Hrvatska Nematerijalna Kulturna Baština Na

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Croatian Intangible Cultural Heritage on UNESCO Lists Hrvatska nematerijalna kulturna baπtina na UNESCO-ovim listama Nemat_E-H_001-056:22x23 2019.04.16 11:02 Page 4 Nemat_E-H_001-056:22x23 2019.04.16 11:02 Page 5

Croatian Intangible Cultural Heritage on UNESCO Lists Hrvatska nematerijalna kulturna baπtina na UNESCO-ovim listama Nemat_E-H_001-056:22x23 2019.04.16 11:02 Page 6

For a number of years now and especially since the ratification of the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage in 2005, the Republic of Croatia has been implementing intense activities of valorisation, keeping inventory, documentation and promotion of intangible cultural heritage. As the central implementation body of the 2003 Convention, until 2018 the Ministry of Culture of the Republic of Croatia has inscribed over 160 intangible cultural goods in the Cultural Property Register of the Republic of Croatia, out of which 17 have been inscribed on three UNESCO lists of the Intangible Cultural Heritage of Humanity: the Representative List of the Intangible Heritage of Humanity (15 goods), the List of Intangible Heritage in Need of Urgent Safeguarding (1 good) and the Register of the Intangible Heritage Best Safeguarding Practices (1 good). These impressive figures are a result of the successful cooperation of the Ministry of Culture, its professional services within the Directorate for the Protection of Cultural Heritage and the Service for UNESCO, with the Croatian Commission for UNESCO, the Commission for Intangible Heritage, experts from various scientific institutions and holders of these traditions.

In an effort to engage different sectors and all levels of the society as a whole in various activities of planning and implementation of the protection measures, the preservation of the intangible cultural heritage in Croatia is carried out systematically, with an active par- ticipation of local communities and relevant stakeholders. Every year, through public calls, the Ministry of Culture supports a number of activities ensuring long-term inclusion of intangible heritage in formal and non-formal education, development projects, an adequate supply of traditional products on the market, various research and documentation activity, sustainable development planning, development of creative approaches to heritage, etc.

International cooperation in the field of intangible heritage includes the exchange of experiences and knowledge with neighbouring countries and wider, thus, the Republic of Croatia has been active in the UNESCO’s Category 2 Regional Centre for the Safeguarding of Intangible Cultural Heritage in South-Eastern Europe in Sofia since its very establishment. By participating in international projects such as multinational nominations for the UNESCO lists and various projects supported by European funds, as well as by participating in seminars and conferences, in addition to exchanging of experiences, the work on the preservation of intangible heritage in gen- eral is being improved.

Some of the guidelines the Republic of Croatia is guided by in conducting activities of the intangible heritage preservation are long lasting results, quality planning, local heritage management, international, European and cross-border cooperation. Special attention is also given to the intangible heritage of minorities in Croatia, as well as to the fair representation of various vulnerable groups in the local community. As some of the objectives of the UNESCO 2003 Convention are to raise public awareness of the value and frailty of the intangible heritage, which is exposed to a number of different socio-historical influences leading to its disappearing, an exhibition such as this one, presenting the intangible cultural heritage of Croatia on the UNESCO lists, is a very valuable contribution to the preservation of intangible cultural heritage.

Minister of Culture Nina Obuljen Koržinek Nemat_E-H_001-056:22x23 2019.04.16 11:02 Page 7

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Republika Hrvatska dugi niz godina, a posebno od ratifikacije UNESCO-ove Konvencije o zaštiti nematerijalne kulturne baštine 2005. godine, intenzivno provodi aktivnosti valorizacije, popisivanja, dokumentiranja i promidžbe nematerijalne kulturne baštine. Kao sre- dišnje tijelo za provođenje Konvencije iz 2003. godine, Ministarstvo kulture do 2018. godine upisalo je više od 160 nematerijalnih kulturnih dobara u Registar kulturnih dobara Republike Hrvatske, od kojih je 17 upisano na tri UNESCO-ova popisa nematerijalne kulturne baštine čovječanstva: Reprezentativni popis nematerijalne baštine čovječanstva (15 dobara), Popis nematerijalne baštine kojoj je potrebna hitna zaštita (1 dobro) i Registar najboljih praksi očuvanja nematerijalne baštine (1 dobro). Taj je uspjeh rezultat suradnje Ministarstva kulture, njegovih stručnih službi Uprave za zaštitu kulturne baštine i Službe za UNESCO, Hrvatskoga povjerenstva za UNESCO, Povjerenstva za nematerijalnu baštinu te stručnjaka iz različitih znanstvenih institucija s nositeljima tih tradicija.

Očuvanje nematerijalne kulturne baštine u Hrvatskoj provodi se sustavno, u nastojanju da se u različite aktivnosti uključe različiti sek- tori i sve razine društva u cjelini, uz aktivno sudjelovanje lokalne zajednice i nositelja u planiranju i provođenju mjera zaštite. Svake godine Ministarstvo kulture putem javnih poziva podupire brojne aktivnosti osiguravajući dugotrajno uključenje nematerijalne baštine u formalnu i neformalnu edukaciju, razvojne projekte, adekvatnu ponudu tradicijskih proizvoda na tržištu, različita istraživanja i doku- mentiranje, planiranje održivoga razvoja, razvijanje kreativnih pristupa baštini i drugo.

Međunarodna suradnja na području nematerijalne baštine obuhvaća razmjenu iskustva i znanja sa susjednim zemljama i šire pa je tako Republika Hrvatska aktivna u UNESCO-ovu Centru II. kategorije za nematerijalnu kulturnu baštinu Jugoistočne Europe u Sofiji od samoga njegovog osnutka. Sudjelovanjem u međunarodnim projektima poput višenacionalnih nominacija za UNESCO-ove popise i različitim projektima koji se podupiru putem europskih fondova kao i na seminarima i konferencijama, osim razmjene iskustava, una- prjeđuje se i rad na očuvanju nematerijalne baštine općenito.

Dugotrajnost rezultata, kvalitetno planiranje, lokalno upravljanje baštinom, međunarodna, europska i prekogranična suradnja neke su od smjernica kojima se Republika Hrvatska vodi prilikom provođenja aktivnosti očuvanja nematerijalne baštine. Posebna je pozornost posvećena i nematerijalnoj baštini manjina u Hrvatskoj kao i pravednoj zastupljenosti različitih ugroženih skupina u lokalnoj zajednici. Kako su neki od ciljeva UNESCO-ove Konvencije iz 2003. godine osvješćivanje javnosti o vrijednosti i krhkosti nematerijalne baštine koja je izložena brojnim različitim društveno-povijesnim utjecajima što dovode do njezina nestajanja, izložba poput ove na kojoj se predstavljaju nematerijalna kulturna dobra iz Hrvatske na UNESCO-ovim popisima vrlo je vrijedan doprinos na području oču- vanja nematerijalne kulturne baštine.

Ministrica kulture dr. sc. Nina Obuljen Koržinek Nemat_E-H_001-056:22x23 2019.04.16 11:02 Page 8

Introduction

Living tradition, knowledge, skills, creativity, beauty, diversity, continuity, handing down from generation to generation, pride, a feel- ing of identity, respect, inclusiveness, the permeation and inseparability of tangible and intangible culture, understanding, community, dialogue, communication with others, with nature and the universe and, above all, love ∑ for without love and enthusiasm all the messages and meanings embodied deep within the complex phenomena of intangible cultural heritage would be superficial and less comprehensive. By recognising and emphasising our intangible cultural heritage, we encourage positive feelings in a particular sphere towards family life, the community, our culture and nation. By understanding and highlighting the creativity of our own community, we understand better the creativity of others and the richness of diversity, which is a prerequisite for intercultural respect and dialogue.

With this internationally acknowledge selection of its intangible cultural heritage, Croatia has affirmed itself as a small country with creative people, culture and natural wealth. This description of various cultural traditions, with the support of the Ministry of Culture, shows the desire of local communities to continue to emphasise their ancient heritage, which is always living and fresh, and affirm publicly their cultural and national identity.

The variety of spheres and ways in which individual elements appear is a witness to the deep interweaving of traditions in contempo- rary community life, whether small or large, urban or rural. In a world of globalised standards, these treasures of traditional culture emphasise the need to continue valuing and respecting our heritage, as bequeathed to us by our parents, and which we will pass on to our children. To admit that each of us is special and unique is to acknowledge the creativity and creative potential of individuals and communities. With UNESCO’s acknowledgement of this exhibition we have begun, gently, to open the treasure-chest of our intangible cultural heritage, so that the world and other cultures may see and enjoy it, for it is with them that we will contribute to a richer, fuller life for the children of tomorrow.

