave any other information about it. Some have unfortunately
[00:10:51] been irretrievably destroyed. Do you have
[00:10:55] uh, some project of restoration, that is, returning
[00:10:58] Sarajevo roses that have disappeared, for example, during
[00:11:02] road paving or other works? Well,
[00:11:06] our database and data update are precisely
[00:11:09] very important for such
[00:11:12] projects that relate to the renovation and conservation
[00:11:15] of Sarajevo roses. I must say that the institute
[00:11:19] already in 2013 gave its consent to a certain
[00:11:22] methodology, to a project that thus... treats the renovation and
[00:11:26] conservation of Sarajevo roses. That is the
[00:11:29] methodology that is needed, right, when
[00:11:32] carrying out works, to apply it to Sarajevo roses.
[00:11:35] However, we often see the situation on the ground, I tell you, we have now
[00:11:39] convinced ourselves that it is not so great because
[00:11:42] unprofessional interventions have been made that have unfortunately, I would
[00:11:46] say, permanently jeopardized the authenticity and
[00:11:50] original, so to speak, interpretation of the very place
[00:11:53] of remembrance. Yes. In addition to citizens' reports,
[00:11:57] testimonials and photos that you can provide
[00:12:00] are also valuable. How much can these private
[00:12:04] archives of citizens help in the reconstruction of the
[00:12:07] authentic map of suffering
[00:12:10] in Sarajevo, as I would call it, but also in documenting
[00:12:13] their
[00:12:14] individual
[00:12:18] uh confrontations and experiences? That's right,
[00:12:21] yes, that is certainly very important to us. That's
[00:12:25] because, in general, during the
[00:12:28] research in an earlier period, it was very
[00:12:32] difficult for us to catch, so to speak,
[00:12:35] a trace of some specific locations, of course
[00:12:39] there were some historiographical and other researches that we also used
[00:12:42] in our work. I must emphasize that
[00:12:46] two years ago we also wanted through another
[00:12:50] project called the Sarajevo Roses
[00:12:54] Memory Map, uh, to raise
[00:12:58] perhaps even more awareness about the importance of preserving Sarajevo roses, and
[00:13:02] the institute therefore in 2024 published quite
[00:13:05] a, I would say, popular edition. Now,
[00:13:08] I can say, this initiative of ours, this call to citizens, is a kind
[00:13:12] of continuation of such activities, because it is very important to us
[00:13:15] to collect testimonies from citizens, because that is another
[00:13:19] additional source that can serve us
[00:13:22] for actually uh... I would say
[00:13:25] interpretation, authentic testimony of what was
[00:13:29] happening in these now defined
[00:13:33] places of memory during the siege. You mentioned,
[00:13:37] you mentioned that they are protected by law. In what way
[00:13:41] are they protected in the Canton
[00:13:44] of Sarajevo, uh, as cultural monuments
[00:13:47] of memory? Yes, they are heritage assets. What does the law
[00:13:50] say? So, these are heritage assets that refer and
[00:13:53] relate to the period 9. 2.95, and
[00:13:56] the Cantonal Institute for the Protection of Cultural-Historical and Economic Heritage
[00:14:00] is the competent institution, therefore for the preservation
[00:14:04] and for the protection measures of all registered
[00:14:08] monuments in the area of the Canton of Sarajevo. The Law on
[00:14:11] Heritage Assets at the cantonal level of Sarajevo clearly defines,
[00:14:15] therefore, that we are the competent service, that no
[00:14:18] interventions can occur, no changes to the authentic heritage
[00:14:21] asset without the consent of the service, i.e., the institute.
[00:14:25] And what is also important to say is that in addition to being registered,
[00:14:29] Sarajevo roses are under yet another level of protection
[00:14:33] called preliminary protection, so these are assets under preliminary
[00:14:36] protection which precisely imply that stronger
[00:14:40] degree of legal protection regarding the need for their preservation
[00:14:44] and protection. Young people are also
[00:14:47] in the focus of every
[00:14:50] digital innovation in any institution. How much can
[00:14:54] this really help them in education, how much do new
[00:14:58] generations today recognize the symbolism of Sarajevo
[00:15:01] roses? Well, I think that Sarajevo
[00:15:05] roses are recognized as one of perhaps
[00:15:07] the most characteristic
[00:15:10] uh symbols of the siege. I really think
[00:15:13] so. I think it's very
[00:15:17] good that in our activities we use
[00:15:20] the possibilities of modern technology that...
[00:15:25] offers countless possibilities, besides these, in this
[00:15:29] first phase of collecting information, locating,
[00:15:32] for example, Sarajevo roses. So
[00:15:35] that will serve us further for developing
[00:15:39] our activities that will be precisely directed and
[00:15:43] we think that they will be especially,
[00:15:46] so to speak, attractive for the younger population, so that
[00:15:50] in a more modern way, thanks to new
[00:15:53] technologies, they learn about what happened to us in such
[00:15:57] a traumatic time with numerous
[00:16:00] traumatic experiences in our recent past. Will you
[00:16:04] eventually create a digital map?
