Case
study
1
Introduction
Very often the
argument for the massive use of rape
as a weapon during the war in
Bosnia-Herzegovina in 1990s is based
on Balkans’ assumingly violent
sexual character of the society,
patriarchally organized and ruled,
what throughout the history visibly
marked the roles of both, women and
men, and somehow implied their
positions as ‘victims’ for the first
and/or ‘perpetrators’ for the second
during the combat. Historiography of
‘ethnosexualities’3 and the constant
presence of violence as one of its
significant components are very
illustrative in these terms. With
analyzing the past production of the
knowledge in the field, we came to
understanding of sexualities that
are being under investigated beyond
the representations that cover its
‘savage’ and ‘primitive’
characteristics. In this text,
therefore, I suggest reading those
ethnosexualities in terms of
Todorova’s ‘balkanism’ paradigm:
very same ideas as used and
critically positioned in her book
‘Imagining Balkans’ (1997) can be
applied specifically to the
development of the idea of ‘Balkan
sexuality’: throughout the history,
we can read on primitivism and
roughness, usually with no
consensual agreement, rather some
sadistic practices, but all governed
and directed by the system of
patriarchy. Most of the early
sources, including the rich
ethnographical contribution of the
travel literature from British,
German and American explorers (see
in: Bracewell and Drace-Francis,
2009) introduces the sexuality along
to other ‘balkanistic’ images as
“notoriously ill-defined”
(Bracewelle 2009, 1) “savage Europe”
and ”land of discord” (Bracewelle,
ibid).
Being interested
in the narratives and
representations of sexuality in the
context of war-rapes that happened
with the dissolution of Yugoslavia
and during the war in 90s, I claim
that those historically determined
ethnosexualites offered a strong
base for the ‘natural’ continuation
of further representations of
sexualities and also sexual and
gender relationships understood only
or primarily through rapes and
massive sexual violence against
women. Not only in the Balkans, but
on a global level, research into
sexuality has presented several
methodological and epistemological
obstacles, not only because there is
no concrete and reliable approach in
measuring sexuality, but also
because sex lives are a private
matter in most cultures, so
researching it can result in
rejection, observed flirtation, or
other emotional responses from the
research participants (Moore 2002).
Since the beginning of the original
research into sexuality in the late
50s in the USA4 (see for instance:
Kinsey, Pomeroy & Martin 1948), the
findings have been based on the
assumption that the respondents can
and will accurately indicate their
attitudes, understandings, and
experiences (see for more:
Tourangeau, Rips and Rasinski 2000);
however, their reporting depends on
memory, self-imagination, and the
influence of socialization processes
around sexuality (Sudman, Bradburn
and Schwartz 1996). Keeping this in
mind, we have to approach to the
historiography of sexuality and the
present day narratives with the
awareness that only certain sexual
behaviors are recorded; perhaps
those most culturally acceptable or
desired; there is rare evidence on
what could we call ‘alternative
sexuality’, namely every other
practice but heterosexual and
reproduction-oriented. Any gay and
lesbian experiences, polyamory or
even the phenomena of sworn virgins,
just to mention the few, were almost
completely overlooked and/or denied.
Deeply rooted cultural taboos,
shunning, silencing and (individual)
denial all helped to prevent these
alternative practices to be visible,
accepted, and hence to be recorded
in history. Not investigating them
actually helped with their
marginalization further and proving
them inexistent.
On the other hand,
violence in the context of sex seems
omnipresent and attracting many.
With the following text, using the
historiography as the main research
method, I want to provide
theory-grounded historical evidence
to show the continuous reproduction
of this specific narrative that
successfully formed what I later
call ‘balkanism’ of sexual behavior
in the Balkans. Those ideas were,
furthermore, used and reproduced by
several authors while trying to
understand, explain and ground their
arguments of war-rapes incidents
that happened with dissolution of
Tito’s Yugoslavia and the civil war.
Time-wise,
collected sources and my analysis go
back to Ottoman and Byzantine Empire
and geographically, I tried to
narrow it down to the region which
today is Bosnia-Herzegovina. War
rapes that happened there resonated
in international community more than
any other debate on sexuality in
this region and this narrative may
very easily overshadow all other
interest in researching sexuality
after the war, especially beyond the
sexual violence and the legacy of
the war crimes. This epistemological
angle seems interesting to be
included as a comparative analysis
with the historical sources. By
unveiling the tendencies toward the
balkanistic discourse in documenting
sexual practices through historical
perspective, I aim to show the
danger of ‘normalizing’ rapes and
the ascribed essentialism of
violence in sexuality with the help
of this same historic evidence. This
narrative practice in many cases
supported to perceive and understand
the war rapes in Bosnia-Herzegovina
as a part of ‘cultural heritage’,
some sort of an accepted cultural
meme, that is hard to be uprooted.
