TRANSCRIPT
It's widely described as Europe's worst atrocity since World War Two.
Thirty years ago, over 8000 Bosniak men and boys were killed on July 11, 1995 by the Bosnian Serb army - after they forcibly entered the United Nations-designated safe zone of Srebenica.
Fatima Klempic Dautbasic fled the city that month - on foot through the forest - a route which was taken by the thousands of men and boys who were later hunted down.
"I walked that path with men in 1995; for seven days and seven nights I walked through the forests in the most difficult imaginable conditions. We always say that we felt like hunted animals, and it really is how it was. Thirty years have passed, but for us it is just a moment because those events, those memories, those days are buried under the skin of all of us, myself included, and over time we realised that they will never leave us. Those memories are a part of us and we cannot protect ourselves from them by forgetting."
An exhibition in Sarajevo's National Library is marking the anniversary of the massacre - and there's one group of women who are being honoured for their tireless efforts to seek truth and justice about what happened.
Velma Saric is a representative of the Post-Conflict Research Centre, which created the growing art installation - 'The Mother's Scarf'.
"After starting with scarves and shawls of the Srebrenica mothers, we inspired solidarity of women from around the world. We now have over 3,000 scarves and shawls donated by human rights activists from around the globe, including some VIPs, and they are all equally important to us."
The installation features thousands of scarves and shawls donated by survivors and women around the world.
Many are traditional headscarves, worn by Bosniak women when burying their dead.
"We use art because it inspires empathy, it can wordlessly put things into context and provide explanations and for us it is one of the most important forms of communication when talking about difficult subjects such as genocide."
This is alongside an exhibition of portraits of women who lost loved ones in the massacre, and in many cases, experienced violence themselves.
New Zealand artist Nour Hassan has painted 25 women - each with their own unique story.
"Our feelings and emotions are, everyone feels them in different ways and in different capacities. My focus is micro expressions, what I try to do is just capture the essence of the person that I am looking at, I try to capture their emotion. And I feel like if I capture that then other people can connect with it."
The portraits aim to preserve memory and identity.
"It feels like something bigger than art and also it incorporates history as well, and remembrance."
The atrocity in Srebrenica was the most brutal episode of the Bosnian 1992–95 war.
The massacre is labelled as a genocide by two UN courts - the International Court of Justice and the International Criminal Tribunal for the former Yugoslavia.
For most Serbs, leaders and laypeople in both Bosnia and Serbia, the use of the word genocide remains unacceptable.
More than 700 years in prison have been handed down to nearly 50 perpetrators, largely thanks to testimonies from survivors - many of them women.
Each year, new remains continue to be uncovered in mass graves, often identified only through painstaking DNA analysis.
Alongside the thousands of men and boys killed, women and children were deported, and victims buried in mass graves - only to find their remains were later moved in efforts to conceal the crime.
Just days before the anniversary, the remains of seven more victims are being laid to rest in Srebenica.
Fatima is among the visitors to the exhibition.
She hopes it will help to bring a measure of peace and closure.
"To me, this exhibition is particularly valuable because it includes portraits of mothers who passed away without completing their mission to find their murdered children and help them find peace in the valley of white gravestones."