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Uvod

Æiva tradicija, znanje, vjeπtina, kreativnost, ljepota, raznolikost, kontinuitet, prijenos s generacije na generaciju, ponos, osjeÊaj identiteta, poπtovanje, ukljuËivost, proæimanje i neodvojivost materijalne i nematerijalne kulture, razumijevanje, zajednica, dijalog, komunikacija s ljudima, prirodom i univerzumom i, povrh svega, ljubav ∑ jer bez ljubavi i entuzijazma sve te poruke i smisao koje sloæeni fenomeni nematerijalne kulturne baπtine nose duboko u svojoj bıˆti bili bi povrπni i manje obuhvatni.

Prepoznavanjem i isticanjem nematerijalne kulturne baπtine potiËemo pozitivne osjeÊaje æivota u obitelji, zajednici, kulturi i narodu na nekom podruËju. RazumijevajuÊi i istiËuÊi kreativnost vlastite zajednice bolje razumijemo kreativnost drugih, a upravo je bogatst- vo raznolikosti osnovni preduvjet za meukulturno poπtovanje i dijalog.

Hrvatska se ovim meunarodno priznatim izborom nematerijalne kulturne baπtine potvruje kao mala zemlja kreativnih ljudi, kulture i prirodnih bogatstava. Prikazom razliËitih kulturnih tradicija uz podrπku Ministarstva kulture otkriva se æelja lokalnih zajednica da isticanjem staroga, a uvijek æivoga i svjeæeg naslijea, javno potvrde svoj kulturni i nacionalni identitet.

RazliËiti naËini manifestiranja pojedinih elemenata svjedoËi o dubokoj utkanosti tradicije u suvremeni æivot zajednica, manjih veÊih, seoskih i gradskih. U svijetu globalnih standarda upravo biseri tradicijske kulture istiËu uvijek vrijedno i neophodno poπtovanje naslijea koje smo preuzeli od roditelja i prenosimo na djecu. Svaka naπa posebnost i jedinstvenost priznanje je kreativnosti i stvaralaËkom potencijalu pojedinca i zajednice. UNESCO-ovim priznanjem i ovom izloæbom polako otvaramo bogatu πkrinju hrvatske nematerijalne kulturne baπtine ∑ na uvid i raspolaganje svijetu i kulurama s kojima zajedniËki doprinosimo bogatijem i sadræajnijem æivotu naπe djece u buduÊnosti.

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1 Lacemaking in Croatia »ipkarstvo u Hrvatskoj

2 Two-part Singing and Playing in the Istrian Scale Dvoglasje tijesnih intervala Istre i Hrvatskoga primorja

3 Festivity of St. Blaise, Patron Saint of Dubrovnik Festa svetoga Vlaha, zaπtitnika Dubrovnika

4 Spring procession of Kraljice/Ljelje (Queens) from Gorjani Godiπnji proljetni ophod Kraljice ili Ljelje iz Gorjana

5 Procession Za Križen (Following the Cross) on the Island of Hvar Procesija Za kriæen na otoku Hvaru

6 Traditional Manufacturing of Children’s Wooden Toys in Hrvatsko Zagorje UmijeÊe izrade drvenih tradicijskih djeËjih igraËaka s podruËja Hrvatskoga zagorja

7 Annual Carnival Bell Ringers’ Pageant from the Kastav Area Godiπnji proljetni ophod ZvonËari s podruËja Kastavπtine

8 Gingerbread Craft from Northern Croatia MediËarski obrt na podruËju sjeverne Hrvatske

9 The Sinjska Alka, a Knights’ Tournament in Sinj Sinjska alka, viteπki turnir u Sinju

10 Ojkanje Singing Glazbeni izriËaj ojkanje

11 BeÊarac Singing and Playing from Eastern Croatia BeÊarac, tradicijski glazbeni æanr s podruËja istoËne Hrvatske

12 Nijemo Kolo, Silent Circle Dance of the Dalmatian Hinterland Nijemo kolo s podruËja Dalmatinske zagore

13 Klapa Multipart Singing of Dalmatia Klapsko pjevanje

14 Mediterranean Diet Mediteranska prehrana

15 The Batana Ecomuseum Ekomuzej Batana

16 Meimurska popevka, a folksong ftom Meimurje Meimurska popevka, tradicijski napjev Meimurja

17 Art of dry stone walling, knowledge and techniques UmijeÊ´e suhozidne gradnje Nemat_E-H_001-056:22x23 2019.04.09 19:10 Page 14

Lacemaking in Croatia 1 »ipkarstvo u Hrvatskoj

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Lace-making is a distinct craft, where lace is »ipka je samostalni πupljikavi ruËni rad koji made of agave, threads involving openwork nastaje u doba renesanse na prostoru Medi - on fabric, originating in the Renaissance peri- terana i zapadne Europe. Osnovne tehnike od in Mediterranean and Western Europe. Ëipkarstva jesu πivanje iglom i preplitanje The main lace-making techniques produce pomoÊu batiÊa. Razlika izmeu Ëipkarstva needle lace and bobbin lace. The distinctions europskih zemalja i onog na prostoru between lace-making in European countries Hrvatske jest u njihovim stvarateljima. U and Croatia are due to its creators. In Europe, Europi je izrada Ëipke bila u rukama æenskih lace-making was traditionally practised by crkvenih redova, graanstva i plemstva, a u nuns, the middle classes and nobility, while in Hrvatskoj se njihovim posredstvom prenosi u Croatia, it was transferred to the hands of ruke æena u manjim ruralnim sredinama. One rural women in small villages. They made lace Ëipku izrauju za potrebe tradicijske odjeÊe i for traditional clothes and furnishings. posoblja. Danas u Hrvatskoj postoje tri glavna Nowadays, there are three main centres of centra izrade Ëipke, Ëije se djelovanje nastav- lace-making in Croatia, where the long lace- lja na viπegodiπnju tradiciju Ëipkarstva. To su: making tradition continues. These are: the Lepoglava ∑ mjesto u Hrvatskom zagorju, sje- town of Lepoglava, in Hrvatsko Zagorje, the verozapadnom breæuljkastom dijelu kontine- hilly part of continental Croatia, where bob- ntalne Hrvatske, sa Ëipkom na batiÊe te na bin lace is made; the town of Pag, on the Jadranu Pag ∑ grad istoimenog sjevernoja- island of the same name, where needle lace is dranskog otoka s Ëipkom na iglu i Hvar ∑ grad produced; and the town of Hvar, on the na jugozapadnoj obali srednjojadranskog south-western coast of the central Adriatic otoka Hvara, s Ëipkom od agave. Vjeπtina island island of Hvar, where aloe lace is made. izrade Ëipke na batiÊe, iz grube lanene pree, The skill of making ribbon bobbin lace from koju su seljanke u Lepoglavi radile za ukras flax fibres, which the women of Lepoglava svojega ruha ili za prodaju, iznjedrila je izradu used to decorate their garments or sell, result- finih Ëipaka razliËita oblika. Paπka je Ëipka ed in the production of different designs of ukrasni element koji se javlja prvotno na fol- fine lacework. Pag lace as decorative element klornom tekstilu, a zatim kao samostalni first occurred in textiles linked with tradition- ukrasni predmet. Vjeπtina izrade Ëipke od al costumes, and later as an independent dec- agave u gradu Hvaru specifiËna je po materi- oration. The skill of making lace from aloe jalu iz kojega nastaje i vezanosti samo uz fibres in the town of Hvar is specific, because benediktinski samostan. of both the material used and its unique con- nection to the Benedictine convent. Nemat_E-H_001-056:22x23 2019.04.09 19:10 Page 16

Two-part Singing and Playing 2 in the Istrian Scale Dvoglasje tijesnih intervala Istre i Hrvatskoga primorja