More generally, the
violence-emphasizing historical
evidence helps to keep the
narratives on sexuality further in
the frames of balkanistic discourse,
what on an educational level and
other practices of constructive
dealing with the violent past
prevents us to see them beyond
heteronormative,
patriarchally-submissive and violent
practices. This, from a discursive
level can later successfully
translate into the living
experiences and therefore slows down
any other practices of ‘alternative
sexualities’ to be culturally
accepted and as well respected.
Origins and Creations of the
Balkan(istic) Sexuality
Historically-wise,
the region of Balkans is not
specific or ‘different’ in how local
sexual culture is stigmatized,
regulated and mythicized and how its
cultural connotations and
applications evolved over decades.
The vast majority of available past
studies refer to patriarchal,
male-supremacist ideologies, ruling
intimate relationships in the
Balkans and by some rare exceptions
there is no other than
heteronormative discourse in
sexuality, that is reproductive
sexuality.
Rape as a part of
some marriage rituals and as a usual
marital praxis in southeastern
Europe has been recorded in several
studies, and there is substantial
data particularly on marital rape
and rape practices under the
Byzantine and Ottoman Empire (Levin
1989; Buturović and Schick 2007).
However, we have to be careful with
the very definition of rape since
today we operate with the modern
concept or understanding of rape as
a crime. In the context of the
Medieval Slavs, Levin (1989, 212)
notes that rape constituted an
insult to the family’s honor and was
a violation of public morality
(Levin 1989, 245) the acceptance of
violence by superior (men) against
inferior women. “In these societies
as in any other that authorizes
violence and subordinate women to
men, rapes were bound to occur”
(Levin 1989, 246). Besides, rape was
considered appropriate retaliation
when a woman did not “conduct
herself in a manner appropriate to
her place in the society – if she
insulted men, for instance, or got
drunk (Levin 1989, 245). Rape was a
violent act of social control rather
than an expression of certain
sexuality; medieval Slavic would
live by Christian standards, where
the motivation against marital rape
was not found in the protection of a
woman’s dignity, but was promoted in
Slavic belief that lust was improper
and should not be encouraged (Levin
1989, 243). Throughout history, a
woman’s body has been labeled and
stigmatized by her presumed
“inclination to tempt men sexually,
so she was considered sinful and
impure” (Djajić Horvath 2011, 381).
Hence, women symbolized the family’s
code of honor and shame, as evident
in the highly controlled aspects of
their chastity, marital virtue, and
fertility; and they were primarily
valued as wives and mothers (Olujić
1998). There are several recordings
of a historical continuum of the
public’s perception of rape victims
and the loss of their integrity,
honor, and shame (for instance Levin
1989, 227). In many cases of rape,
death might be preferable (and
usually the dishonor of the victims
is express by this) (Levin 1989,
227).
Women as
possessions and repressive control
over women’s sexuality in the rural
and pre-modern Balkans are noted by
Denich (1974) and Durham (1928).
Distrust of female sexuality before
marriage is illustrated by the
custom of publicly demonstrating the
woman’s proof of virginity after the
wedding night; however, virgin blood
as respected and appreciated clearly
opposes to menstrual blood as
unclean (Olujić 1998, 36). Several
instructions of self-violence,
associated with shameful and
dishonored behavior of young teenage
girls, writes Olujić “demonstrate
the extent to which women are
expected to keep themselves in
control and avoid men's public
control over them.” (Olujić 1998,
36). Denich (1974, 254) writes about
two components to the control of
women’s sexuality: “one practical,
the other symbolic” (ibid):
On the practical side the tenuous
bond between a woman and her
husband’s household would be further
undermined by liaisons with other
men. However, the more significant
dimension of the severity of
measures for sexual control over
women stems from the symbolic
importance of sex in the competitive
social environment situation in
which agnatic groups exist. The
ability of a household’s men to
control its women is one of many
indicators of its strength;
accordingly, evidence of lack of
control over women would indicate
weakness and possibly reveal the
men’s vulnerability to other
external challenges (Denich 1974,
254-55)
In all of these
societies women not behaving in the
properly submissive manner5 (emphasis
added) are liable to a beating from
their husbands (Denich 1974, 255);
the severity of these sanctions
express the collective dominance of
the agnatic household, rather than
simply that of the individual
husband over their wife (Denich
1974, 225).
