V A Š B R E Z P L A Č N I I Z V O D - Y O U R P E R S O N A L C O P Y

Adria Airways In-Flight Magazine

Srečko Janša • Bavarska državna opera • Pariz • Twitching • Pragozdovi • Landarska jama • Slovensko mladinsko gledališče • Maroko

Srečko Janša • Bavarian State Opera • Paris • Twitching • Primeval Forests • Landar Cave • Slovene Youth Theatre • Morocco

Srečko Janša • Bavarska državna opera • Pariz • Twitching • Pragozdovi • Landarska jama • Slovensko mladinsko gledališče • Maroko

Srečko Janša • Bavarian State Opera • Paris • Twitching • Primeval Forests • Landar Cave • Slovene Youth Theatre • Morocco

oktober, november - October, November 2007 5 )

IdrijaIdrijaIdrijaIdrija

Adria Airways In-flight MagazineRevija Adria Airways In-flight Magazine

je namenjena potnikom na poletih z Adrio Airways.Adria In-flight Magazine is complimentary

on Adria Airways flights.

Izdajatelj / Published by: Adria Airways Slovenski letalski prevoznik, d.d.

Adria Airways The Airline of Sloveniatel.: 00386 1 3691 000

Uredništvo / Editorial: Področje trženje in prodaja / Sales and Marketing - Barbara Mihevc Bukovec

Urednica / Edited by: Meta KreseOblikovanje in AD / Design and AD: LUKS Studio

Prevod / Translated by: AmidasLektorja / Language editing: Vera Samohod,

Steve DiskinFotoliti / Lithography: Schwarz d.o.o.

Tisk / Printed by: Schwarz d.o.o.

Oglaševanje / Advertising: Alenka Dvoršak, Adria Airways, Kuzmičeva 7, Ljubljana,

E-mail: alenka.dvorsak@adria.si

ISSN 1318-0789

Mnenja, izražena v tej publikaciji, so zgolj mnenja avtorjev ali intervjuvancev in ne odsevajo nujno stališč Adrie

Airways. Razmnoževanje brez pisnega dovoljenjaje prepovedano. Izdajatelj ne prevzema nikakršne

odgovornosti za nenaročeno gradivo.The opinions expressed in this publication are those of the authors or persons interviewed only and do not necessarily reflect the views of Adria Airways. Reproduction without

written permission is prohibited. The publisher accepts no responsibility for unsolicited material.

Brezplačen izvod / Your personal copy

( � )

40

44

48

54

72

78

82

88

94

V s e b i n a – C o n t e n t sV s e b i n a – C o n t e n t s

Srečko Janša – direktor javnega podjetja Kontrola zračnega prometa SlovenijeSrečko Janša - CEO of Slovenia Control(Slovenian Air Navigation Services) LtdAdrijana Šelj, Barbara M. Bukovec

Operni utrip bavarske prestolniceThe Operatic Pulse of the Bavarian CapitalVladimir Frantar

Pariz / ParisTrebuhi v srcu ParizaThe Bellies in the Heart of ParisZoja Skušek

Idrija

Kdo je ubil šipo pri Golitu?Who Smashed the Windows at Goli ’s?Iztok Bončina

Idrijska čipka – iz tradicije v sodobnost?Idrija Lace – from Tradition to Modernity Tina Koder

ŽlikrofiŽlikrofi – Stuffed Dumplings Dušan Moravec

»Twitching« po slovensko“Twitching” the Slovenian WayTomaž Mihelič

Pragozdna izkušnjaPrimeval Forest ExperienceHrvoje T. Oršanič

Beneška Slovenija / Slavia VenetaSkrivnostna Landarska jamaThe Mysterious Landar CavePoljanka Dolhar

Gledališka nuja – Slovensko mladinsko gledališčeThe Theatrical Necessity of the Slovene Youth TheatreAna Duša

Zgodbe iz MarokaStories from MoroccoPrimož Čučnik

J. Pukšič

( � )

9488

786862

48

40 44

9488

786862

5448 54

4440

7272

8282

( 12 )

{ Adria Airways }

Sestavni del vsakega našega leta je ponudba hrane in pijače. Kako bo po-tnik na letalu postrežen, je odvisno od mnogih dejavnikov, kot npr. od časa letenja, načel ekonomičnosti, prostorskih omejitev letalskih kuhinj,

varnostnih predpisov, predvsem pa od tega, ali leti potnik v poslovnem ali pa v ekonomskem razredu.

