The concept of "Yugonostaliga" is by now well-worn terrain in Balkan and post-Soviet [sic] studies. A less discussed sub-genre (?) of the field, however, is the collection of photographs, postcards and videos contributed by current and former residents of (the former) Yugoslavia, in this case BiH, to a growing , informal archive of audio-visual artifacts of eras gone by.
There is an added significance to this phenomenon in BiH, where during the recent war, the destruction of cultural monuments, religious institutions, archives, libraries and graveyards was an important dimension of broader campaigns of genocide and ethnic cleansing. The burning of the the National and University Library of BiH in Sarajevo in 1992 and the destruction of the Old Bridge in Mostar in 1993 were only the most famous instances of these practices. What has survived the war is today jeopardized by the ongoing cultural crisis in the country, with museums and archives now targeted by a different kind of malice, one inescapably linked to the wider structural flaws of the Dayton constitutional order, as I recently argued at the Woodrow Wilson Center.
In the face of such tremendous violence and, today, neglect, the efforts of ordinary citizens to document and preserve segments of their own historic memories offers a hopeful alternative to absent official responses. This is not to say that a Facebook page can substitute for a museum or an archive but it is to suggest that popular interest in documentation of this sort may not always readily manifest itself in traditional ways. I believe this is a tremendous opportunity for those of us interested in preserving cultures and memories to harness this energy for such projects.
Moreover, from a socio-political standpoint, it bears making this (perhaps) obvious point: for a society still recovering from war and genocide, especially given the current political climate in BiH, to so openly and consistently engage in acts of pre-war and pre-genocide remembering is tremendously important. It speaks to a fundamental disconnect that, I think, the majority of ex-Yugoslavs feel. Typically, we recognize only the first two features of this disconnect: the overwhelmingly positive inter-communal experiences of most ordinary Yugoslavs, on the one hand, and the incredible level of violence many experienced during the 1990s, on the other. However, there is today, a third layer: the utter economic destitution and moral bankruptcy of the post-Yugoslav social order.
This third dimension is experienced by both the overwhelming majority of the population who were victimized by the architects of the dissolution of Yugoslavia but also the small constituency of ordinary "true believers" who now live in the hollowed out skeleton of a society that once had a future and now barely has a past. What is a young man to think, for instance, growing up in contemporary Prijedor, whose parents insist that nothing happened here during the 90s, when he stumbles upon this album and this story? And he will stumble upon on it, as many already have. To be sure, the reaction(s) may range from denial to disbelief to silence. But no society where there is even relative freedom of information can long bury the events of the past.
However, it likely won't be the immediate perpetrators and the immediate victims of these crimes against humanity that will have to make amends. It will be their children and their grandchildren. And despite the ability of interested parties to manufacture hate and engage in wholesale historical revisionism, the disconnect will persist until something akin to a catharsis occurs. Something that acknowledges that terrible things happened, that they were done in our name, that women, men and children were murdered, tortured and brutalized who were once our neighbors, co-workers, countrymen and friends. We may or may not have had a hand in their deaths or expulsions but we do have a hand in remembering them, inviting them back and, in seeing them safely returned even for a moment, restoring a segment of our own humanity.
Then, we might begin to recognize in the past all that was, all that might have been and all that might still be.