By the end of the
First World War the Balkan men were
associated with a brutal sexuality,
whereas Northern Europeans (...)
were represented as being capable of
more complex psychological and
erotic responses (Bjelić and Cole
2002, 286). The Slav appears to
exercise 'natural' violent impulses,
which ‘civilized’ soldier resist,
sublimate, or displace (Bjelić and
Cole 2002, 284). All men, according
to Hirschfeld (1941, 321), are
potential rapists, but those of
‘advanced’ civilizations mostly
fantasize or threat by rape. “Slav
is sexualized,” writes Bjelić and
Cole (2002, 285) and in so doing,
“marks himself as part of an
inferior race” (ibid). The Balkans
as ‘primitive people’, and thus
sexualized, were described in
several early ethnographic studies
(see in Bjelić and Cole 2002, 280);
while the ‘Turks’ or the ‘Orientals’
are associated with sensuality,
sexuality, and the feminine,
Southern Slavs (usually referring to
people affiliated to Orthodox or
Catholic Christianity) are
associated with primitiveness,
roughness, and violence. Hirschfeld
(1941, 310) writes about the
differences among the ‘perversive’
sexual culture of ‘Turkos’ that
leaned toward bodily mutilation, and
on the other side among “the South
Slavs, where sadistic murders,
castrations, and rapes were very
frequent.” This division of the two
prevailing definitions of
ethnosexuality and their historical
development has played a major role
in the national mythology and
symbology used, besides the torture
and atrocities in the war in the
90s.6
Jovan Marić, for
instance, in his essentialistic book
What kind of people are we Serbs?
Contribution to the Characterology
of the Serbs (1998) outlines the
Serbs efficiently and notes that
successfulness is due to their
assumed sexual performances in which
Serbs “are in a good standing”
(Marić 1998, 169) with their
inherited ‘Slav virility’. With
regards to the historically based
hatred legacy among the Turks and
the South Slavs, and the mythology
used for revenge, it is nothing but
a great paradox that Marić refers to
the Turks as those from whom the
Serbs inherited their sexual
prowess. However, this ethnicized
representation of sexuality and the
“genetic source of Serbian virility”
(Bjelić and Cole 2002, 291) served
as a great ideological fuel in peer
supporting for mass rapes committed
during the war.
According to The
Sexual History of World War, written
by Magnus Hirschfeld in 1941, the
war in the Balkans has always been
an “extension of the ‘erotic
process’,” writes (Hirschfeld 1941),
whereby suppressed egos produce
‘destructive sadistic powers’ during
wartime, the sexual misery of
peacetime, the hypocritical morality
of the ruling classes, the perverts,
the natural impulses, and finally
outbursts in aberrant reactions
(Hirschfeld 1941). His ‘chronicle’
of wartime perversities and sexual
deviations is intended to “mature
educated persons only” and includes
essays on prostitution, female
spies, the “eroticism behind
military drills,” “the
bestialization of men,” “sadism,
rape, and other atrocities.”
Hirschfeld links deviant sexual
practices within his theory of
cultural development and claims that
“individual acts of cruelty, often
with definite erotic casts” were
executed “principally by the more
primitive groups” (Hirschfeld 1941,
308). He bases his conclusion on
both pejorative and balkanistic
perspectives, where “these people
/Balkan Slavs/ have remained behind
the rest of Europe in civilization
and have retained their primitive
traditions (Hirschfeld 1941, ibid).”
It clearly supports Alexandra Djajić
Horvath’s argument, claiming that
“the progress of a nation is
‘measured’ by the treatment of its
women” (2011, 369).
Hirschfeld
believes in prostitution as a
solving source in the prevention of
wartime rape; in his vision, wartime
rape happens because of alcohol,
“protracted sexual abstinence” and
the image of war as a “sexual
stimulant,” but its occurrence could
be cut down by assuring that there
are prostitutes and brothels for the
warriors: “The field- and halting
station brothels, no matter how
disgusting, diminished the number of
cases of rape during the war
(Hirschfeld 1941, 321).” Assuming
that one type of violence would be
solved by another one, expresses his
arrogant and sexist, if not
misogynistic, image of women's
sexuality:
For the women, the brutality and
aggressiveness of the man is, to a
certain degree, accompanied by
pleasure. The reasons for this are
obvious. The conquest of woman and
the act of copulation, presupposes,
on the men's part, a definite joy in
attacking. (...) The normal woman
desires to be conquered by the man,
to be forced; and only one step
separates her from the female
masochist who wishes, not only to be
overwhelmed, but also to be raped
and brutalized (Hirschfeld 1941,
ibid).
Another such
controversial depiction of the
‘cruel’ and ‘primitive’ Balkans
sexuality appeared in a political
and pornographic pamphlet entitled
Balkangreuel, published in 1909.7
Balkangreuel contained twelve
lithographs with explicit depictions
of sex, and not just any sex: the
main narrative leads to the brutal
rape of Christian virgins by Turkish
invaders, conquering the Balkan
territories. As an introduction to
these paintings, a five-page long
text describes the Balkans as a
historically known place of wild,
ethnically mixed, and brutally
violent people (Schick 2007, 292).
