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                                                       Jovanka Broz

Jovanka Broz bila je partizanka, majorka i potpukovnica u JNA.

Partizanskom pokretu se pridružuje sa 17 godina, kada je primljena u Prvu žensku partizansku četu. Članice ženske čete su obučavane da pucaju, kopaju rovove, pružaju prvu pomoć… Od 80 devojaka, Jovanka je (pored još jedne) najpreciznije pucala.

U Narodnooslobodilačkoj borbi je isprva učestvovala kao borac, kasnije kao komesarka Interne bolnice u Drvaru i Hirurške bolnice 1. armije.  Tokom rata je bila ranjavana dva puta (prvi put u borbi sa četnicima i Italijanima, a drugi put u nogu tokom borbe sa Nemcima, kada je ranjena preplivala reku Lim) i preživela je tifus. Odlikovana je brojnim ordenjem, između ostalih za hrabrost i Ordenom zasluga za narod prvog reda.

Nakon udaje za Josipa Broza Tita 1952. godine, Jovanka je sa njim proputovala gotovo ceo svet i imala priliku da se sretne sa skoro svim posleratnim svetskim državnicima - Čerčilom, Nehruom, Niksonom, Kenedijem, Indirom Gandi, Sadatom, Brežnjevom, Hruščovom, kraljicom Elizabetom… Po Jovankinom svedočenju, upravo je ona bila idejni tvorac Pokreta nesvrstanih, tokom Titovog sastanka sa premijerom Indije Džavaharlalom Nehruom. Sa njegovom ćerkom, kasnije takođe premijerkom, Indirom Gandi, Jovanka je bila bliska prijateljica. Indira ju je i nakon Titove smrti dva puta posetila sa unucima.

Na Filozofskom fakultetu u Beogradu Jovanka je studirala svetsku književnost, ali zbog obaveza nikada nije stigla da diplomira.

U svetskim okvirima je Jovanka, kao uostalom i njen suprug, bila poštovana i cenjena. Ipak, nakon njegove smrti Jovanka je stavljena u svojevrsni kućni pritvor u kojem je živela do kraja života. U svakom pogledu degradirana, živela je u oštećenoj kući koja je prokišnjavala i koja je nekoliko puta bila pljačkana.   

Jovanka Broz was a partisan, major and lieutenant colonel of the Yugoslavian Army.

She joined partisans at the age of 17, when she became part of the First Female Partisan

Troop. Members of this squad were taught how to fire,  how to dig trenches and how to give first aid. Jovanka was the second best shooter among 80 women.

In the Second World War Jovanka was a soldier yet she later became a commissioner of the first Internal hospital in Drvar and Chirurgy hospital of the First Army. During the war she was wounded twice (first time during fights with Chetniks and Italians, second time she was wounded in the leg during the fights with Germans, when she swam wounded over the river Lim) and she survived typhus as well. She had many war and national medals.

After she got married to Josip Broz Tito, the Yugoslavian president, in 1952, Jovanka traveled the world and had a chance to meet most of the politicians of the era - Churchill, Nehru, Nixon, Kennedy, Indira Gandhi, Sadat, Brezhnev, Chruschtschow, queen Elizabeth...Jovanka underline that she was the one who got the idea about Non-aligned movement during the meeting with the prime minister of India Jawaharlal Nehru. Jovanka was a close friend with Nehru’s daughter Indira Gandhi who was a prime minister later as well. Indira and her grandchildren visited Jovanka twice after Tito’s death.

She studied world literature at the University in Belgrade yet she never finished it because of her obligations and responsibilities. In the eyes of the world, Jovanka, as well as her husband were respected and admired. After Tito’s death she was kept in the home prison until the end of her life. She was degraded in every way and left to live in a damaged house that was robbed few times.

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                                                   Mara Bogdanović Rosandić

Mara Bogdanović Rosandić se smatra našom prvom školovanom fotografkinjom.

Mara je rođena u bogatoj i uglednoj porodici u Rumi. Po nepisanom pravilu, devojke rođene u bogatim porodicama u 19. i početkom 20. veka bile su školovane, te su se i Marini roditelji potrudili da njihova ćerka dobije najbolje moguće obrazovanje. Govorila je nekoliko jezika i imala osnovno muzičko obrazovanje, a obrazovanje iz umetničke fotografije je stekla u Minhenu.

Interesantno je da je 1900. godine, sa samo 17 godina, Mara već imala svoj fotografski atelje u Beogradu, a u (takođe fotografskom) ateljeu koji je kasnije otvorila u Zagrebu skupljali su se tadašnji mladi umetnici. Kasnije je i beogradski dom Mare i njenog supruga, poznatog vajara Tome Rosandića, bio mesto okupljanja značajnih ličnosti poput slikarke Leposave Bele Pavlović, književnice Isidore Sekulić i Kriste Đorđević. Njihova kuća je danas Muzej Tome Rosandića.

Mara je na svojim fotografijama dokumentovala umetničke radove svog supruga i mnoge tadašnje poznate ljude. 1909. godine je u Beogradu organizovala jednomesečni kurs fotografije. Bila je saradnica prvog fotografskog časopisa “Fotografski pregled”.

Mara Bogdanović Rosandić is considered to be the first educated female photographer.

She was born in a wealthy and respected family in Ruma (Vojvodina). Like many other girls born in the 19th and early 20th century, Mara’s parents provided good education for their daughter. She spoke several languages and gained basic education in music, and then studied photography in Munich.  

In 1900, at the age of 17 Mara already had her own photograph atelier in Belgrade, and later opened another one in Zagreb. Her atelier in Zagreb was a meeting spot for well known and respected young artists. Later on, Mara’s and her husband’s (Toma Rosandić, famous sculptor) home in Belgrade also became a place where notable persons such as painter Leposava Pavlović, writer Isidora Sekulić and Krista Đorđević often came to. Today their house is Toma Rosandić’s Museum.

In her photographs Mara documented the works of her husband and portrayed many famous people of her time. In 1909 she organized a one-month photography course in Belgrade. She was contributor to the first Serbian photograph magazine called the Photograph Review.