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Two-part singing and playing in the Istrian Dvoglasje tijesnih intervala Istre, najveÊega scale is a complex type of folk music com- poluotoka istoËne obale Jadranskoga mora i mon in Istria, the largest peninsula on the Hrvatskoga primorja, prostora koji se pro- eastern coast of the Adriatic Sea and coastal teæe od Rijeke do Senja te otoka Krka, Raba i Croatia. It inncorporates an area between Cresa kompleksan je stil folklorne glazbe. Rijeka, Senj and the northern Adriatic islands Nalazimo ga i izvan podruËja Istre i Hrvat - of Krk, Cres, and Rab. This music is also skoga primorja, no upravo na tom podruËju found outside Istria and coastal Croatia, but on æivi najkom paktnije. U svojoj osnovi dvo- it is most intensely preserved in this area. glasje se zasniva na ne tempe riranim tonskim This form of two-part singing is based on odnosima te kara kte ristiËnoj boji tona koji se non-tempered tonal relations and a charac- kod vokalne glazbe postiæe snaænim pjeva- teristic coloratura achieved by powerful, njem djelomice kroz nos. partly nasal singing . »esto tijekom izvoenja u objema dionica- Both voices often employ a degree of improv- ma dolazi do improvizacije i varijacije, no isation and variation during the perform- unisoni zavrπeci ili zavrπeci u oktavi ostaju ance, but end in unison or at the interval of strogo pravilo (ovu karakteristiku moæemo an octave, which remains a strict rule. This svakako uoËiti i kod stila bugarenje bez obzi- feature is also noticeable in bugarenje, ra na to πto se donja dionica dodatno spusti although the lower voice drops additionally za sekundu ili malu tercu). to an interval of a second or diminished third. VeÊina tonskih nizova sastavljena je od Ëetiri Most phrases consist of four to six notes. The do πest tonova. Metroritamska, for malna metro-rhythmical organization, formal struktura i struktura teksta kreÊu se od jed- structure and structure of the sung texts nostavnih do vrlo sloæenih ob ra zaca, a speci- ranges from the simple to the very complex, fiËan je odnos glazbe i teksta. showing a specific relationship between the music and lyrics. Nemat_E-H_001-056:22x23 2019.04.09 19:11 Page 18

Festivity of St. Blaise, 3 Patron Saint of Dubrovnik

Festa svetoga Vlaha, zaπtitnika Dubrovnika

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The Festivity of St. Blaise, the patron of Festa svetoga Vlaha, zaπtitnika Du brov nika Dubrovnik, represents an exceptional exam- predstavlja izuzetnu pojavu nemate rijalne ple of intangible cultural heritage, which in a kulturne baπtine, koja je u kontinuiranom continuous historic sequence from the 10th povijesnom trajanju od 10. st. do sadaπnjeg century to our time, has kept its traditional vremena zadræala svoje tradicionalne i pre- and recognizable features and exquisite poznatljive odlike i vrsnoÊu izriËaja, obliku- expression, channelling local and national juÊi lokalni i nacionalni kulturni pejzaæ sve- cultural landscape into diverse manifesta- stranim pojavnostima, proæimajuÊi materi- tions, intertwining tangible and intangible jalnu i nematerijalnu kulturnu baπtinu cultural heritage with permeating spiritual duhovnom dimenzijom. Utemeljena je na dimension. Based on the legend of the legendi o pojavljivanju svetoga Vlaha radi appearance of Saint Blaise to help the inhab- pomoÊi DubrovËanima u obrani protiv itants of Dubrovnik against their enemy, the napadaËa. U Festu se ukljuËuju stanovnici Festivity is an occasion in which the people grada i okolice, predstavnici dræave i lokalnih of the City and its surrounding area, the rep- vlasti te predstavnici RimokatoliËke crkve. resentatives of state and local authorities Osim du hovnog znaËenja Festa naroËito together with the representatives of the oblikuje druπtvene odnose i pravila te kultu- Roman Catholic Church participate. Added ru nasljeivanja. Festa kao izraz πtovanja to the spiritual dimension is a special effect sveca obiljeæila je Ëitav kulturni, a dijelom i the Festivity produces in relation to social prirodni prostor Grada i okolice. Kroz sudje- relations, order, as well as the cultural inher- lovanje pojedinaca i grupa iz drugih mjesta u itance. The Festivity as a display of the wor- zemlji, kao i onih iz okolnih zemalja, ona ship of the Saint has influenced and shaped potiËe meukulturni dijalog. the entire cultural and partly natural space of the City and its surrounding area contribut- ing to the intercultural dialogue by welcom- ing gue sts, individuals and groups, from other parts of Croatia as well as the neighbouring countries. Nemat_E-H_001-056:22x23 2019.04.09 19:11 Page 20

Spring procession of Kraljice/Ljelje 4 (Queens) from Gorjani

Godiπnji proljetni ophod Kraljice ili Ljelje iz Gorjana

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Kraljice (queens) from the village of Gorjani Kraljice iz Gorjana, sela nedaleko od grada near –akovo in Slavonia, northeast Croatia, –akova u Slavoniji, u sjevero istoËnoj Hr - are girls who walk through their village in the vatskoj, djevojke su koje u proljeÊe, o blagda- spring, on Pentecost, in a procession, and nu Duhova, u povorci obilaze selo i izvode perform a ritual consisting of special songs ritual sastavljen od osobitih pjesama i plesa and dances with sabres. According to the sa sabljama. Prema pripjevu njihovih pjesa- refrains of the songs, all the girls who take ma sudionice se djevojaËke duhovske povor- part in the Whitsun procession are also ke u Gorjanima zovu i ljelje . Dijele se na kra- known as ljelje in Gorjani. The girls are divid- ljice i kraljeve; desetak kraljeva nosi sablje i ed into kraljice (queens) and kraljevi (kings). muπke πeπire ukraπene cvijeÊem, a kraljice A dozen or so kings carry sabres and wear njih upola manje, na glavama, poput mla- men’s hats decorated with flowers. Half this denki, imaju bijele vijence. Iz πireg repertoa- number are queens wearing white garlands ra kraljiËkih tekstova odabiru pjesme primje- on their heads like brides. From a wide rene obitelji koju posjeÊuju; najËeπÊe pjevaju repertoire of kraljice lyrics, they choose djevojci, mladiÊu ili mladoj nevjesti. Zatim songs suitable for the families they visit; kraljevi izvode ples sa sabljama, a kraljice most often singing to a girl, young man or a pjesmom komentiraju plesne figure. Slijedi new bride. Then the kings perform a dance narodni ples uz pratnju glazbenika, kojemu with sabres, and the queens comment on the se mogu pridruæiti i ukuÊani. Nakon πto je dance movements through song. This is fol- poËaste hranom i piÊem, povorka odlazi u lowed by folk dancing accompanied by drugu kuÊu. Drugoga dana Duhova odlaze u musicians, who may be joined by members susjedno selo ili obliænji gradiÊ. Na kraju sli- of the dancers’ families. After being reward- jedi zajedniËka gozba i zabava kod jedne od ed with food and drinks, the procession sudionica. moves on to another house. On the second day of Whit suntide they visit a neighbouring village or town. Finally there is feasting and entertainment for all at the home of one of the participants. Nemat_E-H_001-056:22x23 2019.04.09 19:11 Page 22

Procession Za kriæen (Following the Cross) 5 on the Island of Hvar

Procesija Za kriæen na otoku Hvaru

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The procession known as “Following the Procesija Za kriæen jedinstveni je obred oso- Cross” is a unique expression of the devo- bite poboænosti te izraz vjerskog i kulturnog tional, religious and cultural identity of the identiteta stanovnika srediπnjega dijela population of the middle part of the central otoka Hvara, koji se u neprekinutom nizu Dalmatian island of Hvar. It has taken place odvija pet stoljeÊa. U noÊi s Velikog Ëetvrtka without interruption for nearly five cen- na Veliki petak procesija povezuje πest mje- turies. On the night between Maundy sta srediπnjega dijela srednjodalmatinskoga Thursday and Good Friday, the procession otoka Hvara: Jelsu, Pitve, Vrisnik, SvirËe, links six villages on the island: Jelsa, Pitve, Vrbanj i Vrbosku. Istovremeno (u 22 sata) iz Vrisnik, SvirËe, Vrbanj and Vrboska. At πest æupnih crkava zapoËnu ophodi na Ëelu s around ten o’clock in the evening, simulta- kriæonoπom koji nosi kriæ (teæak do 18 kilo- neous processions start from the six parish grama) u znak molbe ili zahvalnosti, kao vla- churches, led by cross-bearers, who carry stiti ili obiteljski zavjet. Slijedi ga izabrana heavy crosses (up to about 18 kilos) as a sign pratnja u bratimskim tunikama te mnoπtvo of prayer or gratitude, in response to a per- vjernika i hodoËasnika. Zau stav ljaju se u sonal or family vow. They are followed by crkvama i kapelicama ostalih mjesta, gdje ih their chosen entourages, dressed in the doËekuju sveÊenici, da bi se pred jutro vratili tunics of their brotherhood, and many other u svoju æupnu crkvu. Procesija je iznimna po worshippers and pilgrims. They pause in svojem trajanju (tijekom 8 sati proe se 25 front of churches and chapels in other vil- kilometara) i po na glaπenom pasionskom lages, where they are greeted by the priests sadræaju. Pri pre maju je i provode bratovπti- before returning to their parish churches ne, odnosno zajednice hvarskih vjernika, u before dawn. The procession is notable Ëiju je povijest i æivot kriæ duboko upisan. because it takes eight hours, during which Okosnica procesije je Gospin plaË, osme raËki time the participants walk 25 kilometres. It pasionski tekst iz 15. stoljeÊa, koji u formi has a particular Passiontide theme, and is glazbenoga dijaloga pjevaju izabrani pjevaËi, prepared and conducted by brotherhoods, kantaduri. i.e. communities of Hvar believers whose history has been profoundly marked by the Cross. The central part of the procession is the Lamen tations of the Virgin Mary, an octo- syllabic Passiontide text dating from the 15th century, sung antiphonally by chosen singers - kantaduri. Nemat_E-H_001-056:22x23 2019.04.09 19:11 Page 24