Particularly one of the paintings
(Figure no. 2) contains a scene of
four Turkish soldiers raping four
young maidens inside an Orthodox
church, as the priest is forced to
watch.8 There are others showing
violent sexual acts, usually in the
household. While the women are
naked, the men are dressed in
traditional Turkish clothes. Some
pictures depict local men killed on
the floor, while the women are being
raped by the Turkish man (Figure
no.1). Again, according to the
testimonies, the tales of the Balkan
maidens and the Turkish ravishers
played an important role during the
conflicts in Yugoslavia in the early
1990s.
Figure 1 & 2
Source: Sieben,
2014.
Notions on the
sexuality behaviors in the Balkans
can be found in some popular
culture, music, songs, movies,
stories, and in some ethnographical
studies (see Knežević 1996).
Knežević outlines a Croatian form of
epic singing called Ganga that
usually communicates messages of
love, betrayal, desire, and the sex
appeal of young women and men. In
its symbolism, a ‘plowing’ as
intercourse, a cluster of wool as
the vagina and a rifle as the penis,
can be found (Olujić 1998, 34). In
the post-war rapes/sexual abuse
oriented narrations, the rifle as a
penis or the penis as weapon in
general has become one of the
leading motifs (see in Stiglamayer,
1994). Ganga songs portray the rural
communities’ understandings of
womanhood, the sexuality of women,
and virility:
Men portray
themselves as wanting sex and
portray women as withholding it; men
depict women as hypocritical objects
and depict themselves as powerful
subjects. (…) In ganga, men express
their view of women as sexual
objects through symbolic language
(Olujić 1998, 35)
Although, there are rare records of
women expressing their sexuality
through ganga songs, Brandes (1980)
notes that some forms of folklore
can be found that hold the idea of
women as secretly and ardently
sexual. The tight control over
women's sexuality all over
southeastern European cultures is
evident through honor/shame
binaries, where women represent the
code of honor of the family and/or
the code of shame:
For women, honor and shame are the
basis of morality and underpin the
three-tiered hierarchy of statuses:
husband, family, and village. In the
former Yugoslavia, these traditional
values regarding sexual behavior,
which condoned rape through
honor/shame constraints, took
precedence over economic
transformations, state policy
commitments under communism, and
male migration (Olujić 1998, 34).
Olujić describes another rather
violent practice of men, expressing
their right over women sexuality.
After World War II, ‘chasing’ (orig.
gonjanje) has become a common
practice in rural spaces around
Balkans. In this ‘game’
male teenagers would run after a
woman, knock her down, jump on top
of her, pin her onto the floor, roll
her over, and then pinch her breasts
or grab at her genital region. In
public, this physical assault
aroused the cheers of men and
motivated women to yell out and pull
the man off the victim. Since the
attacked women usually rejected the
men's advances, the play rape became
a way for a man to publicly save
face and publicly humiliate a woman
for rejecting him. In short, it was
a game of status in which men had to
be on top (Olujić 1998, 9).
Her informants who were all male but
from different generations, share
the stories of ‘competitive games’
and ‘measuring the sexuality.’ Both
employ various forms of public
displays of virility or sexual
prowess. As an example, she mentions
public boastings about men’s sexual
affairs, the furthest ejaculations
and the longest penis competitions
(Olujić 1998, 36). Secretly seeing a
naked woman, her bare breasts and
pubic hair in particular was one of
the most important desires to be
accomplished among young and
unmarried men (ibid). Women’s past
sexual experiences were also a
subject of measurement: according to
Olujić’s informants, men were able
to recognize a virgin without
sleeping with a woman:
One way to ‘measure’ her chastity
was to assess her breasts: If she
had soft breasts (meka sisa), in
other words, if they were ‘hanging’,
it meant that someone else already
perforated her (probusit). Another
way to decipher whether or not a
woman was a virgin was to secretly
listen to the sound of her flowing
urine. If she ‘pissed wide’ (siroko
pisa), it meant that she had been
pierced (probijena) (Olujić 1998,
36).
In Tito’s Yugoslavia women were
still valued primarily as mothers
and workers (Denich 1974; Stein
Erlich 1966); despite the
liberalization of the country, a
generalized patriarchal culture
continued to subordinate women who
were also under the Tito’s rule
(Drakulić 2010). Women became
‘equal’ as a work force, but that
did not change their social
determination toward domestic
responsibilities and child care.
Cockburn (1998) writes about
increased domestic violence as men’s
patriarchal authority was challenged
by women’s empowerment that had come
along with the socialism order.
However, Yugoslavia maintained a
general openness to the outside
world, and “women were free to
travel and read literature from all
over the world, and a small minority
of Yugoslav women joined the new
wave of feminists that surged across
Western Europe in 1970” (Snyder,
Gabbard, May and Zulcic 2006, 188).
Biljana Kašić, a Croatian feminist,
has wrapped the magazine analysis of
‘Yugoslav sexualities’ in expressing
her doubts on the potential of
transforming cultural and
psychological behavior into cultural
innovations or fresh approaches to
sexuality (Kašić 2005, 95).