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                                                                      Katarina Bogdanović

Katarina Bogdanović je bila naša filozofkinja, urednica, nastavnica, feminstkinja i socijalistkinja.

Početkom dvadesetog veka, Katarina je radila kao učiteljica u osnovnoj školi u Tuzli. Nezadovoljna svojim poslom i nivoom obrazovanja koji je do tada stekla (završila je učiteljsku školu nakon koje se odmah i zaposlila), 1906. iznenada daje otkaz i odlazi u Beograd kako bi studirala filozofiju i književnost. Katarina je težila da bude u centru kulturnih i naučnih zbivanja - u Beogradu - gde će moći da razvija svoj intelektualni potencijal. 1910. godine je diplomirala i uzima se za prvu ženu koja je završila filozofiju na Beogradskom univerzitetu.

Sem u Beogradu neko vreme je studirala i u Parizu, u koji odlazi nakon što daje otkaz u gimnaziji u Smederevu gde je radila kao profesorka. Planirala je da upisuje i postdiplomske studije, ali pošto je dobila poziv iz Ministarstva prosvete 1913. godine, vraća se u Beograd i počinje da radi u Višoj ženskoj školi. Tu je provela narednih 15 godina kao nastavnica filozofije i književnosti. U Niš odlazi 1928. i postaje direktorka Ženske gimnazije, a četiri godine kasnije i u Kragujevac gde je takođe bila na čelu gimnazije.

Između dva svetska rata bila je aktivna u ženskom pokretu zajedno sa Paulinom Lebl Albala, sa kojom je napisala udžbenik Teorija književnosti. 1919. osnivaju Društvo za prosvećivanje žene i zaštitu njenih prava i u tom periodu se mreža ženskih organizacija širi i po drugim gradovima. Njihov glavni cilj je bila građanska i politička emancipacija žena. Takođe se pokreće časopis Ženski pokret, koji je bio glasilo udruženja i njegova prva urednica je bila Katarina. Katarina (kao i samo Društvo) je pratila rad internacionalnih ženskih organizacija i učestvovala je na konferencijama i kongresima širom Evrope.

Katarina je aktivno vodila dnevnike do svojih poznih godina. Iz njih saznajemo detalje o njenom životu i nezadovoljstvu premeštanjem iz Beograda, kada je ponovo smatrala da je skrajnuta od književnih dešavanja i listova za koje je pisala. U svojim dnevnicima takođe je pisala o nedostacima srpskog obrazovnog sistema i nezainteresovanosti Ministarstva da reformiše školstvo. U “Devojačkom dnevniku” i “Pariskom dnevniku” koje je vodila kao mlada devojka pisala je i o okolnostima pod kojima je razvijala svoje ideje i stavove o svetu i životu: o sklonosti ka filozofiji, čitanju, o ateizmu.

1940. godine je kao socijalistkinja, zbog političke nepodobnosti smenjena sa mesta direktorke gimnazije u Kragujevcu. Tada je i prevremeno penzionisana, a kao obrazloženje je navedeno da je previše levičarski nastrojena i time nepodobna za vaspitanje mladih devojaka. Neposredno posle okupacije zemlje Katarina je, kao komunistkinja, nekoliko puta hapšena i čak joj je bilo prećeno smrtnom kaznom. I za vreme rata je vodila “Ratni dnevnik” u kojem je ostavila detaljne opise nemačkog okupiranja Jugoslavije, o ekstremnim uslovima za život i gladi, o streljanju đaka, potkazivanjima, izdaji, te o kolaboraciji Dimitrija Ljotića njemu bliskih ljudi sa nacistima. Nakon završteka rata, iako već u poznim godinama, Katarina je nastavila da bude aktivna pišući o aktuelnim temama i držeći predavanja o svetskim piscima, obrazovanju, Svetozaru Markoviću.

Do kraja života Katarina je bila nesrećno uverena da je bila uskraćena za puno razvijanje svojih profesionalnih i drugih potencijala i da je, iako je čitavog života pisala, da nije za sobom ostavila veliko delo, te da će posle smrti pasti u zaborav. Nije bila daleko od istine, pošto je njen rad ostaje marginalizovan. Njeni eseji i radovi su rasuti po časopisima za koje je pisala, a njena jedina knjiga (pored udžbenika o književnosti), objavljena je 17 godina nakon njene smrti i teško je dostupna i dan danas. U Kragujevcu danas postoji književni klub koji je nazvan po Katarini Bogdanović.

Katarina Bogdanović was Serbian philosopher, editor, teacher, a feminist and a socialist.

At the beginning of 20th century, Katarina worked as a teacher in elementary school in Tuzla. Unsatisfied with her work and education gained so far she unexpectedly quit her job in 1906 and moved to Belgrade to study philosophy and literature. Katarina strived to be in the center of cultural and scientific events - in Belgrade - where she could further develop her intellectual potential. She graduated in 1910 and is considered to be the first woman to graduate philosophy at the University of Belgrade.

Apart from studying in Belgrade she also studied in Paris for some time. She left for Paris after she quit her job as a professor in grammar school in Smederevo. She planned on pursuing postgraduate studies, but came back to Belgrade after she got an official invitation from the Ministry of Education to come and work as a professor in Girls’ School in 1913. She worked there for the next 15 years as a professor in philosophy and literature. She moved to Niš afterwards and became head of Girls’ Grammar School and four years later she moved to Kragujevac where she was also the head of a grammar school.

In between the two World wars she actively participated in a women’s movement alongside Paulina Lebl Albala, with whom she later wrote textbook Theory of literature. In 1919 they founded Association for enlightenment of women and the protection of their rights. During this period women’s organizations were being established across other cities as well. Their main goal was political and civil emancipation. They have also founded a magazine called Women’s movement, Association’s newsletter, and Katarina was its first editor. Katarina (and the Association itself) followed the works of international women’s organizations and participated in conferences and congresses across Europe.