Traditional Manufacturing of Children’s 6 Wooden Toys in Hrvatsko Zagorje

UmijeÊe izrade drvenih tradicijskih djeËjih igraËaka s podruËja Hrvatskoga zagorja

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Wooden children’s toys are recognisable, tradi- Drvene djeËje igraËke prepoznatljivi su tradicij- tional products of Hrvatsko Zagorje and have a ski proizvodi Hrvatskoga zagorja s dugom povi- long history. It was in precisely this area, the jeπÊu. Upravo se na ovim prostorima sjeveroza- northwest part of Croatia, that a distinctive style padne Hrvatske u 19. st. razvilo osebujno umi- of making toys developed in the 19th century, jeÊe izrade igra Ëaka, koje se u pojedinim selima preserved today in villages such as Laz StubiËki ∑ kao πto su Laz StubiËki i Laz BistriËki, Stu bica, and Laz BistriËki, Stubica, Tugonica, TurniπÊe Tugonica, TurniπÊe i Marija Bistri ca ∑ zadræalo and Marija Bistri ca. All these villages are en sve do danaπnjih dana. Sva se ta sela nalaze na route to the greatest pilgrimage site in Croatia - putu prema najveÊemu hodoËasniËkom mjestu Marija Bistrica. From very simple reed pipes, u Hrvatskoj ∑ Mariji Bistrici. Od vrlo jednosta- the range widened so that, at one time, over a vnih igraËaka ∑ svirala ∑ asortiman se proπirivao hundred and twenty different toys were being tako da su u pojedinim periodima izra ivali oko produced. The craft was passed on from gener- sto i dvadeset razliËitih igraËaka. NaËin izrade ation to generation in some families and has prenosio se u odreenim obi te ljima iz ge ne - been maintained to this day. A special feature is racije u generaciju i zadræao do danas. Za njih je that the toys are made by hand by men, but karakteristiËno da ih ruËno izra uju muπkarci, a mostly painted by women. There can never be oslika vaju ih veÊinom æene. Ne postoje dvije u two completely identical toys, since each one is potpu no sti identiËne igraËke jer je svaka ruËni handmade. The material used is soft, local rad. Kao materijal koristi se meko drvo iz nepo- wood such as willow, lime, beech and maple, sredne okolice ∑ vrba, lipa, buk va i javor ∑ koje which is dried and dressed, then cut and ruko tvor ci nakon suπenja teπu, a zatim uz po- shaped with the help of wooden or cardboard moÊ drvenih ili kartonskih πablona posebnim models. Natural paints, based on red, yellow alatom reæu i oblikuju. Pri oslikavanju sluæe se and blue are used. The toys are decorated with ekoloπkim bojama, a kao podlogu najËeπÊe kori- floral and geometrical shapes. Today, about ste crvenu, æutu ili plavu boju. IgraËke oslikava- fifty types of toys are made, ranging from vari- ju cvjetnim ili geo me trijskim ukrasima. Da na s ous reed pipes and stringed instruments to ani- se izrauje pe desetak vrsta igraËaka ∑ od razno- mals and objects for daily use. Although the vrsnih svirala, tamburica, igraËaka u obliku production of traditional children’s toys has æivotinja, sve do upo rab nih predmeta. Iako stagnated due to the arrival of modern, indus- izrada tradicij skih djeËjih igraËaka stagnira s trially produced toys, it has nevertheless been pojavom sve ve Êeg broja modernih industrij- preserved in Croatia and retains its originality skih igraËa ka, ona se u Hrvatskoj joπ uvijek and specific features ∑ such as manual produc- odræala, saËuvavπi svoju izvornost i specifiËno- tion, diversity and a great number of designs sti ∑ poput ruËne izrade, razno vrsnosti i broj- and intricate decorations. nosti modela te bogatstva ukraπavanja. Nemat_E-H_001-056:22x23 2019.04.09 19:11 Page 26

Annual Carnival Bell Ringers’ Pageant 7 from the Kastav Area

Godiπnji proljetni ophod ZvonËari s podruËja Kastavπtine

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The Kastav region, in which this ritual takes Kastavπtina, u kojoj se odvija ritual, nalazi se place, is only a few kilometres from Rijeka, the svega nekoliko kilometara od najveÊega hrvat- largest port in Croatia, and the fashionable holi- skoga luËkoga grada Rijeke i mondenog ljetova- day resort of Opatija. In contrast to other ele- liπta Opatije. Za razliku od ostalih elemenata ments of traditional folk culture, the bellmen rit- tradicijske kulture, ovaj je ritual ostao neobiËno ual has remained unusually vital in its continu- vitalan u kontinuitetu, kao simbol lokalnoga ity, as a symbol of local cultural identity. During kulturnog identiteta. U vrijeme poklada (od 17. the Carnival period (between the 17th of sijeËnja do Pepelnice) desetak grupa muπkaraca January and Ash Wednesday), a dozen groups of obilazi svoja i susjedna sela na viπekilometar- men from the Kastav area and immediate vicin- skim ophodima po tradicij-skim putovima. ity march through their own and surrounding Neki imaju maske, a neki razliËita oglavlja koja villages in processions, along traditional routes simboliziraju vegetaciju i plodnost. Svi imaju several kilometres in length. Some of them wear ogrnute naopako okrenute ovËje koæe i zvona, carnival masks and others various items of po kojima su i prozvani zvonËarima. Njima headgear symbolising vegetation and fertility. zvone kreÊuÊi se na razliËite naËine, πto iziskuje They all wear sheepskins turned inside-out and umijeÊe i fiziËku izdræljivost. Stoga se smatra da bells, from which they get their name. They zvonËar ne moæe biti svatko. Premda vidljivo make the bells ring by moving in different ways, utjelovljuje drevna magijska znaËenja kojima se requiring special skill and physical endurance, krajem zime trebala prizvati plodnost, ovaj je so not everyone can become a bellman. obiËaj i danas vrlo vitalan. OmoguÊujuÊi inte- Although the ritual clearly includes an ancient rakciju grupe zvonËara (i ljudi koji ih prate u magical element, linked to the invocation of fer- ophodu) sa stanovniπtvom selaˆ kroz koja prola- tility at the end of the winter, the custom is still ze, zadræao je i naglasio druπtveno znaËenje i very much alive today. The interaction of the funkciju, izuzetno vaænu za koheziju selaˆ u koji- bellmen (and the people following them in their ma se odræava, a tako i za meusobne odnose procession) with the inhabitants of the villages nekadaπnjeg podruËja Kastavπtine, a danas they pass on their way, maintains and deepens opÊina Matulji i Viπkovo. Na podruËju Matulja the social significance and importance of the djeluju RukavaËki, Zvonejski, Brgujski, Munski, links established between the villages of what Æejanski, Breæanski, MuËiÊevi, Frlanski i zvonË- was formerly known as the Kastav region, and ari Vlahov Breg - Korensko, a na podruËju nowadays forms the municipalities of Matulji Viπkova Halubajski zvonËari. and Viπkovo. This is extremely important for the cohesion of the villages in which the ritual takes place. There are several bellmen groups in the area: the bellmen of Rukavac, ZvoneÊe, Brgulje, Mune, Æejane, BreÊa, MuËiÊi, Frlani and Vlahov Breg-Korensko in the Matulji area, and the bellmen of Halubje in the Viπkovo area. Nemat_E-H_001-056:22x23 2019.04.09 19:11 Page 28