[00:16:07] That is still in development,
[00:16:11] but in any case, that is our idea,
[00:16:14] but it is still in the phase, I would say, of thinking
[00:16:18] and developing this program further. How can citizens
[00:16:22] report? Let's repeat once more for all our viewers who
[00:16:25] in their street, neighborhood, know that there
[00:16:29] used to be or still is a Sarajevo rose. Citizens, regardless
[00:16:32] of the fact that this call is current and active,
[00:16:36] they can, through our social networks, where specific
[00:16:40] email addresses are listed where they can submit their material, and
[00:16:43] with this digital form that we were talking
[00:16:47] about, always, at any time, regardless of
[00:16:51] this current call, they can contact the institute. The institute always
[00:16:55] has its doors open to citizens for any information regarding Sarajevo
[00:16:58] roses, documentation, possibly some older
[00:17:02] photographs from family albums,
[00:17:05] their testimonies that they would like to
[00:17:08] share, so to speak, in the archive of the institute.
[00:17:12] Welcome, and we are
[00:17:15] really glad that we have the opportunity to cooperate
[00:17:19] with citizens. We thank you for the opportunity to
[00:17:22] present this project of ours once again. Thank you for
[00:17:26] your time. Good luck with further development.
[00:17:29] Thank you. Uh, in the past few minutes,
[00:17:32] we spoke with historian Amra Čusto from
[00:17:35] the Cantonal Institute for the Protection of Cultural, Historical and
[00:17:39] Natural Heritage in Sarajevo, about Sarajevo roses.
[00:19:15] I ask your guests what I presume you would ask
[00:19:19] them, giving them the opportunity to offer adequate answers. I am
[00:19:23] Dalibor Mrdić, you are watching N1.
[00:19:57] Welcome to another edition of Scene. At
[00:20:00] the National Theater Tuzla on Friday, October 30th,
[00:20:04] a book promotion by BH writer Semezdin
[00:20:07] Mehmedinović will be held. It is a book that deals with his life and
[00:20:11] Tuzla, his hometown. And the neighborhood cinema Grbavica in
[00:20:15] the last week of October brings a special program to the audience. On
[00:20:19] Friday and Saturday at 7 PM are horror movies, while on Saturday at
[00:20:23] 4 PM there is an animated movie for the youngest, Paw
[00:20:26] Patrol. In the continuation, we talk about the seventh art. So stay with
[00:20:30] us.
[00:20:34] The second edition of the Youth Film Festival in Tuzla
[00:20:38] gathers young authors from the entire region. This year,
[00:20:42] 40 films have been submitted. Screenings, panel
[00:20:45] discussions, award ceremonies are held at the Bosnian
[00:20:49] Cultural Center of Tuzla.
[00:20:51] This year's festival includes three competitive categories. The first is
[00:20:55] intended for high school students who, with mentor support,
[00:20:59] made films on the theme of family. The second is for elementary
[00:21:02] and high school students with films on the theme of Homeland, while the third
[00:21:06] gathers student and youth films from Bosnia and Herzegovina
[00:21:09] and the region without thematic restrictions. The best film in
[00:21:13] the family category is from the Contemporary Art School
[00:21:16] Tuzla. This is a new experience for me and the people
[00:21:20] in my team, because we learned what it actually means to work on
[00:21:23] a film and how complicated it is and how it's not an
[00:21:27] easy job at all and how many things stand behind a film.
[00:21:31] The awarded film is titled Between Us and talks about
[00:21:34] family. One would say a simple topic, but it's not.
[00:21:37] I believe that it is a very important topic, although it may
[00:21:41] seem simple, it is not at all. It is very complex and how many
[00:21:45] mm problems a family faces in
[00:21:48] the 21st century. 40 films were submitted to the festival,
[00:21:51] on which more than 1,000 students worked, and 18
[00:21:55] films were delegated by young people from Academies of Dramatic Arts from
[00:21:59] the region. The main motive of the festival is to provide young people
[00:22:02] with the opportunity to express creativity. There is
[00:22:05] indeed a quality program of four days in which
[00:22:08] young people through creating films, discussions about films, which is a special
[00:22:12] specificity of this festival, because after each screening and award ceremony
[00:22:15] we talk about films and topics that concern young people. This year
[00:22:19] we... delegated themes of family and homeland, I think both
[00:22:22] are current when it comes to young people, certainly
[00:22:26] between 20 and 40 people participated in the making
[00:22:29] of every film that was submitted, 40 films
[00:22:32] were submitted, so somewhere around
[00:22:36] 1600 young people participated.