Katarina actively wrote diaries throughout her life, even in her late years. Those diaries give an insight into her life and her dissatisfaction with relocating from Belgrade, when she once again considered to be sidelined from cultural happenings and the magazines she wrote for. In her diaries she also wrote about deficiencies of Serbian education system and the lack of interest (on the behalf of Ministry of Education) to reform it. In her “Maiden Diary” and “Paris Diary” she wrote about the circumstances which led her to develop her standpoints on life and the world: she wrote about her love for reading, philosophy, about her atheism.

In 1940 she was dismissed from being the head of Girls’ Grammar School in Kragujevac, because she was a socialist and therefore politically unfit to educate young girls. Not long after the occupation of the country, as a communist, she was arrested several times and even threatened with a death sentence. During WWII she wrote a “War Diary” in which she described in detail German occupation of Yugoslavia, the extreme living conditions and hunger, the shooting of pupils, denunciation and betrayal, as well as Dimitrije Ljotić’s collaboration with the Nazis. After the war ended, although old, Katarina continued writing about current topics and held lectures on famous writers, education and Svetozar Miletić.

Until her last days Katarina was unhappily convinced that she was denied to fully develop her professional and other potentials, and that she will be forgotten after she dies. She wasn’t far from the truth, as her work remains marginalized. Her essays are scattered across magazines that she wrote for, and her second book (apart from the textbook on literature) was published 17 years after her death and is still hard to be found. In Kragujevac, one literary club is named after Katarina Bogdanović.

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                                                            Mina Karadžić

Istorija umetnosti beleži Minu Karadžić Vukomanović kao jednu od naših prvih slikarki. Mina je ostavila trag kako u slikarstvu, tako i u srpskoj književnosti, što i nije iznenađenje, imajući u vidu to da je bila ćerka Vuka Karadžića.  

Mina je rođena kao jedno od trinaestoro dece, od kojih su svi sem nje i njenog brata Dimitrija preminuli. Porodična kuća Karadžića u Beču je bila mesto na kojem su se skupljale mnoge značajne ličnosti iz naše istorije, poput Đure Daničića, Njegoša, Branka Radičevića... 

Iako je Minina porodica bila lošeg materijalnog stanja, njeni roditelji su se pobrinuli da ona dobije dobro obrazovanje. Govorila je nekoliko jezika i prevodila je srpske narodne umotvorine i pesme  na nemački. Mina je imala odlične prevodilačke sposobnosti, koje je hvalio i Jakob Grim. Posledično, dosta je pomagala i svom ocu u njegovim poslovima, između ostalog i u radu na „Rječniku“. Minin prevod srpskih pripovedaka i pesama, pod nazivom „Volksmarchen der Serben“, štampan je 1854. godine u Berlinu.

Iako se Mina bavila književnošću, prevođenjem i pisanjem, ona je prevashodno bila slikarka. Slikala je uljem i akvarel tehnikom. Najčešće je slikala portrete, pre svega bliskih ljudi. Njene radove čuva Narodni muzej u Beogradu, Arhiv SANU i Galerija Matice srpske u Novom Sadu. Njeni najpoznatiji radovi su „Autoportret“ i portret brata Dimitrija.

In the Serbian history of art, Mina Karadžić - Vukomanović was one of the first women painters. Mina played a significant role in Serbian literature as well, not to a surprise, since she was a daughter of the famous language reformer, philologist and linguist Vuk Karadžić.

Mina was one of thirteen children, but she and her brother Dimitrije were the only ones to survive of all of their siblings. Their family home in Vienna was the meeting point for many notable persons from Serbian history, such as Đura Daničić, Njegoš, Branko Radičević...

Although, Mina’s family was poor, her parents did everything in order for her to get the best education. She spoke several languages and she was translating Serbian folk poems and other  written heritage to German. Mina was a great translator of which even Jacob Grimm spoke highly. She was also helping her father who was working on the “Dictionary” a lot. Mina’s translation of Serbian folk tales and songs was printed out in Berlin in 1854, titled „Volksmarchen der Serben“.

Although Mina was a writer, translator and an important literary figure, first of all she was a painter. She painted in oil, watercolor but she also did some drawings. She loved drawing portraits, mostly of people from her surrounding. Today, her works could be seen in the National Museum in Belgrade, Serbian Academy of Arts and the Gallery of Matica Srpska in Novi Sad. Her most famous works are “Autoportrait” and the portrait of her brother Dimitrije.

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                                                                   Zora Petrović

Zora Petrović je bila slikarka koja je pripadala školi ekspresionizma.

Rođena je u Banatu, a Akademiju na kojoj je studirala slikarstvo upisuje u Budimpešti. Po završetku Prvog svetskog rata prelazi u Beograd gde iznova upisuje Umetničku školu na kojoj i diplomira. Nakon diplomiranja je radila kao nastavnica crtanja u beogradskoj Realki (srednjoj školi) i u Drugoj beogradskoj ženskoj gimnaziji. 1951. godine je postala redovna profesorka na Akademiji likovnih umetnosti, gde je radila do kraja života.

Zora je slikala portrete, pejzaže, mrtvu prirodu. Još kao mlada slikarka stavljana je u rang sa našim najboljim slikarima. Slika Autoportret iz 1919. godine se uzima za svojevrsnu prekretnicu, razilaženje sa akademizmom i pronalaženjem sopstvenog umetničkog izraza. 1925.godine je određeni period provela u Parizu, u ateljeu Andrea Lota. Nakon odlaska u Pariz do izražaja dolazi njeno slikarsko umeće, koje je do tada u određenoj meri bilo u senci crtačkog.

Kada se iz Pariza vratila u Beograd pristupila je umetničkoj grupi Oblik, koja je okupljala veliki broj umetnika iz različitih disciplina. Na izložbama koje je održavalo društvo Oblik, Zorine slike počinju da privlače pažnju kritike. 1934. Zora je imala svoju treću samostalnu izložbu na čijem je otvaranju govor držala Isidora Sekulić. Ona je Zorinu umetnost opisala rečima da ona predstavlja borbu sa sobom i ljudima i snagu kojom ostaje pri svojim šumskim i prohladnim tonovima.

Nakon Drugog svetskog rata, a pod uticajem socijalističkog realizma, Zora se u svojim slikama bavi folklorom i živim bojama slika žene u narodnoj nošnji.

