As coordinator of the Bosnia and Herzegovina part in a research cluster within the SCVN project, the War Childhood Museum facilitated the collaboration, moderating the conversations between Furmark and Salihović, a contributor to the Museum’s collection, while helping ensure that the survivor’s voice remained at the center of the creative process.

This article explores how that collaboration took shape, and what it meant for both the survivor who shared her story and the artist entrusted with bringing it to the page.

Keeping the Story Authentic

For Almasa Salihović, taking part in the project meant accepting the emotional difficulty of revisiting the past in order to ensure that her experience would be preserved and understood.

“Returning to those memories is never simple. Every conversation means reliving moments that you spend a lifetime learning to carry. But I have always believed that it is more important to speak than to remain silent, because testimony has the power to preserve the truth.”

Rather than focusing solely on violence and loss, Salihović wanted the graphic novel to preserve the people, relationships, and everyday life that existed before the genocide.

“The most important thing to me was that the story remained authentic—that it spoke not only about my family’s tragedy and our loss, but also about my brother as I remember him, about our dignity as survivors, and about our strength to keep going despite everything. I wanted people, as they turned the pages of the graphic novel, to understand and imagine that behind every number is a person’s life; that behind every face is an individual, a family, and dreams that were never realized because they were cut short.”

For Salihović, the project also demonstrates the unique role art can play alongside historical documentation, helping readers connect with individual experiences on an emotional level.

“Historical facts are unquestionable and they are the foundation of our understanding of the past. But a graphic novel can help people feel the human dimension of those events. It allows us to empathize through shared moments.”

She believes this emotional connection is particularly important for younger generations, who may encounter the history of Srebrenica for the first time through formats such as graphic novels.

“I believe that younger generations, in particular, can more easily connect with the story through this format, ask questions, and develop empathy. If art can inspire someone to learn more about Srebrenica and understand why it is important to preserve the truth, then I will be even prouder to have been part of this project.”

Drawing Another Person’s Memory

For Anneli Furmark, illustrating As Long As We Are Together meant navigating the delicate balance between imagination and responsibility.

Translating lived experience into a visual narrative meant confronting the limits of personal experience. While Salihović’s testimony guided every page, Furmark also had to consider how an artist depicts emotions and situations she has never experienced firsthand.

“When you draw, you inevitably draw your own embodied memories of emotions like loss, fear, and exhaustion. My own experiences are present in the drawings too, while the experiences I haven’t had myself—extreme hunger, for example—I’ve had to imagine as best I could.”

She believes graphic novels possess a unique ability to communicate across both words and images.

“Graphic novels can reach you through more than one sense. I sometimes think of them as being like a song: the lyrics are one thing, the music another, but together they create something third. Something with a greater chance of breaking through your psychological defenses.”

That combination of text and image, she suggests, can create an emotional openness that allows readers to engage with difficult histories in ways that conventional formats sometimes cannot.

A Collaboration That Changes Everyone Involved

The creative process became an exchange that affected both collaborators. While Salihović entrusted Furmark with her memories, Furmark left the project with a different understanding of war and its lasting impact.

“Meeting Almasa and the other people I met in Bosnia has been very meaningful to me. I’ve come to know people with first-hand experience of war. My mother is one of them too, but the distance in time has made her story feel more abstract to me. Now it has become much more real.”

The collaboration demonstrates what survivor-centered storytelling can make possible when survivors remain active participants in how their own stories are told. Rather than treating testimony simply as source material, the creative process became an ongoing dialogue about memory, representation, and responsibility.

For the War Childhood Museum, this approach reflects a broader commitment to preserving childhood memories of war in ways that remain faithful to lived experience while making them accessible to new audiences. As the graphic novel reaches readers across different countries and languages, it carries with it not only one survivor’s memories, but also an invitation to reflect on the importance of remembrance, empathy, and the responsibility each generation bears in safeguarding human dignity.

As Salihović puts it, remembrance is never only about the past.

“Memory is never completely turned toward the past. It always contains lessons—and a glimpse of the future. Young people need to understand that they, too, have a responsibility to defend a future that is more just, more peaceful, and more humane.”

This question lies at the heart of Survivor-Centred Visual Narratives (SCVN), an international research and artistic collaboration that documents the experiences of survivors of genocide and mass atrocities through graphic novels and other visual forms of storytelling. Bringing together survivors, researchers, artists and cultural institutions from different parts of the world, the project explores how art can help preserve testimony while placing survivors’ voices, agency and wellbeing at the center of the creative process.

