While the first audio recordings of sevdalinka date back to the early 20th century, the sevdah musical-poetic genre existed much earlier and is closely linked to the traditional sevdalinka song, which is believed to have reached its peak as early as the 16th century.
Sevdah is connected to the arrival of the Ottomans and the establishment of urban neighborhoods – mahala – where houses were built with separate male (selamluk) and female (haremluk) quarters, separated by high walls to distinguish between public and private life.
In this atmosphere of separation, longing love songs emerged, often sung by young women to their beloved ones.
Black Bile
The word sevdah is derived from the Arabic word sawda, which translates loosely to “black bile” – a substance believed by the ancient Greeks to cause melancholic moods. In these regions, sevdah came to symbolize a state of mind – quiet longing and a sense of pleasure in one’s own romantic sorrow. To say someone has “fallen into sevdah” means they have entered a state of wistful yearning and melancholy.
Sevdalinka gained a prominent presence in public life with the rise of urban coffee houses (kafanas), where sevdah was performed alongside the saz – a string instrument originating from Iran (a type of larger tambura). The singer and saz player, known as a sazlija, would sit at the front of the sećija (couch), often surrounded by guests. The sazlija would sing and “pluck” the saz, while gatherings – or sijela – could last well into the early hours of the morning.
With the arrival of the Austro-Hungarian Empire, life in Bosnia and Herzegovina saw changes across all aspects, including traditional music. Sevdah began to shift toward the accordion, introducing new stylistic innovations to the genre.
Until the end of World War II, kafana remained the primary venue where sevdalinka was performed. Sarajevo alone once boasted nearly 70 such establishments, with legendary venues like Volga, Šadrvan, and Olimpija hosting the era’s biggest musical stars – Boro Janjić and Sofka Nikolić.
After the war, sevdah shifted from the coffee house to the radio. Just four days after Sarajevo’s liberation, on April 10, 1945, Radio Sarajevo began broadcasting, marking the start of the “golden age of sevdah.” In the immediate post-war years, live performances became a staple, with legendary figures like Zaim Imamović and accordionist Ismet Alajbegović Šerbo often spending nights in the radio studio to ensure they didn’t miss their morning broadcast.
Sevdah Art House
The team of radio sevdah enthusiasts soon welcomed other notable musicians like Nada Mamula, Himzo Polovina, and tambura player Jozo Penava. Later, legendary sevdah performers such as Safet Isović, Meho Puzić, Beba Selimović, Zora Dubljević, and Zehra Deović refined their craft on Radio Sarajevo.
By the late 1970s, interest in traditional music began to decline, primarily due to the rise of record labels and new musical trends.
However, sevdah did not fade into obscurity. About two decades ago, a new generation of musicians emerged, blending sevdah with influences from other musical genres and traditions. The most prominent representatives of this contemporary sevdah scene include Mostar Sevdah Reunion, Damir Imamović, Amira Medunjanin, Božo Vrećo, Jusuf Brkić, and Zanin Berbić.
Since 2008, the Sevdah Art House (Halači 5) has been a cultural hub in Baščaršija, where visitors can explore a permanent exhibition dedicated to sevdah and its masters (open daily from 10 a.m. to 6 p.m.). The café within the Art House of Sevdah operates from 9 a.m. to 11 p.m., and hosts sevdah concerts every Wednesday (starting at 7 p.m.) and Friday (starting at 8 p.m.).