Kritika ističe da je Zora čoveka, koji je najčešće bio predmet njenih slika, prikazivala realistično i da u svom slikarstvu nije pribegavala estetiziranju. Čoveka je slikala i kada je grbav, čvornovat, nezgrapan.   

Zora Petrović was an expressionist painter. 

She was born in Banat and she was studying on the Academy of arts in Budapest. After the First World War she moved to Belgrade and she started attending the Art school. She got her diploma there and she began teaching in the two different high schools at the same time. In 1951 she became a professor on the Academy of Arts in Belgrade where she worked until the end of her life.

Zora was painting portraits, landscapes and still nature. Even when she was a young painter she was considered important and extremely talented. In 1919 she did a painting called Autoportrait which was a crossroad in her carrier, that was a moment in which she found her own style and where she parted from the academism. In 1925 she spent some time in Paris where her amazing painting skills became obvious - until then she was well known for her drawing talents.

When Zora moved back from Paris to Belgrade she became a member of the artist group called “Shape”, that gathered people from different art disciplines. During the exhibitions that “Shape” organized, Zora’s paintings started attracting attention of the critique. In 1934 Zora had her 3rd solo exhibition which was open by the speech of Isidora Sekulić. She underlined that Zora’s art represent a fight with ourselves and the power of her paintings is in forestry and cold tones.

After the Second World War and under the influence of socialist realism, Zora paints folklore and women in national dresses of bright colors.

Art critique insists that Zora painted a man, who was usually the main focus of her paintings, in his real shape and form. She painted a man even if he was hunched, gnarled and hobbled.

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                                                                           Jelena Genčić

Jelena Genčić je bila naša teniserka, rukometašica i urednica kulturnog programa na Radio televiziji Beograd.

Jelena se uporedo bavila tenisom i rukometom. Dok je pohađala Petu mešovitu gimnaziju, koja je važila za sportsku, Jelena dobija poziv od Crvene zvezde da počne da igra rukomet za njih, a nije prošlo dugo vremena kada postaje golman reprezentacije. Međutim, Jelena je istovremeno igrala tenis za suparnički klub Partizan. Jednako je ulagala sebe u oba sporta i nizala uspehe za oba kluba.

Na Svetskom prvenstvu u rukometu 1958. godine sa reprezentacijom osvaja 5. mesto. Dve godine kasnije je diplomirala istoriju umetnosti i dobija posao na Radio televiziji Beograd. Rukomet napušta 1963. godine i u potpunosti se posvećuje tenisu. Svoju tensiku igru je svojevremeno definisala kao oštru i ofanzivnu i volela je da njome ljude natera da “skoče sa svojih sedišta”.  Jelenin hobi je bila izrada fotografija i ‘75. je imala izložbu portreta tenisera tokom igre.

Bila je višestruka prvakinja Jugoslavije u tenisu i nakon povlačenja radila je kao teniski trener. Otkrila je i trenirala mnoge buduće uspešne tenisere i teniserke, između ostalih Moniku Seleš i Novaka Đokovića.

Jelena Genčić was a Serbian tennis and handball player, as well as director of cultural programme at Radio Television Belgrade.

She was playing tennis and handball at the same time. While in high school she got a call from the Red Star club to play handball for them and she soon became the goalkeeper of the national team. Meanwhile she was playing tennis for rival club Partisan. She gave her best for both teams and was successful in both handball and tennis.  

At the Handball World Cup in 1958 she won 5th place with the national team. Two years later she graduated as an art historian and got a job at the Radio Television Belgrade. She stopped playing handball in 1963 and fully transferred to tennis. She described her way of playing tennis as sharp and offensive and she loved to make people “jump out of their seats”.  Jelena’s hobby was photography and she had an exhibition of photographs portraying tennis players during their matches.

She was multiple champion of Yugoslavia in tennis and after retiring she worked as tennis coach. She discovered and trained many successful tennis players, amongst others Monika Seleš and Novak Đoković.

[kakvazenska-blog]

                                                                          Dafina Natošević

Dafina je bila novosadska dobrotvorka.

Poznata i po nadimku Nana, Dafina je učestvovala u osnivanju prvih novosadskih ženskih organizacija i velikodušnim novčanim donacijama je pomagala njihov rad. Takođe je, u drugoj polovini 19. veka, bila je uključena u sve aktivnosti koje su za cilj imale nacionalnu i kulturnu emancipaciju i na tom polju je dala velike doprinose. Zahvaljujući Dafininom zalaganju u Novom Sadu je otvoren ogranak Crvenog krsta, u čijem radu je i sama učestvovala.

1880. godine se osniva dobrotvorna zadruga Srpkinja Novosatkinja. Dafina je bila njena prva potpredsednica, a kasnije i počasna članica. Pomogla je otvaranje Srpske više devojačke škole u Novom Sadu, i pored toga što se aktivno angažovala za njeno otvaranje, prikupljala je i donacije za njeno finansiranje. Od tih donacija škola je opremljena nameštajem, knjigama i rekvizitima za učionice. Nakon smrti supruga Đorđa Natoševića, lekara i prosvetnog radnika, Nana je ovoj školi poklonila oko 4000 knjiga.

Kada je proslavljana dvadesetpetogodišnjica rada našeg poznatog pesnika Jovana Jovanovića Zmaja, Nana je zajedno sa ženskim odborom prikupila novac od kojeg su se štampala Zmajeva “Pevanija”.  Tokom srpsko-turskog rata u Dafininoj kući su spremani zavoji za ratnike i prikupljali su se prilozi za ratnu siročad. Par godina kasnije je prikupljala pomoć i za žrtve požara u Sarajevu, te za poplavljene u Segedinu.

Dafina was a benefactor from Novi Sad.

Also known by the nickname Nana, Dafina played an important role in founding some of the first women's organisation in Novi Sad and she financially helped them. In the second half of the 19th century, Dafina was participating in all social activities that were targeting national and cultural emancipation. Thanks to Dafina - the first branch of the Red Cross was opened in Novi Sad in whose work she was participating.