As part of the project, the War Childhood Museum coordinated the part about Bosnia and Herzegovina in the Yugoslav Wars research cluster, centered on the story of Almasa Salihović—a survivor of the Srebrenica genocide, contributor to the Museum’s collection, and spokesperson for the Srebrenica Memorial Center.

Almasa Salihović and Anneli Furmark in conversation

Memories of Srebrenica

Over a series of conversations held throughout 2023 and 2024, Almasa shared memories of her childhood in the village of Skejići, her family’s flight to Srebrenica in 1993, life inside the besieged enclave, and the events surrounding the fall of Srebrenica in July 1995. Rather than serving as a conventional interview, these conversations formed the foundation of a collaborative creative process rooted in trust, careful listening and respect for lived experience.

The conversations were held between Almasa and Swedish graphic novelist Anneli Furmark, moderated by WCM’s Ajnura Akbaš. Drawing on these testimonies, Furmark created the graphic novel As Long As We Are Together, transforming Almasa’s memories into a visual narrative while remaining faithful to her voice and experiences.

Beyond the Graphic Novel

Their collaboration was also featured in the SCVN documentary short film “Almasa’s Story”, directed by filmmaker Bojan Hadžiabdić. The film follows Almasa as she revisits the physical and emotional geography of her past: the fields and hillsides of Skejići, the escape routes families took, and the places where survivors gather each year to commemorate the genocide. The film traces Almasa and Anneli’s conversations, revealing how Anneli approached transforming Almasa’s memories into visual form. The trailer is available to watch on SCVN’s YouTube.

The Yugoslav Wars research cluster is one of five research clusters working with survivors, including the Holocaust, Rwanda, Iraq/Syria, and Turtle Island, where the SCVN project explores survivor-centred, trauma-informed approaches to visual storytelling. Rather than illustrating historical events alone, the project seeks to document individual memories with care, recognizing survivors as active collaborators in the creation of their own narratives.

A panel from the graphic book

Visual Storytelling

Graphic novels have increasingly become an important medium for engaging readers with complex historical subjects. Combining testimony, illustration and sequential storytelling, they offer a way of approaching difficult histories that is both emotionally resonant and accessible, particularly for younger audiences encountering these events for the first time.

For the War Childhood Museum, participation in the project reflects our ongoing commitment to preserving childhood memories of war through diverse forms of storytelling and making those stories accessible across generations and cultures. The graphic novel “As Long As We Are Together” will be released in German by Avant Verlag in October and in English by University of Toronto Press in early 2027.

The grant is awarded by Unity, whose technology powers some of the world’s most popular video games and interactive experiences. We Grew Up in War is also being developed using the Unity engine.

The game was chosen from more than 515 applications submitted from around the world, making it one of only ten projects to receive funding this year. Through the Unity Charitable Fund, a total of $600,000 USD was awarded to projects addressing major global challenges aligned with the United Nations Sustainable Development Goals.

Based on Personal Stories

Based on real stories collected by the War Childhood Museum, We Grew Up in War explores the experiences of children who lived through war in Bosnia and Herzegovina and Ukraine. The game focuses on how children navigate conflict through imagination, resilience, and hope. It is currently in development and is expected to be released in 2027.

Explaining why the project was selected, Unity highlighted its unique perspective: “This game takes the perspective of children, and takes a different focus – one of resistance and resilience and hope.”

Potential to Foster Empathy

Lukáš Kolek, CEO of Charles Games, described the award as an important recognition of the project and its mission.

“The idea behind the Unity for Humanity Grant is to support projects that do some good in the world and are, ideally, evidence-based. Our game We Grew Up in War is exactly that. It is grounded in real stories and historical research, and a study of an early prototype found it measurably improved players’ attitudes toward those affected by war.”

The grant was awarded in recognition of the game’s potential to help people better understand how children experience armed conflict, foster empathy, and raise awareness about the lasting impact of war on childhood.

A teaser for We Grew Up in War is available here. More information about the game will be announced as development progresses toward its planned 2027 release.

Over these years, the Museum has become one of the key institutions in Ukraine systematically working with the topic of children’s experiences of the Russian-Ukraine war.

The WCM Ukraine’s work includes expanding the collection based on testimonies and objects, exhibiting in the country and abroad, developing educational programs, working with youth, parents, researchers and educators. 

Working Under the Full-Scale Invasion

Four years of full-scale invasion have profoundly shaped the Museum’s internal processes. What initially required emergency adjustments gradually became a new operational reality. The team expanded, new roles were introduced, and internal procedures were formalized to ensure continuity in unstable conditions.