Gingerbread Craft from 8 Northern Croatia

MediËarski obrt na podruËju sjeverne Hrvatske

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Making gingerbread products (licitari) is a Viπestoljetna je tradicija izrade tjestenih tradition going back centuries in certain proizvoda ∑ licitara ∑ u pojedinim regijama Croatian regions. Nowadays, there are 35 Hrvatske. Danas, u 21. stoljeÊu, djeluje oko gingerbread makers spread over thirteen trideset i pet mediËara na prostoru koji Croatian counties. Gingerbread craftsmen, obuhvaÊa trinaest æupanija. ©areno ukraπeni who were usually connected with mead sell- tjesteni proizvodi, licitari, koji se izrauju na ers, operated in the area of northern Croatia prostoru Hrvatske ∑ od gradova Karlovca between Karlovac and Osijek, making licitari, preko Varaædina do Osijeka ∑ nastaju u brightly decorated dough products. In most mediËarskim radionicama. U veÊini sluËaje- cases, the trade is passed from one genera- va obrt je naslijeen i ostaje u obitelji. tion of a family to the next. The main ingre- Osnovni sastojci licitara su braπno, πeÊer, dients are flour, sugar, water and sodium voda i amonijak-bikarbonat. Obli kuju ih bicarbonate. They are shaped in tin moulds, limenim kalupima, potom ih peku, suπe i baked, dried and painted in bright, edible oslikavaju πarenim jestivim bojama, najËeπÊe colours, mostly red. After they have been crvenom. Nakon drugog suπenja ukraπavaju dried for the second time, they are decorated ih smjesom u koju dodaju jestive boje (æutu, with a paste to which edible food colouring bijelu, zelenu, ruæiËastu, plavu), stavljaju (yellow, white, green, pink, or blue) has been smjesu u tuljce i vjeπtom rukom, koristeÊi se added. The paste is placed in a forcing bag maπtom, izrauju ukrase. Na tako oslikani and decorations are applied, using a great licitar stavljaju sliËice, ogledalca ili piπu sti- deal of imagination and skill. Small pictures, hove. Motivi licitara su raznovrsni, a najpoz- mirrors or verses may be added.. There are natije je lici tarsko srce. Ostali su oblici bebe, many different shapes, but the most usual is konji, konjanici te manji licitari kojima se the gingerbread heart (licitarsko srce). ukraπavaju boæiÊna drvca. ZahvaljujuÊi veli- Others in clude babies, horses and horsemen. kom umijeÊu te specifiËnom naËinu oslika- There are also smaller versions used as vanja, koje je svaki majstor njegovao i preno- Christmas decorations. Thanks to the skilled sio na sljedeÊe naraπtaje, licitari su se oËuva- craftsmanship and specific decorating tech- li kao jedan od prepo znatljivih hrvatskih niques which have been nurtured by each proizvoda i prerasli svoju prvotnu funkciju licitar and passed on to the next generation, postavπi autohtonim hrvatskim suvenirom. gingerbread has remained a part of Croatian tradition and has become a recognisably Croatian product. It has outgrown its origi- nal function to become an indigenous Croatian souvenir. Nemat_E-H_001-056:22x23 2019.04.09 19:11 Page 30

The Sinjska Alka, a Knights’ 9 Tournament in Sinj

Sinjska alka, viteπki turnir u Sinju

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The Cetina region is the part of the Cetinska krajina dio je Dalmatinske zagore Dalmatian hinterland situated between two izmeu dvaju paralelnih planinskih lanaca mountain ranges, Svilaja and Dinara, which Svilaje i Dinare, s rijekom Cetinom, koja pro- extend in parallel, flanking the River Cetina. tjeËe kroz dugaËku kotlinu Ëije dno Ëine The river flows through a long depression at polja: Cetinsko, VrliËko, HrvataËko i Sinjsko. the base of which are the valleys of Cetina, U njemu se smjestio grad Sinj, u kojem se od Vrlika, Hrvace and Sinj. The last is the loca- 1715. godine odræava viteπki turnir “Sinjska tion of the town of Sinj, which has hosted a alka”, kontinuirano veÊ gotovo tri stoljeÊa, knights’ tournament called the Sinjska alka po strogo kodi fi ciranom pravilniku, uz povi- since 1715. The tournament has been held jesnu odoru, opremu i oruæje. Izravan je continua lly for almost three centuries, in odjek starih viteπkih natjecanja, osobito na- accordance with strictly codified rules, and tjecanja ”gaanja u prsten” (lat. hastiludum, includes historical costumes, equipment and tal. giostra con l’anello, franc. jeu de bagues, weapons. It is a direct echo of old knightly njem. Ringstechen). Premda je utemeljena competitions, particularly “tilting at the na πirim europskim i orijentalnim viteπkim ring” (Lat. hastiludum, Ital. giostra con tradicijama, Sinjska alka je trans po nirana u l’anello, Fr. jeu de bagues, German “Ring- autentiËno lokalno ruho sve to vrijeme svo- stechen”). Although founded on wider jim suvremenicima, æiteljima Cetinske kraji- European and oriental knightly traditions, ne, bila istinsko etiËko mjerilo u ljubomor- the Sinjska alka, in its authentic, local form, nom Ëuvanju viteπkog duha i zaviËajnosti. Pri has represented a true ethical standard tome je do danas oËuvala autentiËnost povi- throughout the years for the inhabitants of jesnog kolorita, u koji su se sinkretiËki ispre- the Cetina region, as they have guarded jeal- pleli drevni lokalni, orijentalni i mletaËki ously the spirit of chivalry in a specific social utjecaji, u raskoπnim noπnjama i strogo environment. The Sinjska alka has preserved razraenim pravilima natjecanja, kao i u spe- the authenticity of historical costumes, cifiËnoj terminologi ji svih elemenata turnira. bringing together ancient, local, oriental and Sve to zajedno na upeËatljiv naËin zrcali vje- Venetian influences, evident in the festive kovnu koegzistenciju i osmozu razliËitih, na clothes, strictly defined rules of the competi- prvi pogled i opreËnih civili zacijskih modela. tion and its specific terminology. These elements, reflecting centuries of co-existence, blend what at a first glance appear to be con- trasting civilisational models. Nemat_E-H_001-056:22x23 2019.04.09 19:11 Page 32

Ojkanje Singing 10 Glazbeni izriËaj ojkanje

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In expert circles, ojkanje (non-metrical sin- Ojkanje je u struËnim krugovima uvrijeæen ging) is the name given to the oldest known naziv za najstariji sloj arhaiËnih, tradicijskih variant of archaic, traditional singing in pjevanja na hrvatskim podruËjima koja po some Croatian regions which, according to etnografskoj podjeli pripadaju u podruËje established ethnological division, belong to dinarskog areala ∑ dalmatinskog zalea, the Dinaric area ∑ the regions of the Ravnih kotara, Bukovice, podvelebitskog Dalmatian hinterland, Ravni Kotari and kraja, Like, Korduna i karlovaËkog podruËja. Bukovica, the slopes of Mount Velebit, the RijeË je o arhaiËnome pjevanju za koje je regions of Lika and Kordun, and the area karakte ristiËno potresanje glasom posebnim around Karlovac. It is a type of archaic naËinom pjevanja “iz grla”. Ovu vrstu pjeva- singing in which a specific shaking of the nja, koju danas u veÊini krajeva nazivaju sta- voice is achieved by a special technique of rovinskim, starinskim pjeva njem, izvodi singing ‘from the throat’. This type of pojedinac solo ili, mnogo ËeπÊe, pojedinac uz singing, mostly known nowadays as archaic pratnju drugoga glasa koji u momentu potre- or old-style singing (starovinsko, starinsko), sanja leæi na duljem prateÊem tonu. is perform ed solo, or, more commonly, ac - com panied by a second voice that, at the moment of shaking, sings a deeper, longer tone. Nemat_E-H_001-056:22x23 2019.04.09 19:11 Page 34