Humanitarian organisation “Serbian Novi Sad woman” was founded in 1880 and Dafina became the first vice-president, and later a honorary member. Dafina helped opening of the first school for women in Novi Sad. From the donation she gathered, school was furnished as well as equipped with books and other educational utensils. After death of her husband Đorđe Natošević who was a doctor and an educational worker, Dafina - nicknamed Nana - gave to the women’s school 4000 books.

For the celebration of the 25 years of work of the famous writer Jovan Jovanović Zmaj, Nana gathered with other influential women, money with which Zmaj’s books were reprinted out. During the Serbian-Turkish war, bandaids and benefactions for orphans were gathered in Dafina’s house. After the big fire in Sarajevo and floods in Szeged - Dafina also organised help and shipped it to endangered areas.

[kakvazenska-blog]

                                                                  Jelena Dimitrijević

Jelena je bila naša književnica i feministkinja.

Književni opus Jelene Dimitrijević u dobroj meri je bio odraz njenog raznolikog životnog iskustva. Stilski je pripadala modernizmu i pisala je romane, pripovetke, poeziju, putopise, tekstove o položaju žena i skoro da nema časopisa i novina koje nisu objaviljivale njene radove dok je bila živa. Govorila je engleski, francuski, nemački, grčki, ruski jezik i bila je prava svetska putnica.

Naime, Jelena je obišla gotovo ceo svet: putovala je u Ameriku, Tursku, Egipat, Japan, Kinu, Indiju, Liban, Jerusalim, Siriju, Cejlon (današnja Šri Lanka) i obišla je skoro sve zemlje u Evropi. O svojim putovanjima je pisala u putopisima u kojima je opisivala način života ljudi inostranih zemalja, koji je upoređivala sa životom u Srbiji. Posebnu pažnju je posvećivala i opisivanju života žena. Jelena je pratila svetske feminističke organizacije i njihov angažman i imala je običaj da se sreće sa začajnim feministkinjama u zemljama u koje je putovala. Pišući o podređenom položaju žene, koja zauzima sekundarnu poziciju u svim poljima društvenog života, davala je celovitu sliku o životu koji žene vode, opisivajući stil odevanja, ponašanje, običaje.

Kada se posle udaje preselila u Niš upoznala je život Turkinja, o čemu takođe počinje da piše. U svom najpoznatijem romanu “Nove” opisala je emancipatorski način vaspitanja turskih devojčica, a o životu u haremu je pisala u monografiji “Pisma iz Niša”. 

Jelena se bavila i humanitarnim radom i bila je članica Kola srpskih sestara i Ženskog društva.  

Jelena Dimitrijević was Serbian writer, feminist and an activist.

Her literary work was a reflection of her diverse life experience. Her literary style belongs to modernism and she wrote novels, short stories, poetry, traveling memories and she wrote about women as well. Almost every magazine and newspaper was publishing her work. She spoke English, French, German, Greek, Russian and she travelled all around the globe.

She had travelled to USA, Turkey, Egypt, Japan, China, India, Jerusalem, Syria, Ceylon (today’s Sri Lanka) and visited almost all European countries. She wrote about her travels and described customs and ways of living in the countries she had visited, and compared it to the life in Serbia. She also described the lives of women. Jelena followed the works of international feminist organisations and she often met with notable feminists while traveling. She portrayed the inferior position of women and gave a comprehensive picture of their lifestyle, describing the ways that women dress, behave etc.

After getting married Jelena moved to Niš and there she got acquainted with the life of Turkish women, a new topic she had started writing about. In her most notable novel titled “Nove” she described the emancipatory way of upbringing of young Turkish girls.

Jelena was also a humanitarian and a member of humanitarian and feminist organisations.  

[kakvazenska-blog]

                                                         Ljubica Ivošević Dimitrov

Ljubica Ivošević Dimitrov je bila proleterska pesnikinja, krojačica i borac za radnička prava.

Posle osnovne škole učila je krojački zanat i radila je kao tekstilna radnica. Gotovo odmah kada se zapošljava postaje članica radničkog pokreta. Početkom XX veka se seli u Beograd gde pristupa Beogradskom radničkom društvu, a od 1902. godine počinje da objavljuje socijalno angažovane pesme u “Radničkim novinama”. Ljubica je bila posebno aktivna na polju kulturno-prosvetnog rada Društva, a kao njegova članica je učestvovala i u osnivanju prvih velikih sindikalnih saveza.

U svojim pesmama Ljubica se bavila radničkim i društvenim temama. Prva pesma koja joj je bila objavljena u “Radničkim novinama” zvala se “Napred” i u njoj je Ljubica pozivala na buđenje borbenog duha radnika. Sem u Srbiji, bila je aktivna i u proleterskim društvima u Austriji i u Bugarskoj. U Austriju se preselila 1902. godine, a ubrzo zatim u Bugarsku, gde je naredne godine vodila štrajk tekstilnih radnica u fabrici u kojoj je i sama radila.

Posle neuspele revolucije u Bugarskoj 1923. zajedno sa suprugom, vođom bugarskih komunista Georgijem Dimitrovim, odlazi u Moskvu, a nekoliko godina kasnije u Berlin. U periodu kada je njen suprug optužen za paljenje nemačkog parlamenta Rajhstaga Ljubica je bila u Moskvi, a kada su Georgija uhapsili nacisti izvršila je samoubistvo. Sahranjena je u Moskvi.

Ljubica Ivošević Dimitrov was a proletarian poet, seamstress and a working class rights’ fighter.

After finishing an elementary school, Ljubica finished dressmaking and she worked as a textile industry worker. As soon as she started working she became a member of a working class movement. At the beginning of the 20th century she moved to Belgrade where she became a member of workers society, and since 1902 she started publishing socially engaged poems in “Worker’s News”. Ljubica was very active in the cultural and educational activities of the Society and she participated in founding of the first trade unions.

In her songs, Ljubica wrote about workers’ class and society topics. The first song that was published in “Worker’s News” was “Onward” and in it Ljubica invited workers to gather and review their esprit. Ljubica was active in Austrian and Bulgarian proletarian societies. In 1902 she moved to Austria and shortly after to Bulgaria, where she lead the strike of textile workers in the factory where she was working as well.