Svitlana Osipchuk, Program Director of WCM Ukraine, describes this period as one of institutional maturation. The organization has become more structured, while formalized processes have strengthened resilience amid external uncertainty.

For Oksana Karpiuk, Operations Director, the past years have required a rethinking of the Museum’s priorities. “Our task is to continue doing what is familiar in abnormal conditions. We follow Plan A, but we have Plans B and C ready, and we are prepared to revise them as circumstances dictate.”

War has become the permanent context of everyday work. The team often describes this period as a long-distance run, where uncertainty is constant and flexibility, prioritization, and self-care are essential.

WCM Ukraine team

Documenting and Collecting Children’s Testimonies

The Museum’s collection includes over 856 interviews and 1,476 objects. This represents the largest archive focused on childhood experiences during the Russo-Ukrainian war since 2014. Simultaneously, the Museum documents the stories of those whose childhoods were affected by World War II, building a broader historical perspective on the experience of children in conflict.

One of the key challenges is documenting experiences while the war continues. The work is grounded in a commitment to children’s right to their own stories. The team works with highly vulnerable experiences, and one of its fundamental principles is “do no harm.” Museum researchers follow rigorous procedures when conducting interviews with minors to avoid retraumatization.

“Children deserve to just live and have the space to talk about both their traumas and their joys,” says Anna Kurnytska, Digital Platforms Manager.

Collection Manager Oksana Lepesiienko says that the Museum’s collection being formed during the war must speak both now and in the future.

“Children carry an enormous burden: growing up is difficult in itself, and they have to do it during war. We emphasize that children in Ukraine are not victims by default, but they live in extraordinarily difficult circumstances. Our work helps to see them beyond stereotypes,” emphasizes Svitlana Osipchuk.

Education and Mental Health Support

Sustaining this work requires consistent attention to mental health—both within the team and in the broader community.

WCM Ukraine organizes workshops for parents and teachers focused on how to safely discuss different aspects of war with children: how to help children articulate their experiences, and how to avoid retraumatization.

At the same time, caring for the team’s own well-being remains essential. Staff members speak about daily rituals that help sustain them: journaling, reading, time with family, physical activity, therapy, community support, and consciously limiting exposure to distressing news.

For Oleksandr Voroniuk, Museum Researcher, continuing to work means “living and pulling through, even when things feel impossible.” For Andrii Borutia, Public Programs Coordinator and Researcher, it’s about maintaining hope for the future.

“Continuing to work in a state of constant uncertainty is also about daily support and understanding for me. The team gives me a reserve — a safety net I can draw strength from and keep going when it feels like I have none left,” adds Renata Chechel, the museum’s Project Manager.

Oksana Karpiuk describes the approach as working “step by step,” relying on the team and accepting adaptation as the standard condition of work in Ukraine today.

“It is not about the illusion of stability, but about readiness for change as a working mode: planning flexibly, constantly adapting, revising decisions—and accepting that, after four years of war, this has become the norm.” – she says.

Despite fatigue and uncertainty, the work continues—sustained by community, responsibility, and belief in the value of documenting the children’s experiences for the future.

“We are running a long-distance race where uncertainty has become a constant,” concludes Karpiuk.

The 2026 scholarship award amounts to 3,000.00 BAM and is granted as a one-time payment.

Eligible applicants include doctoral students who are citizens of Bosnia and Herzegovina, as well as foreign nationals conducting research in Bosnia and Herzegovina, whose work falls within the fields of anthropology, archaeology, psychology, education, history, sociology, linguistics, literature, philosophy, art history, law, political science, journalism, or related disciplines. In addition to the quality of the application and the research proposal, the evaluation will also consider how closely the research aligns with the mission and scope of the War Childhood Museum.

The recipient will be required to provide proof of research completion, as outlined in a formal agreement. There is no obligation to submit financial reports on how the funds are used.

The selection will be made by an expert jury appointed by the War Childhood Museum.

To apply, please send your application with the subject line “Application – Lejla Hairlahović-Hušić Scholarship” no later than March 6, 2026, to info@warchildhood.org.

Applications must include:

• A brief summary or proposal of the research project for which the scholarship would be used (up to 3,000 characters);

• A professional CV;

• One academic recommendation letter.

The scholarship recipient will be announced at the end of March 2026. Take a look at previous recipients here.

You can take a look at the complete application call here. For any inquiries, feel free to contact us at info@warchildhood.org.

The Visit as a Special Experience

This week, we welcomed program volunteer Dženeta Zembo and her younger brother D., who shared their experience with us. Dženeta explains that a group visit within the program had already been organized earlier, but D. was unable to attend at the time.