BeÊarac Singing and Playing 11 from Eastern Croatia

BeÊarac, tradicijski glazbeni æanr s podruËja istoËne Hrvatske

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The beÊarac is a musical and oral literary BeÊarac je glazbeni i usmenoknjiæevni æanr genre that is a symbol of identity of the koji je simbolom identiteta Slavonaca, inhabitants of Eastern Croatia. Through its Baranjaca i Srijemaca. Svojim stilom iz - style of performance and especially through voenja i napose tekstualnom sastavnicom, its lyrics, it conveys community values, but on izraæava druπtvene vrijednosti, ali sluæi i also functions as a means to express kao sredstvo izricanja mislıˆ i osjeÊajaˆ koje se thoughts and feelings that might be inappro- ne pristoji izraziti izravno ili u drugim kon- priate to utter directly or in other contexts tekstima (npr. odstupanja od seksualnih (e.g., deviations from sexual norms). The key normi). Srediπnjom je znaËajkom beÊarca element of the beÊarac is the communica- komunikacija meu izvoaËima: izmjenjiva- tion between its performers: the lead singers nje vodeÊih pjevaËa koji se nadovezuju na (always one at a time) who often interchange prethodnoga ili se nadmeÊu jedan s drugi m with one another, carry on the previous u izvoenju deseteraËkih dvostiha i u obliko- thought or emulate each other in contriving vanju vodeÊe melodijske linije, a njihovoj se decasyllabic verses and in shaping the lead- interakciji redovito pridruæuje i skupina pje- ing melody line, and the accompanying vaËa i sviraËa (obiËno tamburaπki sastavi). group of singers and players (usually tambu- VodeÊi pjevaËi uæivaju poseban ugled u ra bands). The lead singers enjoy special zajednici. Odlikuje ih snaæan glas, poznava- respect in the community. They must have a nje πirokog repertoara starih i novih dvostiha powerful voice, know a wide repertoire of old te prikladnost, brzina i oπtroumnost njihova and new couplets and be apt, quick and odabira i kombiniranja. Mjere oËuvanja i clever in choosing and combining them. zaπtite beÊarca usmjerene su podupiranju Safeguarding measures are geared towards bogate raznolikosti unutar ovoga æanra supporting the rich variety within the genre (mikroregionalne, mjesne, pa i individualne, (subregional, communal and even individ- kao i kontekstualne, rodne, estetske i druge ual, as well as contextual, gender, aesthetic posebnosti) i odræavanju njegove komunika- and other specificities) and sustaining its cijske funkcije. communicative function. Nemat_E-H_001-056:22x23 2019.04.09 19:11 Page 36

Nijemo kolo, Silent Circle dance 12 of the Dalmatian Hinterland

Nijemo kolo s podruËja Dalmatinske zagore

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The nijemo kolo - silent circle dance of the Nijemo kolo Dalmatinske zagore jedin stve no Dalmatian hinterland is unique in its manje po naËinu izvoenja. Kao samostalan ples ner of performance. It is conducted entirely izvodi se bez pratnje ili potpuno neovisno o independently of vocal or instrumental per- vokalnoj ili instrumentalnoj izvedbi koja kat- formance. In the nijemo kolo of the Dal- kad, ovisno o zbivanju, moæe bio dio zvuËne matian hinterland it is usual to dance in cou- pozadine (svirka u diple, mijeh, instrument ples in a circle, and couples can also dance tipa gajdi ili specifiËan naËin pjevanja potre- freely on the dance floor, so the kolo (circle) sanjem glasa u malim skupinama, ojkanje). sometimes remains in name only. A similar Jedino se na podruËju Dalmatinske zagore type of silent circle dance is danced in some kolo povremeno odvaja u parove ili je cijela other areas of Croatia, namely in Lika, Ravni izvedba u parovima koji se slobodno kreÊu kotari, and on the islands of the Zadar and po plesnom prostoru. Zbog razlika u izvedbi ©ibenik archipelago, in the neighbouring strukture i koraka, kolo je osnovni marker Bosnia and Herzegovina or wider. In these lokalnoga identiteta. Izvedba nijemog kola u areas, the silent dance is almost always per- Dal ma tin skoj zagori specifiËna je u odnosu formed only in a circle. The nijemo kolo is na πire podruËje (Lika, Ravni Kotari, otoci performed spontaneously at carnivals, fairs zadarskog i πibenskog arhipelaga, Bosna i and on holidays (feast days), and at wed- Hercegovina pa i πire) gdje se kolo u pravilu dings. It is still passed on from generation to ne odvaja u parove. Izvodi se u spontanim generation, but more through cultural clubs situacijama o pokladama, na sajmovima i than spontaneously. It is also known as blagdanima (dernecima) i u svadbama. “mutavo” (mute), “gluvo” (deaf), or “πuplje Izvode ga i folklorne skupine u povodu blag- kolo” (empty circle dance), “po naπki” (our dana patrona svojih æupa, te na smotrama way), “po starinski” (old-fashioned), “sta - folklora. Prenosi se s generacije na generaci- raËko” (old folks’ circle dance), or according ju, danas sve viπe u kulturnim druπtvima. to place as “vrliËko” (from Vrlika), “sinjsko” Poznato je i kao mutavo, gluvo, πuplje kolo, (from Sinj). po naπki, po starinski, staraËko ili prema mjestu kao npr. vrliËko, sinjsko. Nemat_E-H_001-056:22x23 2019.04.09 19:11 Page 38

Klapa Multipart Singing of Dalmatia 13

Klapsko pjevanje

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Klapa singing is a multipart singing phenomenon Fenomen klapskog pjevanja kontinuirana je i relativ- of the urban Dalmatia. Originally, the term refers no stara pojava na koju su upozorili istraživaËi i to the singing groups (4-10 male singers ∑ klapa) muzikolozi krajem 19. st (Kuba, KuhaË). Prepo - that sing specific repertoire of Dalmatian klapa znatljiv stil pjevanja, tradicija urbane Dalmacije, songs (klapska pjesma). nastaje u vrijeme razvitka dalmatinskih gradova i Multipart singing, a capella homophonic singing, mista pod utjecajem organizirane glazbene djelatno- oral tradition and simple music making are the sti preporodnog razdoblja. To je vrijeme nastanka main features of traditional klapa singing. Another prvih organiziranih crkvenih i svjetovnih pjevaËkih important feature of the klapa is the ability to sing zborova, ali i gradskih limenih glazbi tamburaških freely, without the help of the notation of tunes sastava i orkestara, koji su direktno utjecali na stvara- and their harmonisation. Topics of klapa songs nje i popularizaciju pjevanja danas poznatog pod usually deal with love, familiar life situations, and zajedniËkim nazivnikom klapsko pjevanje. the environment in which they live. Love, though, U poËecima, ovaj naËin glazbenog komuniciranja is the predominant theme. bio je iskljuËivo muška tradicija; manje je skupine The bearers and practitioners of the klapa singing pjevaËa uz prisno prijateljstvo, zajedniËke poslovne are skilled amateur singers that learned the tradi- i druge interese vezala i ljubav prema pjesmi. Ribari tion from their predecessors. Joy of singing is the i težaci pjevali su uz bok trgovcima i obrtnicima, basic condition of their association in the informal, uËenicima i studentima, najviše u konobama uz as well as in formal ∑ organized klapa groups. They Ëašu vina. Pjevali su za svoju dušu po uskim kaleta- could be found on street corners, serenading ma tražeÊi skrivene kutke u kojima glas najbolje under windows, or in a konoba (“wine cellar”) as rebatije ∑ odzvanja. Neformalna pjevaËka druženja well as performing on the stage. kroz prošlo stoljeÊe razvila su se u organiziranu glaz- The age of the singers also vary; there are many kla- benu djelatnost, raširila diljem otoËne, obalne i gor- pas where younger people sing “shoulder-to- ske Dalmacije, Hrvatske. shoulder” with the older singers; fathers and sons, Glazbeno, to je stil tradicijskog a capella homofonog or other family relationships, are quite common in pjevanja koji se razvio od tipiËno tradicijskog oblika klapas. The organized klapa models introduced pjevanja (klapska pjesma) i postojanja (klapa) do new roles in the process of the transmission of the struËno postavljenog, organiziranog oblika pjeva- tradition ∑ klapa leaders and composers, usually nja. U današnje se vrijeme naËinom prezentacije but not necessarily trained professionals. The ËešÊe ubraja u stilove popularne nego tradicijske klapa’s popularity led to the establishment of the glazbe. Klapske pjesme su homofoni napjevi, pre- first festivals of klapa singing, a network of various poznatljivi po svojoj unutrašnjoj glazbenoj struktu- klapa festivals and performing activities. Over the ri, kretanju melodijskih linija glasova, harmonijskoj years, klapa groups, singers, leaders, composers, konstrukciji i sadržaju tekstova napjeva. Melodija and a repertoire have become increasingly well- napjeva (prvi tenor) praÊena je drugim glasom, uvi- known as the creators of klapa singing movement, jek u terci (drugi tenor). TreÊi glas (bariton) ima not only in Dalmatia, where it emerged, but also zadaÊu popuniti akord, a prvenstvena zadaÊa basa beyond the borders of the local and regional com- je jasno oznaËiti harmonijske funkcije u osnovnom munities. položaju. Nemat_E-H_001-056:22x23 2019.04.09 19:11 Page 40