After unsuccessful revolution in Bulgaria in 1923, together with her husband - leader of the Bulgarian communists Georgi Dimitrov - she moved to Moscow and a few years later to Berlin. When her husband was accused for setting German Reichstag on fire Ljubica was in Moscow and when Nazis arrested him she committed suicide. She’s buried in Moscow.    

[kakvazenska-blog]

                                                                    Mira Trailović

Mira Trailović je bila pozorišna rediteljka, jedna od osnivača Ateljea 212 i njegova upravnica, i osnivačica internacionalnog pozorišnog festivala BITEF.

Obrazovanje je stekla u Beogradu, u gimnaziji joj je predavala Ksenija Atanasijević, a na Fakultetu dramskih umetnosti je diplomirala režiju. Nakon oslobođenja posle Drugog svetskog rata, Mira je prva dobila posao radio spikera i urednika radio drame. Ipak, u tom periodu Mira više od svega želi da se posveti pozorištu i sa kolegama istomišljenicima osniva pozorište, sa potpuno novim i drugačijim konceptom od onoga koji je do tada bio zastupljen. Njihova ideja je bilo mesto koje će imati potpuno nov način funkcionisanja, od najsitnijih detalja poput prilaza pozorištu, načina šminkanja, izbora pisaca itd.

Prema Mirinim rečima, Atelje 212 je otvoren (ranije zabranjenom) predstavom “Čekajući Godoa”, iako je “Faust” (režiran od strane Mire) bila zvanična predstava kojom je Atelje formalno otvoren. Njegovi osnivači u repertoar uvode “proklete pisce”, egzistencijaliste i apsurdiste, Žana Pola Sartra, Ežena Joneskoa, Artura Adamova, Vilijama Foknera. Mira je, između ostalog, režirala Sartrovu “Iza zatvorenih vrata”, Joneskove “Stolice”, mjuzikl “Kosa” i mnoge druge. Mira je Atelje 212 opisala kao “nekonvencionalno pozorište u socijalističkom sistemu” koje ih je povezalo sa svetskom scenom, iz čega se rodio i BITEF.  

1983. i 1984. godine je bila umetnički direktor festivala u Nansiju u Francuskoj. Odlikovana je najvišim francuskim odličjem Legijom časti (Légion d'honneur) i 1976. godine je dobila Oktobarsku nagradu za režiju drame “Čudo u Šarganu”.

Mira Trailović was a theatre director, one of the founders of theatre Atelje 212 and its manager, as well as the founder of international theatre festival BITEF.

She obtained her education in Belgrade, one of her professors in high school was Ksenija Atanasijević. She graduated at the Faculty of Drama Arts in Belgrade. After the liberation in WW2 Mira was the first person to become radio newscaster and editor of a radio-drama. However, during this period Mira wanted to work in a theater more than anything. Along with several other theatre directors she founded a theatre, based on completely new concepts, from the smallest details, such as the access to theatre, the way makeup is done, which writers will be chosen etc.

According to Mira Atelje 212 was opened with the (previously prohibited) play “Waiting for Godot”, although “Faust” (directed by Mira) was the official play that formally opened the theatre’s doors. Its founders introduced the “damned writers” to Atelje 212’s repertoire, existentialists and absurdists, Jean Paul Sartre, Eugène Ionesco, Arthur Adamov, William Faulkner. Mira had directed Sartre’s “Behind Closed Doors”, Ionesco’s “Chairs”, musical “Hair”, amongst other plays. She had described Atelje 212 as a “unconventional theatre in socialist system” which connected them to the international scene, and made the creation of international theatre festival BITEF possible.

In 1983 and 1984 Mira was creative director of a festival in Nancy (France). She was honoured with the highest French order - National Order of the Legion of Honour and in 1976 she was awarded for directing drama “Miracle in Šargan”.

[kakvazenska-blog]

                                                       Ljubica Marić

Ljubica Marić je bila jedna od naših najznačajnijih kompozitora.

Ljubica je rođena u Kragujevcu. Bila je prva osoba koja je diplomirala kompoziciju u Beogradu 1929. Obrazovanje je nastavila na Konzervatorijumu u Pragu. Na Muzičkoj akademiji u Beogradu je radila kao profesorka. Bila je članica Srpske akademije nauka i umetnosti.

Ljubica pripada našim najoriginalnijim kompozitorima. Njena muzika je imala elementarni izraz i vezana je za duhovnu muziku, što ne čudi s obzirom na to da je inspiraciju za komponovanje, između ostalog, nalazila u narodnoj prošlosti. Međutim, Ljubica je uspevala da spoji prošlost i sadšnjost, te je njena muzika imala i izraziti savremeni karakter.

Njena najpoznatija dela su kantate “Pesme prostora”, “Prag sna”,  za orkestar “Paskalja” i “Octoiha br. 1”, za klavir i orkestar “Vizantijski koncert” i “Stihovi iz Gorskog vijenca” za glas i klavir. Pored komponovanja Ljubica se bavila i dirigovanjem.

Ljubica je bila dobitnica Sedmojulske nagrade 1965. godine i Oktobarske nagrade za životno delo 1996.

Ljubica Marić was one of the most important Serbian composers.

Ljubica was born in Kragujevac and was the first person to finish studies on the department for the musical composition in Belgrade in 1929. She continued her education in Prague and then she came back to Belgrade and became a professor on the academy in Belgrade. Ljubica was a member of the Serbian Academy of Arts and Science.

Ljubica’s compositions were very original. She was often inspired by the history of Balkan and her music has the elements of the music sang and performed in churches. She knew how to make a combination of past and present influences and her music had a contemporary character.

Besides being a composer Ljubica was also a conductor of the orchester. In her lifetime she got many awards.

[kakvazenska-blog]

                                                                      Marija Bursać

Marija Bursać je bila partizanka i prva žena koja je dobila titulu narodnog heroja u Jugoslaviji.