“I’m glad I managed to bring him this time, because he was really interested and felt bad that he couldn’t come earlier,” says Dženeta.

“This time we had the chance to come just the two of us, which was especially valuable because we had more space and time for each other,” she adds.

Interactive Spaces

D. says he actively took part in the entire museum experience — writing messages, exploring the exhibition — and that the interactive space was particularly memorable for him, where he could listen to different sounds that often mark childhood.

“The most interesting thing for me was listening to the sounds from the sports hall,” says D.

Dženeta adds that during group visits as well, the interactive part is especially engaging for children.
“It sparks their curiosity, and then they find it easier to focus on the rest of the exhibition,” she explains.

The Museum as a Space for Strengthening Relationships

Speaking about the importance of visits like these, Dženeta emphasizes that they play an important role in strengthening their relationship.

“Collaborations like this are extremely important because they allow my younger brother and me to grow closer outside of our everyday obligations. Many of these topics would probably never come up in our conversations if they weren’t sparked by visits to museums and similar institutions. After that, we continue to explore, talk, and get to know each other better, which is how we build our relationship,” she says.

The Importance of Cross-Sector Collaboration

Mirela Geko, coordinator of the Older Brother, Older Sister program, emphasizes that this partnership demonstrates the importance of cross-sector collaboration in the field of prevention and support for children and young people, as well as the potential of cultural institutions to take on an active and socially responsible role.

“This collaboration clearly shows how cultural institutions can contribute to the prevention of risky behaviors and the strengthening of protective factors among children. In addition to the professional dimension and the support itself, it is also important that free entry to the Museum allows mentors and mentees — our volunteers and children — to enjoy everything the Museum offers without worrying about whether they have enough pocket money for a visit,” says Geko.

The Museum remains open to all mentor-volunteer pairs who wish to visit, explore, and spend meaningful time together.

The delegation was welcomed by Museum staff and WCM’s Director in Bosnia and Herzegovina, Amina Krvavac. During their visit, they explored our permanent exhibition and shared their impressions with the team.

“What I’ve become more aware of is that even the simplest object can carry a remarkable story and hold immense meaning for people. It’s been great to see these objects brought together and to tell their stories in a way that is both reflective and empathetic to the experiences behind them,”

said Jack Sutton, Exhibitions and Interpretation Officer at the Imperial War Museum.

Dr. Katharine Alston, Senior Producer of Learning & Engagement, added:

“We are incredibly impressed with the inclusivity here and with how everyone’s stories are heard. As someone working in learning and engagement, I’m especially impressed with your storytelling: the accessibility of the labels and the way you’re drawn into individual stories is truly powerful.”

Exchange of Experiences

After exploring the exhibition, the delegation met with Krvavac to learn more about the Museum’s work and the context in which it operates. The meeting also provided a valuable opportunity to exchange experiences and perspectives.

“Exchanges like this between museum professionals are incredibly valuable. We appreciate the opportunity to learn from one another and to engage in a genuine two-way dialogue, where both institutions can share their knowledge and experiences,”

said Krvavac.

At the War Childhood Museum, we are committed to promoting peace by amplifying the voices of children whose childhoods have been shaped by war. Today, an estimated 473 million children live in areas affected by conflict. Our collection preserves objects and testimonies from some of these contexts, including Lebanon, Yemen, Ukraine, and Palestine.

Most recently, we have focused on gathering stories from children in Palestine, including those living in Gaza under occupation, while our office in Ukraine continues to collect testimonies from children affected by the Russian invasion.

To honor their voices and experiences, on this International Day of Peace we are sharing some of their stories. You can read them below.

My Mother’s Hair Tie 

I have lived without my parents for more than a year.

My parents are journalists. When the war started, my siblings and I stayed with our grandparents while they worked. We still got to see them every day, even if only for a little while.

As the war grew more violent and strikes happened everywhere, my parents decided to send us to Egypt with our grandparents for safety. They stayed behind to cover the war. My mother promised she would join us soon. But the borders were bombed and closed, and she became stuck there.

I will never forget the day we were taken to the border. It was very tough and emotional. Right before we left, my mother took the hair tie from her hair and gave it to me. She said, “Here, tie your hair.”

It is the only thing I have from her. But I have decided to give it to the museum.

I speak with her every day. I ask for her opinion on everything, even what outfit to wear. I miss her so much. She is my hero. She is my everything. It is impossible to live my life knowing my parents are still in danger.