Mediterranean diet 14

Mediteranska prehrana

dr. sc. Melanija Belaj, dr. sc. Marina BlagaiÊ Bergman Nemat_E-H_001-056:22x23 2019.04.09 19:11 Page 41

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Seven Mediterranean countries gathered in a multina- Prehrana je medij koji generira privatna i javna znaËe- tional nomination in order to preserve the essence of nja. Navike i obiËaji povezani s njom instrumenti su their diet as a common geographical, historical and pomoÊu kojih se mogu promatrati obrasci vlastite kul- cultural heritage. Cyprus, Croatia, Italy, Greece, ture i pripadnosti odreenom, u ovom sluËaju medite- Morocco, Portugal and Spain display Mediterranean ranskome kulturnom krugu. heritage in their diet as seen through the examples of Sedam mediteranskih država okupljeno je u multina- certain regions. cionalnoj nominaciji ne bi li oËuvale svoju prehranu The central Dalmatian island communities of BraË and kao sukus zajedniËkoga geografskog, povijesnog i kul- Hvar initiated the protection of their traditional dishes turnog nasljea. Cipar, Hrvatska, Italija, GrËka, in the Croatian National list of intangible cultural her- Maroko, Portugal i Španjolska prikazale su mediteran- itage and therefore are singled out as an representative sko nasljee u svojoj prehrani na primjeru pojedinih area in this nomination. As the base of today’s diet and regija. that of their ancestors, the people of BraË and Hvar Zajednice srednjodalmatinskih otoka BraËa i Hvara point to grapes, olives, goats, sardines, and many dif- inicirale su zaštitu svojih tradicijskih jela na Nacio - ferent kinds of vegetables, legumes and grains. Basic nalnoj listi nematerijalnih kulturnih dobara Republike cooking techniques are boiling (na lešo), roasting (on Hrvatske te su stoga izdvojene kao podruËje koje pre- the grill ∑ gradele - or under the peka), drying (meat and zentira Hrvatsku u ovoj nominaciji. Na BraËu je fish) and salting (fish, olive). The use of wild plants is zaštiÊeno jelo vitalac i torta hrapaËuša, a na Hvaru sta- widespread, and not just for medical purposes, but also rogrojski paprenjok. Kao osnovu današnje prehrane i in food preparation. The difference between everyday one svojih predaka, BraËani i Hvarani istiËu lozu, and festive food is still present, with a noticeably larger maslinu, kozu i srdelu te raznoliko povrÊe, mahunarke change occurring in the everyday dishes. Family festiv- i žitarice. Osnovne kulinarske tehnike su kuhanje (na ities, and especially religious rituals, consistently utilize lešo), peËenje (na gradelama ili pod pekom), sušenje traditional way of eating, and the female members of (meso i riba) te soljenje (riba, masline…). Veoma je the family have the role of transmitting knowledge raširena i primjena samonikloga bilja, i to ne samo u about traditional food. ljekovite veÊ i u prehrambene svrhe. Varenik, speci- The close relationship of diet to the environment and fiËan zaËin od mošta, jedna je od namirnica koja svje- the rhythm of the seasons is today expressed through doËi o dugom trajanju prehrambenih praksi Medi - the activities of family farms and agricultural coopera- terana i Jadrana. I dalje je prisutna razlika svakodne- tives and numerous associations. Since the art of vne i blagdanske prehrane pri Ëemu su primjetno veÊe preparing traditional dishes and disseminating knowl- promjene nastale u svakodnevnoj nego u onoj blag- edge and skills about its production mostly fall within the danskoj. Obiteljski, a osobito vjerski rituali dosljedno domain of orally transmitted knowledge, communities njeguju tradicijski naËin prehrane, a znanje o njoj are actively working on the written and audiovisual doc- Ëuvaju i prenose ženske Ëlanice obitelji. umentation of these skills. Tijesna povezanost prehrane s okolišem i prirodnim sezonskim ritmom danas se izražava i kroz djelovanje obiteljskih poljoprivrednih gospodarstava i poljoprivrednih zadruga te mnogobrojnih udruga. BuduÊi da je dosad umijeÊe pripreme tradicijskih jela, znanja i vještina proizvodnje, prerade ili ulova namirnica mahom spadalo u domenu usmenog prenošena znanja, zajednica aktivno radi na pisanim te audiovizual- nim dokumentiranjima ovih umijeÊa. Nemat_E-H_001-056:22x23 2019.04.09 19:11 Page 42

The Batana Ecomuseum 15

Ekomuzej Batana

Tamara NikoliÊ ĐeriÊ Nemat_E-H_001-056:22x23 2019.04.09 19:11 Page 43

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The Rovinj batàna belongs to the numerous families of Rovinjska batàna, uz rovinjski batièl, venecijansku flat-bottomed boats. According to the legend, the gondolu, neretvansku trupu, komišku sandulu i name batàna is connected to the Italian sound of the mnoge druge brodice, pripada mnogobrojnoj obitelji verb battere (to bang, beat or wallop), which resem- barki ravnog dna. Prema predaji, ime batàna povezuje bles the sound of the boat’s flat bottom as it hits the se sa zvuËnim talijanskim glagolom battere (udarati, waves. “According to other opinions, the boat’s name tuÊi, mlatiti), koji asocira na zvuk udaranja njezina comes from the ancient term batto given to small row- ravna dna o valove. Prema drugim mišljenjima, ime ing boats from the 14th century. In line with this inter- brodice potjeËe iz drevnog pomorskog naziva batto. pretation, the term was then borrowed from an old Njime se imenovala malena barka na vesla iz 14. st., Anglo-Saxon word bat, from which later came the prethodnica današnjega Ëamca. Po tom tumaËenju, English word boat.“ (RatkoviÊ-Aydemir, 2009.) naziv je posuenica stare anglosaksonske rijeËi bat, iz Due to the changes since the mid-20th century, such koje je kasnije nastala engleska rijeË boat - Ëamac. as depopulation, newly settled inhabitants, tourism, (RatkoviÊ-Aydemir, 2009.) introduction of new (plastic) boat types and decreased Uslijed promjena koje se dogaaju od sredine 20. sto- traditional family fishing activity, the batàna has been ljeÊa, poput depopulacije, novopridošlih stanovnika, slowly disappearing from Rovinj harbour. At the turizma, uvoenja plastiËnih Ëamaca u svakodnevnu beginning of the 21st century, many years after the upotrebu te smanjenja tradicionalnih ribolovnih construction of the last batàna boat, fully aware that a aktivnosti, batana je polako nestajala iz luke. Projekt part of Rovinj historic and cultural heritage would dis- Ekomuzjea je pokrenula grupa lokalnih stanovnika uz appear with it, a group of enthusiasts felt obliged to pomoÊ konzervatorice, struËnjakinje za ekomuzeolo- safeguard the batàna and all its accompanying tradi- giju, ge. Dragane Lucije RatkoviÊ. Ekomuzej Batana tions. The Batàna Ecomuseum project started thanks svoje poslanje i krovne ciljeve komunicira i realizira to the enthusiasm of a few individuals from the Rovinj putem svojih glavnih sastavnica. local community helped by Dragana Lucija RatkoviÊ, 1. “KuÊa o batani”, lokalnog naziva muòstra, koja expert in ecomuseology. predstavlja središnji interpretacijski i dokumentacijski Thanks to successful programs, the Ecomuseum centar strongly asserts its role in safeguarding the intangible 2. “Mali škver”, lokalnog naziva peîcio squèro, postav- and tangible heritage of Rovinj. The Ecomuseum’s ljen na rivi gdje se ljeti grade batane kombinirajuÊi na mission and main goals are conveyed and implement- najbolji naËin javnu prezentaciju I održivost izgradnje ed through its principal components: batane kao naËin života. 1. The House of the batàna, central interpretation and 3. Spacio Matika je integriran u Ekomuzej 2006. godine documentation centre kao jedna od posljednjih rovinjskih kantina koja je 2. The Little Shipyard (locally “peîcio squèro”), where ostala netaknuta I gdje se lokalna zajednica zajedno s batanas are built and repaired during summer, thus gostima okuplja, uživa u tradicijskoj kuhinji, vinu I combining public presentation and ensuring viability glazbi (jedinstvene “àrie da nuòto” i “bitinàde“, glaz- of building the batàna as part of the current way of life. beni izriËaj koji karakterizira polivokalna imitacija 3. “Spacio Matika” one of the few old Rovinj cantinas glazbenih instrumenata kao pratnja solistu). preserved intact over the years where the local com- Osim upravljanja fiziËkim prostorima, Batana organizi- munity and their visitors socialize, enjoy traditional ra brojne aktivnosti koje svaka na svoj naËin doprinose food, wine and music (the unique “àrie da nuòto” and ostvarenju glavnog cilja Ekomuzeja, oËuvanju lokalne “bitinàde”, a song style with solo voices imitating nematerijalne i materijalne kulture. Najpopularnije su musical instruments). zacijelo tradicionalno porinuÊe batane u more te Except managing physical spaces, the Batàna Rovinjska Regata osnovana 2006. godine s ciljem revi- Ecomusuem organizes many activities each contribut- talizacije tradicijskih plovila s latinskim jedrom. ing to the main goal of safeguarding Rovinj’s intangible and tangible heritage. Nemat_E-H_001-056:22x23 2019.04.16 11:03 Page 44