Rođena je u blizini Drvara i kada je sa 18 godina završila kurs domaćinstva, bila je čobanica i bavila se domaćinstvom u svom selu. U tom periodu je takođe postala članica revolucionarnog omladinskog pokreta. Članica Narodnooslobodilačkog pokreta postaje 1941. godine, a naredne je primljena u Komunističku partiju Jugoslavije. Aktivno je doprinosila radu NOP-a i Antifašističkog fronta žena (AFŽ) i takođe je bila zamenica komesara I omladinske radne brigade. U svom selu je po izbijanju ustanka okupljala omladinu oko ideje Narodnooslobodilačke borbe.

Marija je lično zahtevala da bude prebačena u X krajišku udarnu brigadu. Isprva je radila kao bolničarka, da bi kasnije postala bombaš. Ranjena je 1943. godine kada joj se parče minobacačke granate zabilo u nogu. Dok su je ranjenu nosili do obližnje bolnice Marija je sve vreme pevala partizanske borbene pesme.

Umrla je nekoliko dana kasnije od gangrene, a za narodnog heroja je proglašena 1945. godine.

Marija Bursać was a partisan and the first woman to get a title of a national hero in Yugoslavia.

She was born close to Drvar and when she was 18 she finished the course of home economics. She was a shepherdess and she took care of households in her village. During that time she became a member of revolutionary youth movement. Marija became a member of National Liberation Front in 1941 and the next year she became a member of the Communist Party of Yugoslavia. She had a few titles in different organisations and was a member Women’s Antifascist Front. She was a tribune of the idea of fighting against occupation in her village.

Marija personally insisted to be a part of the 10th Krajiška Power Brigade. At first she worked as a nurse and later she became a bombardier. She was badly wounded in 1943 when a part of granate ended up in her leg. While they were carrying Marija to the nearby hospital she was singing revolutionary partisan songs.

Marija died few days later from gangrene. She became a national hero in 1945.

[kakvazenska-blog]

                                                                       Beta Vukanović

Babet Beta Vukanović je bila jedna od naših predstavnika impresionizma u slikarstvu.

Poreklom Nemica, Beta se nakon udaje za slikara Ristu Vukanovića seli u Beograd, gde je živela do kraja života. Školovala se u Minhenu i Parizu, a po preseljenju u Beograd je radila kao profesorka u školi i predavala generacijama budućih slikara i slikarki. Zajedno sa suprugom Ristom je udarila temelje Beogradske umetničke škole. Stvarala je u prelaznom periodu između realizma i impresionizma.

Beta je slikala prirodu, portrete, mrtvu prirodu, različitim tehnikama - od pastela i ulja do akvarela. Jedna od interesantnih stavki iz Betine biografije je i ta da je upravo ona oslikala novi tip novčanice od 50 dinara, koji je počeo da se štampa 1914. godine. Beta se bavila i karikaturom i autorka je velikog broja karikatura na kojima je prikazala društveni život kroz duhovit ugao. Time predstavlja i jednu od naših prvih karikaturista/kinja, a kod nje je slikanje učila i Desa Glišić, koja se tokom svoje karijere takođe bavila karikaturom.

Neki izvori navode da su joj nacisti ponudili da kao Nemica postane članica Kulturbunda (organizacije Nemaca u Vojvodini koja je pod okriljem očuvanja nemačke kulture pomagala nacistima), čime bi u��ivala sve privilegije koje bi uz to išle, što je Beta odbila.

Babette Beta Vukanović was one of Serbian impressionist painters.

German by origin, after Beta married a painter Rista Vukanović she moved to Belgrade where she lived for the rest of her life. She went to school in Munich and Paris, and in Belgrade she found a job as a professor in school. Together with her husband she created a good climate for the Belgrade School of Arts to be opened. Beta was a painter that belongs to the period between realism and impressionism.

Beta painted nature, portraits, still life and all that in different art techniques - from pastels to aquarelle. The banknote of 50 dinars that started being printed in 1914 had Beta’s painting on it. Beta was a cartoon artist and a caricaturist as well. On her sketches she was presenting the funny side of social life. She was one of our first caricaturists and Desa Glišić, famous Yugoslavian cartoonist, was one of her students.

Some sources say that the Nazis offered her membership in Kulturbund (an organisation established by Germans in Vojvodina whose alleged goal was to preserve German culture and language, but in fact served the Nazis), which Beta refused.

[kakvazenska-blog]

                                                                      Zorka Janković

Zorka je bila feministkinja i folkloristkinja, jedna od ključnih ličnosti pokreta za ženska prava u Vojvodini.

Napisala je dve knjige, “Žensko pitanje” i “Problem saveza”, što su ujedno i prve knjige koje su se bavile pitanjem ženskih prava i umrežavanjem ženskih grupa u Vojvodini. Zorka je svoje knjige opisivala kao nastojanje da se bavi ovim pitanjima kojima se niko kod nas ne bavi. Govorila je da se za ženska pitanja nije interesovala ni lepa književnost koja se bavila socijalnim pitanjima.

Zorka se samostalno obrazovala, a ipak je imala zavidno znanje o tadašnjoj feminističkoj teoriji i internacionalnim pokretima. Ugledala se na češku feministkinju Mariju Brambergovu i socijalnu teoretičarku Elisze Gnauck - Kühn.

Kritikovala je srpsku sredinu s početka 20. veka i položaj u kojem se žene nalaze, ali je takođe apelovala na žene da se same organizuju i bore za svoje mesto u društvu i učešće u narodnim i opštim poslovima. Smatrala je da žene same treba da reogranizuju svoje mesto u društvu u budućnosti.

Zorka je bila i osnivačica Saveza Srpkinja Vojvodine i Hrvatske (1910. godine) i Narodnog ženskog saveza Kraljevine SHS (i kasnije Kraljevine Jugoslavije). Opisivala je folklorne običaje u Sremu, sa posebnim osvrtom na radnje koje su obavljale žene.

Zorka Janković was a feminist and a researcher of Vojvodina’s folklore. She was one of the key persons of the women’s rights movement in Vojvodina.

Zorka wrote two books, “The Woman Question” and “The Problematics of Union”, which were the first books to deal with the issue of women’s emancipation and of networking women’s movements in Vojvodina. She depicted her books as efforts to deal with the questions that no one deals with. She often said that neither was literature - which dealt with social issues - interested in women’s rights.