Alia, b. 2011, Gaza

A Spoon of Sorrow 

Every meal is a struggle. The moment I lift the spoon, I see the faces of my friends, Ziyad and Mousa. We learned they were killed in the war through photos on social media.

We grew up together in the same neighborhood in Gaza. After school, we were always at each other’s houses, sharing meals and laughter. Food was the center of our community, a simple, daily joy.

Now, when I eat, I remember those good times with my family and friends. But those memories are now shadowed by other images—the ones for starvation and loss. The two realities collide on my plate, and I can no longer taste my food without tasting grief. The simple act of eating has become a reminder of all that was taken from us.

Khalid, b. 2014, Gaza

A Toy for My Younger Brother

When active hostilities began, dad joined a battalion. They sent me to my grandmother. One day, my mother called to tell me that my father had taken the oath. I burst into tears. My mother reassured me: “People don’t always die during military operations.” After some time, I was sent to Kyiv where they told me that my father had died. My father’s battalion was on a reconnaissance mission and got caught in an ambush. My father covered the others with his body—he was a driver.

I made this soft toy myself after my father died, to comfort my younger brother. I put all my love for my brother into it. When dad died, my brother was only four years old, so he doesn’t really remember his father. Ever since he was little, my brother has liked to sleep with soft toys, and he started to take the cow to bed with him, too.

I understand that my father gave his life for a peaceful Ukrainian sky. That he paid the ultimate price, one which we, his family, also pay. I really wish he was alive, so that we could go fishing together, take pictures, and draw the way we used to.

Mykhailo, b. 2007, Kyiv

I Am Proud of Ukraine’s Children

My little cousin Arturchik played with this cube in the first days of the war, when we were sitting in the shelter. Back then the alarms sounded for a very long time, for two or three hours, and it was difficult to sit. It was still cold–almost winter–it was very difficult. There were also other neighborhood children with whom he played.

I believe that the war in 2023 is some great absurdity of humanity. This is generally some kind of incomprehensible thing. Why does it exist? Why am I worried at the age of 17 that there is some idiot in this world who will launch a rocket at me? What is this anyway? I want to try to actualize myself, but they tell me: “No, man, we want to take over your country. Your country is artificially created.” This is a great absurdity. We want to support those children who have been touched by this war and are now sitting, hiding, and feeling it all. How strong, how motivated they are, and how much they have grown. I am proud of Ukraine’s children.

Bohdan, b. 2006, Kryvyi Rih

A Symbolic Object from Crimea

The clay bird belongs to Safiie, a girl from Simferopol, a city in Crimea that was illegally annexed by Russia back in 2014. In October 2023, she shared her story and decided to donate an object that was very special to her to the War Childhood Museum. The donation process was unusual, involving a long journey before the clay bird finally arrived at the WCM Ukraine office in Kyiv.

“My Ukraine, you are the best in the world”

There is a word in Crimean Tatar “Саткын” (Satqin), which translates as “corrupt”. That’s what we called everyone who changed after the occupation. Before 2014, they held the Ukrainian position, and afterwards, the Russian one.

Our music teacher was one of those “Satqin.” For example, we learned the song “My Ukraine,” which includes the following lines: “My Ukraine, you are the best in the world, green fields, my Ukraine, I love you.” At the beginning of 2014, we performed it with her, but after that she started giving us Russian songs to sing.

In 2016, my family and I went on a trip. One of our stops was Kamianets-Podilskyi. It was very beautiful. We went to the castle, which had a small shop attached.

We talked to the owner. She asked where we were from, and we said that we were from Crimea. My parents asked me to sing the Ukrainian song we sang at school. Everyone applauded me, and the owner gave me a whistle in the shape of a bird. The whistle still conjures up those wonderful, warm memories of our trip.

Safiie, born 2004, Simferopol

The bird first had to leave temporary occupied Crimea via Russia—the only available exit route. From there, it was transported to Tbilisi, Georgia. The next stop was Berlin, Germany, where it remained for some time before continuing on to Vinnytsia, Ukraine.

In February 2025, after almost a year and a half and a journey of nearly 4,900 kilometers, the clay bird finally reached Kyiv and was added to the growing collection of the War Childhood Museum Ukraine.

The War Childhood Museum Ukraine Collection

The War Childhood Museum Ukraine holds one of the most extensive collections documenting the impact of the Russia-Ukraine war on children’s lives—with almost 700 testimonies and more than 1000 personal objects reflecting experiences both before and after the full-scale invasion in 2022. The WCM Ukraine is currently working on securing a permanent exhibition space in Kyiv, a key objective for the near future, where these stories and objects will be presented to the public on permanent exhibition.