Meimurska popevka, a folksong from Meimurje 16

Meimurska popevka, tradicijski napjev Meimurja

dr. sc. Lidija Bajuk Nemat_E-H_001-056:22x23 2019.04.16 11:03 Page 45

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After Meimurje was occupied by the secular king- Zbog potpadanja Meimurja u 12. st. pod svjeto- dom of Hungary in the twelfth century, Meimurje vnu ugarsku vlast, meimurska popevka slobodno folksongs were performed only in the church, since se izvodila iskljuËivo u crkvi koja je od 11. st. the churches of Meimurje were part of the Zagreb ukljuËena u ZagrebaËku biskupiju. Tako oËuvan Diocese from the eleventh century onward. This hrvatski identitet pridonio je pripojenju Meimur- kept the Croatian identity alive, helping Meimurja matici zemlji u 20. st. Meimursku popevku je reunite with its Croatian motherland centuries predstavljaju lirski i epski napjevi, balade i roman- later, in the twentieth century. Meimurje folk- ce. Jednoglasno ispjevani u starocrkvenim modusi- songs comprise lyric and epic poems, ballads, and ma s elementima pentatonike ∑ izvedbeno, melo- romances whose specific melodies, rhythms, texts, ritamski i tekstualno svjedoËeÊi o pretkršÊansko- and mode of performance ∑ with their blend of kršÊanskim, povijesno-suvreme nim i svjetovno- pre-Christian and Christian, historical and con- duhovnim prožimanjima u kontekstima lokalne, temporary, profane and spiritual components ∑ hrvatske, slavenske i europske ruralne i urbane, belong to the rural, urban, profane, and sacral tra- profane i sakralne tradicije. ZahvaljujuÊi terenskim ditions of regional, Croatian, Slavic, and European istraživanjima etnomuzikologa Vinka Žganca i culture. Owing to field research conducted by eth- etnokoreologa Ivana IvanËana, pjevana i pjevano- nomusicologist Vinko Žganec and ethnochoreolo- plesna meimurska popevka saËuvana je od zabo- gist Ivan IvanËan, the sung and sung-and-danced rava te je neizostavni dio lokalnih i nacionalnih folksongs from Meimurje have been preserved for javnih manifestacija, scenskoga klasiËnog, folklor- posterity, and today they appear in local and noga, zborskoga, zabavnoga, rock, jazz i etno national public manifestations, stage productions, repertoara, publikacija, muzikalija i muzealija, classical, choir, pop, rock, jazz, and world music kurikula i izvedbenih umjetnosti. Nadahnula je events, as well as in text publications, musical meimurske (PintariÊa, Andrašeca, Štolcera notation editions, museum exhibitions, curricula, Slavenskoga, MustaËa, Vrhovskoga, Magda leniÊa, and performance arts. They have inspired many KolariÊa, KuntariÊa, Grana) i druge hrvatske skla- Croatian composers from Meimurje (PintariÊ, datelje. Prema pjevanju kantora Florijana Andrašec, Štolcer Slavenski, MustaË, Vrhovski, Andrašeca i na libreto književnika –ure ViloviÊa, MagdaleniÊ, KolariÊ, KuntariÊ, Gran) and else- Krsto Odak je 1933. skladao meimursku operu where. In 1933, Croatian composer Krsto Odak Dorica pleše. Meimurska popevka je 14. lipnja wrote his Meimurje-set opera titled Dorica pleše 2013. upisana na Listu zaštiÊenih nematerijalnih (Dorica dances), based on the singing of cantor dobara Republike Hrvatske, a 28. studenoga 2018. Florijan Andrašec and composed to the libretto of na UNESCO-ov Reprezentativni popis nematerijal- writer –uro ViloviÊ. On 14 June 2013, Meimurje ne baštine ËovjeËanstva. folksongs were added to the List of Intangible Cultural Heritage of the Republic of Croatia, while on 28 November 2018 they were included in the UNESCO Representative List of Intangible Cultural Heritage of Humanity. Nemat_E-H_001-056:22x23 2019.04.16 11:03 Page 46

The art of dry-stone walling 17

UmijeÊ´e suhozidne gradnje

Filip Šrajer Nemat_E-H_001-056:22x23 2019.04.16 11:03 Page 47

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The art of dry stone building uses undressed or UmijeÊe suhozidne gradnje jest umijeÊe izrade minimally dressed stones as building material, lay- konstrukcija od neobraenoga ili minimalno ing the stones together without any kind of binder. obraenoga kamena bez upotrebe veziva. This type of construction produces spatial phe- Materijalni rezultat ovoga umijeÊa su prostorne nomena that range from individual constructions pojave koje se mjerilom kreÊu u rasponu od skrom- to impressive dry-stone landscapes. nih pojedinaËnih graevina do impresivnih suho- The rural parts of the Mediterranean have histori- zidnih krajolika. cally been among the most prominent places for Mediteranski ruralni prostor jedno je od istaknutih dry stone building, and it is hardly surprising that podruËja u svijetu gdje je umijeÊe suhozidne gra- the initiative to recognise dry stone building as a dnje povijesno imalo nezaobilaznu ulogu. Stoga universal value of humanity came precisely from nije neobiËno da je iz euro-mediteranskoga kruga the Euro-Mediterranean circle of countries, com- zemalja: Cipra, GrËke, Francuske, Hrvatske, Italije, prising Cyprus, Greece, France, Croatia, Italy, Slovenije, Španjolske i Švicarske pokrenuta inicija- Slovenia, Spain, and Switzerland. tiva za prepoznavanje umijeÊa suhozidne gradnje In Croatia, dry stone building has developed along kao univerzalne vrijednosti ËovjeËanstva. the Adriatic coast and in the neighbouring karst U Hrvatskoj se umijeÊe suhozidne gradnje prakti- areas. Although dry stone building has ceased to be cira uz Jadran i prostore krša koji mu gravitiraju. vital for rural economy and for everyday life, it has UnatoË tomu što je umijeÊe suhozidne gradnje nevertheless retained its value as a symbol of indi- danas izgubilo dobar dio ekonomske važnosti, vidual skill, of accumulated mastery passed down suhozid nije prestao biti cijenjen kao simbol oso- for generations, and of the entire community’s cul- bne vještine pojedinca, akumuliranoga rada gene- tural continuity. This semantic groundwork has racija graditelja i kulturnoga kontinuiteta zajedni- become the starting point for a new valorisation of ce u cjelini. Na tu znaËenjsku podlogu danas se dry stone building, which is now recognised as a poËinje nadovezivati suvremena valorizacija suho- highly valuable agricultural and environmental zida kao vrijednoga okolišnog elementa koji nalazi element. This new comprehensive view of the dry svoje mjesto i u sustavu poljoprivrednih potpora. stone phenomenon presents an opportunity for its Vješto slaganje kamena uvijek je tražena vještina u economic revitalisation through agricultural sup- graevinarstvu, a odnedavno je, kroz razliËite dru- port provided for the maintenance and restoration štvene i edukacijske programe i aktivnosti, suhozid of dry stone structures. Not only is skilled stone poprimio i jednu sasvim novu ulogu kroz koju laying always sought after in construction work, dolazi do izražaja društveni i obrazovni baštinski but it has recently, through various community potencijal ovoga kompleksnog fenomena. and educational programs and activities, assumed a completely new role that brings to the fore the social and cultural heritage potential of this complex phenomenon. Nemat_E-H_001-056:22x23 2019.04.16 11:03 Page 48

UNESCO Representative List of the Intangible Cultural Heritage of Humanity Nematerijalna dobra upisana na UNESCO Reprezentativnu listu nematerijalne kulturne baštine ËovjeËanstva Nemat_E-H_001-056:22x23 2019.04.16 11:03 Page 49

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