Although she was self-educated she still had great knowledge of the feminist theory and international movements. Her role models were Czech feminist Marija Brambergova and social theorist Elisze Gnauck - Kühn.

She criticized Serbian society at the beginning of 20th century and the position in which Serbian women were, but she also appealed to women to stand up for themselves and fight for their place in the society. She considered that the women themselves are responsible for reorganising their future place in the society.

Zorka was the founder of Union of Serbian Women of Vojvodina and Croatia in 1910. and of the Women’s National Union of Kingdom of Yugoslavia. She described folklore customs in Srem (Vojvodina), with the emphasis of women’s work.

[kakvazenska-blog]

                                                                Marta Jorgović

Marta je naša prva devojka sa završenom srednjom školom.

Rođena je u bogatoj i uglednoj porodici i zahvaljujući uticaju koji je njen otac imao zbog toga što je bio veliki dobrotvor srpskih škola Marta je imala priliku da stekne srednješkolsko obrazovanje. Završila je prvu srpsku gimnaziju u Novom Sadu koju su do tada, a i mnogo decenija nakon nje, pohađali isključivo mladići. Naime, prema arhivskim podacima nijedna devojka se čak i decenijama posle Marte nije upisala u srednju školu. U školi je učila latinski, retoriku i uspešno je savladala sintaksu (1755/56), odnosno poetiku (1756/1757).

Očekivano, o Martinom životu nema puno podataka. Pored navedenih, poznato je i da se udala, po tadašnjim standardima, kasno - sa 25. godina. Pretpostavlja se da je razlog ovome ili činjenica što je bila obrazovana ili to što je suprug (inače školovani trgovac) bio njen izbor.

Marta was the first Serbian woman who finished high school.

She grew up in a rich and well known family. Her father, who was influential and who was a benefactor of many Serbian schools managed to put Marta into educational, high school, system of the time. Marta finished the first Serbian high school in Novi Sad that was strictly reserved for male students. Many decades after Marta finished her high school education, only men attended it. She studied latin, rhetorics, syntax (1755/56) and poetic (1756/1757).

There are not to many information on Marta’s life, as one could expect. We know that she got married - what was considered late back in the day late - with 25 years. It is assumed that her being educated was an obstacle to get married earlier or because she could choose her own husband. She was married to an educated trader.

[kakvazenska-blog]

                                                                       Sofija Jovanović

Sofija Jovanović je bila žena vojnik koja je učestvovala u Prvom svetskom ratu i Balkanskim ratovima.

Priča Sofije Jovanović je slična onoj Milunke Savić, pošto se i Sofija pod lažnim, muškim pseudonimom prijavila u vojsku. Vojsci se pridružuje kao Sofronije Jovanović. Preživela je oba rata u kojima je učestvovala, ali je na kraju ostala invalid. Učestvovala je u oslobađanju Beograda 1918. godine.

Sofija je učestvovala u povlačenju srpske vojske preko Albanije 1915/1916. Nakon rata je odlikovana sa čak 13 medalja za hrabrost.  

Sofija Jovanović was female warrior who participated in WWI and the Balkan Wars.

Sofija’s life story is similar to the one of Milunka Savić, since Sofija joined the army under fake, male name Sofronije Jovanović. She survived both wars that she participated in, but remained disabled. Sofija was part of the liberation of Belgrade in 1918.

She participated in the famous retreat through Albania with Serbian army in 1915/1916. After the was she was honoured with 13 medals for bravery.

[kakvazenska-blog]

                                                                       Milka Grgurova

Milka Grgurova je bila jedna od naših prvih glumica.

Milka je rođena u Somboru u imućnoj porodici. Pripada prvoj generaciji naših profesionalnih umetnika. Nakon što joj je porodica iznenada osiromašila, otac je Milku udao sa šesnaest godina. Ipak, Milka bogatog muža napušta nakon nepune dve godine braka i vraća se roditeljima. Nakon povratka provodi vreme čitajući knjige, a prijateljstvo sa upravnikom novosadskog Srpskog narodnog pozorišta je odredilo njen životni put.

Milka je 1862. Glumila sa somborskom diletantskom pozorišnom družinom, a već dve godine kasnije postaje članica Srpskog narodnog pozorišta u Novom Sadu, kada njena glumačka karijera počinje da ide uzlaznom putanjom. Milka je imala i “lake” uloge u komedijama, ali je glumila i u dramama kasnije u karijeri.

U novosadskom pozorištu je ostala do 1868. godine, kada na poziv kneza Mihaila prelazi u beogradsko Narodno pozorište - tada sveže osnovano, i u kojem će ostati narednih 34 godine. Višestruko je odlikovana za rad u kulturi. Odlikovana je i za učešće u srpsko-turskom ratu, u kom je radila kao bolničarka.

Milka je bila jedna od najobrazovanijih glumica svog vremena i bila je odličan poznavalac književnosti. 1902. godine je donela neopozivu odluku da se povuče sa scene i time je okončala svoju karijeru.

Milka Grgurova was one of first professional Serbian actresses.

She was born in Sombor, a town in Vojvodina, to a wealthy family. Milka was in the first generation of professional Serbian artists. After her family unexpectedly became poor, Milka had to marry a wealthy man at the age of 16. After two years of marriage she left her husband and went back to her parents. She began to spend her time studying and reading books. Friendship with the manager of Serbian National Theatre in Novi Sad determined her life path.

In 1862 Milka was a member of amateur theatre group and two years later she became a member of Serbian National Theatre in Novi Sad. That is when her career began to flourish. She played both “easier” roles in comedies, and the ones in dramas and tragedies.

She stayed in Novi Sad theatre until 1868 when she got an invite from prince Mihailo to act in Belgrade’s National Theatre, which was freshly opened. She will remain its member for the next 34 years. She received multiple medals for her work. In Serbian-Ottoman war she worked as a nurse and she was honoured for this work as well.

Milka was one of the most educated Serbian actresses in her time and she had excellent knowledge of literature. In 1902 she made an irrevocable decision to quit acting and that is where her career ended.