According to the sexual
representations in magazines,
Yugoslav sexuality was about
“sensationalism, an oversimplified
approach to sexuality, and recipes
for sexual life presented in
extremely bizarre ways (Kašić,
ibid).” Kašić continues: “In those
magazines the very package of
sexuality was quite predictable
(...) heterosexual-oriented
magazines offer a digest prototype
of sexual life with a set of imposed
male sexual fantasies for consumers,
a sort of exoticism of the 'taboos
around sexualities' with images of
the sexy woman as an object” (Kašić
2005, 96).
The presence of pornography and
female nudity in Start Magazine,9 one
of the most iconographic soft porn
magazines available on the Yugoslav
market, has become attacked by
Catherine MacKinnon in her
accusation that pornography
influenced the mass rapes during the
war in Bosnia. This single magazine
was enough of an argument for
MacKinnon to frame Balkan sexuality
in pure violence, obviously more
savage, primitive, and tribal than
‘Western sexuality’. “When
pornography is this normal,” she
writes taking into consideration the
case of Start Magazine, “a whole
population of men is primed to
dehumanize women and to enjoy
inflicting assault sexually
(MacKinnon 1994, 77).10 Paradoxically
enough, not only was Start Magazine
highly under the influence of
Western pornography, but Bjelić and
Cole (2002, 292) write how even
after the war, the majority of
late-night pornography is of a
non-Balkan origin; instead the
actors speak French, German, and
English. “Pictures of bare-breasted
women in the daily papers,” they
continue, “are often reprints of
non-Yugoslav actresses and models.”
Videos, modeled on those of MTV,
feature Yugoslav women singing, for
example, a Shania Twayne song,
dressing like Shania Twayne, and
even imitating her body movements.
One could, of course, explain such
borrowings as an effort of
‘globalization’, but our point is
more specific: Whether we like it or
not, pornography is an effect of
modern forms of governmentality, not
its barbaric other (Bjelic and Cole
2002, 292).
Apart from rare ethnographic
research on sexuality in the
Balkans, the literature overview
shows obvious gaps in the knowledge
on the topic. This fact became
disturbing when post-war resources
started to generate ethno-sexual
ideologies based on balkanistic
discourse, provided by historical
sources and indicating the affirmed
‘backwardness and brutality of the
Balkans’ (Helms 2013). Helms (2008)
writes how after the war, images of
violent and backward, but at the
same time drunk and fun-loving male
peasants, have been replaced by
images of victimized women suffering
from male brutality throughout war
and post-war times. According to
Helms (2008, 118) these new
balkanisms “set aside images of
exotic and erotic harems” and an
“emphasis on violence, barbarity,
and victimhood” have become an
indicator of the backwardness and
brutality of “the Balkans.”
Furthermore, in his chapter about
the ‘causes of brutality’ in the
Bosnian war, Paul Parin writes about
his ‘hypothesis’:
My experiences with typical
child-raising practices in rural
families in different areas of
Yugoslavia have led me to a
hypothesis. In these thoroughly
patriarchal families there is much
tenderness and concern for children
but also strictness and severe
corporal punishment. Neither mother
nor father seems to ‘know’ that one
can or should mute the emotions
through reassurance, distracting, or
constant monitoring of emotional
expression. To this I attribute the
open, direct expression of positive
feelings and sexual desires of men
and women from many areas of the
former Yugoslavia. Perhaps the same
thing is true of aggressive deeds:
they happen spontaneously, are
uninhibited, and are often sustained
by sadistic pleasure (Parin 1994,
47).
According to Parin, sexual violence
is primordial to the Balkan’s
cultural socialization and since
“less structure fanatical gangs are
more characteristic of a dissolving
societal structure than of the
Balkans” (ibid). One can agree that
following the symbolic
interactionism social rules are
learned and reinforced through
everyday interaction, and the
socialization as outlined by Parin
is one of them. Hereby, sexuality is
controlled, dichotomized (gendered),
and as such socially constructed
(Foucault 1978); everything we
regard as female or male sexuality,
sexual interaction, sexual violence,
and rape is culturally imposed. But
Parin gets closer to essentializing
a brutal sexual ethnic identity that
was not an isolated case, especially
in post-war literature where
attributing rapists' and
perpetrators' characteristics became
very visible and uncritically
accepted by many authors and help to
visibly construct the images of
‘balkanistic’ sexuality.
From Eternal Victims to Sexual
Predators:
The Narrative of
ethnosexualities during the war in
1990s
During the war in 90s the power
relationship between women and men
become even more important,
especially in terms of ethnic
division; what we follow in the
narratives from this period is not
anymore ‘a man’ that is violent
against ‘woman’. This patriarchally
grounded division is given another,
very important dimension. We no
longer read only about ‘vulnerable’,
‘silenced’, ‘suppressed’ female
sexuality as such. Muslim women,
reportedly the biggest group
affected by systematic rapes (see
in: Helsinki Watch 1993, UNFPA 2010)
collective and imagined community,
became as an archetype of this
sexuality in Balkans.