[00:22:38] The best films in all categories will be awarded
[00:22:42] financially with 302, 100
[00:22:44] and 1000 marks, and the general sponsor of the festival is
[00:22:48] the government of Tuzla Canton. Count on our competent
[00:22:51] ministry and the government of Tuzla Canton to be their priority partners
[00:22:55] in all those activities, and of course, we want
[00:22:58] to create as many conditions, criteria and
[00:23:02] programs that will interest our young people to use their free time
[00:23:06] in the right way. The last day of the festival is dedicated to film heritage, when the film
[00:23:10] Dervish and Death will be screened, based on the novel by Meša
[00:23:13] Selimović. Nataša Tadić, N1,
[00:23:16] Tuzla.
[00:23:20] The Puppet Theater Mostar brings a new play titled
[00:23:24] Superhedgehog in the Fight for the Invisible, directed by Zdenka
[00:23:28] Šustić. The play tells a story about the importance of friendship,
[00:23:31] closeness and true human values in a time
[00:23:34] when technology increasingly occupies the attention
[00:23:38] of the youngest. Superhedgehog fights against an invisible
[00:23:41] enemy which in modern society is represented
[00:23:44] by the Internet, wireless networks, TikTok and other technological
[00:23:48] devices that increasingly occupy space in everyday
[00:23:52] life. Superhedgehog originated in
[00:23:55] Mostar kindergartens. Two
[00:23:58] of our Mostar teachers, Anita Šagolj and
[00:24:01] Marijana Bubalo, in their work came up with
[00:24:05] this super hedgehog. They actually
[00:24:08] transferred puppetry to kindergarten
[00:24:11] and in that way did what we
[00:24:15] do, what we try to do, which is
[00:24:18] that a puppet is a very powerful pedagogical
[00:24:21] weapon, and this super hedgehog is not a classic
[00:24:25] superhero, but he solves all
[00:24:28] the problems of his inhabitants and forest friends by
[00:24:32] reminding them of what is most important, of some
[00:24:36] basic human values, which are
[00:24:39] what our community, family, those around
[00:24:42] us are.
[00:24:46] The repertoire of the 212 Theater has become richer
[00:24:49] with yet another play, the drama Hungry Ghosts, directed by Andrej
[00:24:53] Nosov. At the table, around a birthday celebration, four
[00:24:57] generations of women of one family gather. What are they hungry for and
[00:25:00] what kind of hunger is it? Actress Svetlana Ceca
[00:25:04] Bojković revealed to our Tamara Stojanović. In
[00:25:06] Buddhist cosmogony, hungry ghosts are beings with huge
[00:25:10] stomachs and throats as thin as needles, forgotten ancestors
[00:25:13] in the Far East. In the play by Northern Irish author
[00:25:16] Caris Kelly, it can be read from its motto: a hungry ghost is anyone
[00:25:20] who compulsively swallows food, drink, work,
[00:25:23] things, because true hunger is never for what is swallowed, but for
[00:25:27] what was never there. What kind of hunger and what are they trying to
[00:25:31] satisfy, these four women on the stage of Atelje 212, we ask
[00:25:34] Svetlana Ceca Bojković, who breathes life into the oldest
[00:25:38] among them. Hungry ghosts, well, that refers to the great hunger
[00:25:41] in Ireland that prevailed,
[00:25:45] which is a
[00:25:48] long-lasting trauma for that nation,
[00:25:51] which, how can I say, many people may not even be aware of,
[00:25:54] but trauma, for example, and that is one issue treated here
[00:25:58] about traumas, it is a family, let's say, four
[00:26:02] women are actually four generations, the great-grandmother
[00:26:06] who is celebrating her 90th birthday, whom I play,
[00:26:09] her daughter who is played by Dara Đokić,
[00:26:12] then her daughter, so my granddaughter is played
[00:26:15] by Isidora Minić, and my great-granddaughter, Isidora Minić's daughter,
[00:26:19] is the young
[00:26:22] Vasilija Jezdić, for whom this is her first role.
[00:26:25] And
[00:26:29] that was all for today, we'll see each other again tomorrow. Goodbye.
[00:27:27] the world. In my work, I strive to ensure that the information I present is
[00:27:31] verified, clear and understandable to every viewer. I ask
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[00:27:43] N1.
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[00:30:19] Good afternoon, dear viewers, you are watching N1
[00:30:21] info.
[00:30:26] Carriers are demanding an urgent solution to the issue of drivers' stay in European
[00:30:30] countries and concessions for the operations of domestic
[00:30:32] companies.
[00:30:36] The formation of the new government in Serbia has been postponed due to repeated voting at
[00:30:40] certain polling stations, the student list is demanding urgent resignations of a number
[00:30:43] of high-ranking
[00:30:44] officials.
[00:30:48] In Spain, three days of mourning, after a train accident in which 69 people
[00:30:51] died, rescuers are searching the destroyed
[00:30:55] wagons.