On the other hand, the Serb men and
their ‘virility’ as praised by Marić
(1998), became the ultimate carriers
of symbols of violent control over
women’s sexuality during the war –
performed mostly, again, through
violent sexual practices, such as
rape and mutilation. Rape,
accompanied by systematic
impregnation was by evidence
(Helsinki Watch 1993, Allen 1996)
coming mostly from the Serbian
military forces, where Muslim women
(passive antagonists) became
subjected to Serb men (active
protagonist) in the process of
“Serbianizing” of the child (Slapšak
2000, 55). Similar ethnosexual
narrative can be find elsewhere:
Salzman, for instance, titled one of
his chapters, “The Serbian
Usurpation of the female body”
(1998).
The intense Western presence in the
war zone (journalists,
humanitarians, scholars) contributed
to the Westernized framework of the
rapes in relation to sexuality.
Susan Brownmiller and Catherine
MacKinnon, with their background in
theories of rape related to
Western-influenced feministic
thought, became two of the most
important and loud voices on the
topic. Their narratives, recited and
referred to in numerous later
(feminists’) texts, have reduced
men's and women's sexuality in
Balkans to the images of 19th
century ‘travelers’ we unveiled
earlier in this texts. Binary of
Muslim female victims and Serbian
male perpetrators have been then
successfully distributed and
established in science discourse on
rapes in Bosnia, and most of the
work kept the relation with the
general connections to understanding
rapes as the extension of patriarchy
by Western feminists (Brownmiller
1994; Seifert 1994; Stiglmayer 1994;
Allen 1996; Skjelsbaek 2006). The
most evidence was based on reporting
rape as war weapon, where the
enemy’s women’s bodies, but in
general, a violation of women’s
sexuality and using it in political
terms thus humiliates and
demoralizes the entire cultural
identity of the assaulted group. In
this context, sexuality of the war
terminology did almost not exist.
Muslim women, therefore, presented a
primal target of rapes and forced
impregnations, and soon became
anonymous representatives of the
victim collective identity (Helms
2013). By the progress of the field
reports and evidence, the literature
on war rapes started to romanticize
Muslim women and particularly their
assumed ‘purity’: “Woman's purity in
Islam and the Muslim patriarchal
culture is not only held sacred, but
is seen as an essential element to
insure the stability of the society
and the culture” (Salzman 1998,
367). In one of the most recognized
editions of these times, titled Mass
Rape: The War against Women in
Bosnia-Herzegovina and edited by
Alexandra Stiglmayer, we can find a
text by Azra Zalihić-Kaurin. A
Muslim Woman (Azra Zalihić Kaurin
(1994, 170-173). It describes
characteristics of Yugoslav Muslim
women and how it was “unthinkable to
see a Muslim woman in a café or at a
private party.” She continues:
(…) the Muslim woman had to remain
intact and go to her marriage with a
pure soul. Only to her husband could
she show her body – an extramarital
affair was inconceivable (…). It was
also a disgrace if a Muslim woman
became pregnant and the father of
her child would not marry her: there
was no greater shame. Young Muslim
women today may wear miniskirts and
have boyfriends, they may study and
work, but they still respect the
commandment of virginity. Marriage
is as self-evident as is a mother’s
responsibility for the education of
her children (Zalihić Kaurin 1994,
172).
This ethnicization of rapes has been
later criticized by Žarkov (2007)
and Helms (2013), in terms of a very
limited image of victimhood,
embracing primarily rural Bosnian
Muslim women. “In the majority of
Western feminist studies,” claimed
Nikolić-Ristanović (2000, 157), “it
is evident that when they say
‘Bosnian women’, they mean Muslim
women only.”
[Rape ]…is about the almost mythical
‘Muslim’ woman, not only because
victims were not just Muslims, but
also because this reinforces the
fundamentalist construction of a new
woman in some circles in Bosnia,
destroys the possibility of the
existence of atheist women, and
confirms a nationally-genetically
determined ‘weakness' - not only
women's weakness. Here we are
definitely dealing with
crypto-racism (Slapšak 2000, 54).
Žarkov problematizes this
‘islamization of rape vicitims’ with
questioning the importance of
women’s background in the context of
their suffering and traumatic
experiencing of rape and sexual
abuse. She asks: “Why would one
assume that rapes would be less
traumatic for non-religious or urban
women? Or for Serb or Croat or other
women who also came from
conservative communities in which
female chastity, marriage, and
motherhood are prized?” (2007,
146).Those narratives used sexuality
by dividing women as good Muslims
and the rest, and additionally
honored traditional/rural over
modernized/urban life. Purposefully
or not, we can observe the
tendencies of further representation
of Balkans in the light of
backwardness and primitivism. In one
woman's testimony (in Vranić 1996,
125), we can read, how women who
have spoken out on rapes are for
sure “city women”, because everybody
else would be ashamed to talk about
these vulgarities (Vranić 1996,
125). “Not all rape survivors,”
writes Helms (2013, 66), “came from
conservative rural communities, nor
were they all religious, or
religious in the same way.” Not only
those narrative overshadowed any
other sexual practices11 but war rapes
and sexual violence; furthermore
they were enforcing the female
victimhood – but in this context
also of very limited and
ethnically/religiously determined
group of women. The post-war
response of Islamic religious bodies
toward women victims of rapes was
protective and patronizing, too.
Women were given the rank of shahid,
an honor given to Muslims who die
defending their faith, country, or
family. “A woman who is raped is not
guilty, but is like a shahid, the
hero who is killed in Allah's path.
It means she is becoming a heroine.
And the child who is born out of
rape is a Muslim and will be
considered as a member of the Muslim
community” (PBS Women, War and Peace
2011).
On the other hand, the vulgarity,
bestiality of (Serb) men,
perpetrators, have been set up by
Catherine MacKinnon’s striking
contribution already in early 90s
with her thesis on the connection
between pornography and the rapes,
as she put the Balkan males’
sexuality (positioned in how they
treat ‘their’ women) on the global
map based on biological and
essentialist assumptions as well as
numbers of simplifications.
Women have never been regarded as
the equals of men in Balkan society
(...) /Women/ are perceived as
"lower" than men, and are expected
to act meek and obedient in their
homes and workplaces. This subtle
and ingrained disrespect of women
paved the way for the mass rapes
that occurred in Bosnia. A man’s
status in Balkan society therefore
became his excuse and weapon for
sexual violence (in Gilboa 2001).
Although, Catherine MacKinnon's
study (1994) of the pornographic
tapes made during the war that we
mentioned earlier, lack clear
evidence and a critical approach,
she kept the role of important
contributor, being cited in numerous
further works (see for instance:
Rejali 1996; Agathangelou 2000;
Skjelsbaek 2012).12 This and similar
accusations place the violent and
abusive sexual scripts13 again as
infinite and primordial to one
community, but as Lewis has argued,
we have to keep in mind that they
are “not simply downloaded verbatim
into individuals. Individuals select
the cultural scenarios that are most
consistent with their own ideas and
experience of sexuality and
incorporate them into their own menu
of sexual acts” (Lewis 2006, 256).
Another similar case is the
novelistic description of the trial
of Dragomir Kunarac, Radomir Kovač
and Zoran Vuković,14 who all pleaded
not guilty, by Slavenka Drakulić.
Witnessing the trial, she commented
on how it must have seemed surreal
for the men because:
After all, even if they were a bit
rough with the girls, they did not
kill them, and they did not order
them to be killed (...). (...) the
crimes committed by the trio from
Foča do not even look like crimes,
at least not in their eyes. In their
part of the world, men often treat
their own wives as nothing more than
cattle. The man is the boss, the
woman should shut up and obey him,
and it is not unusual for a man to
beat up his wife in order to remind
her of that. Rape? What is rape
anyway? To take a woman when you
want and wherever you want? It is a
man's right, no question, as far as
his wife is concerned (Drakulić
2005, 53).
As we have seen through the
historical analysis of the sexual
scripts and the available sources,
sexuality in Balkans was portrayed
as aggressively manifested, with
sexually disempowered women and men,
unable to control their animalistic
sexual instincts. However, being so
deeply rooted into the cultural
heritage, not necessarily was
sexuality even understood in these
terms. Marital rape, as an example
of this, has recently become
problematized and acknowledged as a
form of sexual violence against
women but on a community, bottom-up
level still accepted as a
conventional sexual practice. It
means that placed back in the
history – was rape in marriage also
defined as violence or just a
violent sexual practice? This
discrepancy of historical
understanding of ‘violent sexuality’
and acceptance of sexuality being
violent has been illustrated by
Seada Vranić’s Breaking the Wall of
Silence interview with the war-rape
survivor:
You know what rape is. You are
married and you know what men do
with women. For years and years, I
heard that it, between men and
women, sex as it is called in modern
times, was the best thing in this
world or the world beyond. My whole
life I worried about not marrying
(…) Unfortunately now, as an old
woman of 50, I grew wise (...) If
the ‘beast’ hadn’t taken my honor I
would forever think wrongly and I
would never know the truth. Now I
know the truth and I also know that
Allah, punishing me with my bad leg,
spared me from the worst. God didn’t
give me the chance to have a baby
but I also did not go through the
pain and suffering to conceive. I
wish I would have never known the
truth and I wish instead that I
would have regretted (not having
sex) for the rest of my life. My
life was not easy, but I was not
ashamed. Now I must lower my head
and look to the ground (Kadira in
Vranić 1996, 130).
Violent imposition of sexual
intercourse by a man on a woman has
throughout history never been so
visibly acknowledged neither
problematized as it became with the
occurrence of mass sexual violence
during the war. Grounded in
culturally accepted violence in
marriage and traditional rules that,
so to say, means that “through
marriage, a woman consents to sexual
relations with her husband and
cannot later refuse him” (Hayden
2008, 28), sexuality and its
symbolism seems almost impossible to
be thought outside of violence.
To sum up, what has been missing in
the “overpowering presence of the
victimized female body in feminist
studies on war” (Žarkov 2007, 15) is
the reopening of the debate on
female and male sexuality, and the
creation of more diversified public
narratives of sexualized violence
and sexuality in order to
“deconstruct masculinist power in
feminine victimization (Heberle
1996, 63). Since 1970, with the
release of Susan Brownmiller’s
Against Our Will, we seem to agree
on the narrative of a naturalized
female body that makes rapes
possible: they are, prior to the
social structures that rape inspires
and supports, rapable. Women are
raped because they are rapable, and
women are rapable because they are
women (Brownmiller 1975, 16). By
this argument, women are marked as
primordially disempowered as “their
bodies, coded as a place of empty
vulnerability” (Henderson 2013,
242). If we combine this with a long
historical heritage where women only
live in a so called ‘economical
sexuality’, rape occurs not only as
unquestionable form of sex but also
impossible to be removed from our
sexual cultures in any time: past,
present and future.
CONCLUDING THOUGHTS
Historical narratives contributed
visibly to the knowledge of
sexuality that we have today and
also how we use them in further
thinking. The huge efforts of mostly
feminist thought on the legal
definition and public recognition of
rape, sexual violence and sexual
autonomy (of women mostly), have for
sure been triggered by the incidents
during the war. Looking back to
historical predispositions helps to
reveal the cultural heritage and
grounds that contributed to rapes on
such massive scale, but are at the
same time on the very edge to offer
nothing but the study of sexuality
in terms of violence. While such
agency was primarily needed for the
legal and psychological requirements
of the survivors, the produced
knowledge on rape does not respond
to the necessity of rape prevention
in future. For that reason the
“deconstructive narrative” (Heberle
1996, 70) should be used in order to
expose the naturalized social truths
about gender, sexuality, and
victimization that are rooted in the
event of sexualized violence and
rapes, and grounded on the history
of (sexual) oppression against
women. We have to give the evolution
time; violence and aggression
embedded in centuries, will not stop
overnight due to the massive
activism and agency on gender issues
after the war.
In studying sexuality in Balkans,
complex concepts of gender,
sexuality and patriarchy often
become a simplistic explanation of
all inequalities and violence in
general: structural, symbolic,
psychological, and physical. Despite
the rare sources on research on
sexuality in general, the analysed
literature shows no variety in
sexual lifes, but it is, indeed,
very rich in the evidence of
intersections between violence and
sexuality. The question that remains
open is: why? Why the past
researchers and ethnographic
evidence recorded such limited
knowledge? As posed in the
beginning, I am wondering, how much
other important 'alternative
sexualities' were dissmissed because
they really were not in existence,
or, also quite possibly, because
researchers and ethnographers simply
did not look for it. I believe that
'evolution of sexuality' does not
mean only finally starting to
research it; the struggle for
alternative practices was perhaps
always there, but for this or
another reason not taken into
account, not recorded. This is the
reason why I was trying to bring in
the importance of 'colonial gaze'
and the balkanistic attitude toward
researching sexuality. As in other
levels of seeing Balkans as 'the
Other', why would the sexuality be
an exception? If we read these
narratives, be it either before the
war, during or after, quite often
they can lead the reader to
understand the practices of
sexuality in a very exclusivistic
way, subjected to patriarchalism and
aggressive patterns of men's
behavior. When the mass rapes in
Bosnia happened, the word was
shocked. But the academia, besides
media, helped to wrap this shock to
the exlusivistic language by
'othering' the incidents to start
understanding the patriarchy, where
sexuality equals violence, unique
and peculiar to Balkans.
Women must “recolonize the space
taken from them,” says Renee
Heberle, and I would paraphrase her,
that both, men and women, have to
recolonize sexuality that was taken
from them. The resistance toward
existing rape scripts can start
happening by breaking down the
narratives that preserve images of
women as preexistent victims, women
as subjected identities. I suggest
that we aim to create the awareness
of existence of more heterogeneous,
more diverse practices of sexuality
that go beyond sexual violence and
submissive patriarchal orders. Hence
I suggest gender, sexuality, and
sexualized violence be seen not as
fixed ideologies, but created,
“lived ideology” (McCaughey in
Henderson 2013, 252), and this way
to understand the practices as fluid
subject to change and
transformation.
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