Novejša letala dosegajo vse večje hitrosti in s tem se čas letenja krajša. Servis obrokov lahko poteka samo tedaj, ko letalo doseže višino križarjenja, oz. le tedaj, ko je napis »Privežite se« ugasnjen. To znatno skrajša čas, ki je namenjen potniški hrani in pijači, saj morajo biti ob vzletanju in pristajanju kuhinja in vsa oprema v njej zavarovane. Če potnik ob nakupu karte izve, da je njegov let dolg npr. 45 minut, lahko ob prijaznih/ugodnih vremenskih pogojih pričakuje le servis, dolg kakih 25 minut – v preostalem času se namreč letalo dviguje ali spušča.

Načelu ekonomičnosti najlaže zadostimo z oskrbo hrane na domačem, lju-bljanskem letališču, kjer poleg ugodnosti zaradi celotne nabave na eni točki naj-laže izvajamo kontrolo kvalitete in vplivamo na izbor menujev. Sami poskrbimo za nabavo pijač in potrošnega materiala, ki se uporablja na letalih, in pri tem stremimo k povezovanju z domačimi, slovenskimi proizvajalci. Na izbor določe-ne vrste cateringa pa vplivajo tudi prostorske omejiteve letalskih kuhinj. Te ku-hinje so namreč zelo majhne, saj je pomembnejša potniška kabina in njeno udo-bje. V kuhinjah je samo grelec vode in pečica na kroženje toplega zraka, ostali prostor zavzemajo le miniaturna delovna površina in shrambe. Obroke, pijačo, kozarce in vse ostalo, kar stevardese potrebujejo za izvedbo servisa na letalu,

pripravimo na zemlji in s transportnimi vozički ter kovinskimi kontejnerji pre-nesemo v letalsko kuhinjo. Vsak let zase je majhen matematični izziv, saj je načrt polnjenja prostora v kuhinji enačba z več neznankami: število potnikov, velikost pladnjev z obroki in čas letenja so faktorji, ki skupaj s kroničnim pomanjkanjem prostora oblikujejo potniški servis na letalu.

V letu 2006 smo v Adrii prepeljali več kot milijon potnikov. Število obrokov, ki smo jih priskrbeli zanje, je celo za kakih 15% večje od števila potnikov, in to zaradi no-show pojava (razlike med številom najavljenih in dejanskih potnikov

EUR

215Iz Ljubljane v Sarajevo Vse pristojbine razen stroškov rezervacije so vključene v ceno. Pogoji na www.adria.si.

EUR

192Iz Ljubljane v Pariz Vse pristojbine razen stroškov rezervacije so vključene v ceno. Pogoji na www.adria.si.

Ko v letalu zadišiBesedilo: Liza Primožič Fotografije: Jaka Vinšek

( 13 )

na letih). Samo v Ljubljani smo za potnike kupili več kot 875.000 sendvičev in sladkih prigrizkov, za pripravo toplih in hladnih obrokov pa je Airest d.o.o., ki nas v Ljubljani oskrbuje z obroki, porabil več kot 10 ton kruha, 48 ton različnega sadja, 16 ton zelenjave, več kot 3 tone govedine in teletine, nad 8 ton piščančjih in puranjih filejev, tono svinjine in slabo tono rakov, postrvi, lososa in tunine. Potnikom smo kot dih tanko narezali skoraj pet ton pršuta in različnih vrst gnjati (“šunke”) ter skoraj šest ton sira. Na žalost se vedno najde kakšen potnik, ki mu obrok ni všeč. Njihove pripombe in morebitne predloge poskušamo vedno upoštevati po naših najboljših močeh, zato smo prepričani, da bomo sčasoma in z vztrajnim trudom zadovoljili večino želja. Poleg običajnih obrokov, ki jih nudimo potnikom glede na vrste letov, imamo v naši ponudbi tudi dodatne storitve, ki jih imenujemo v letalski industriji »posebni obroki«. Ti so na voljo potnikom s posebnimi zdravstvenimi, verskimi ali prehrambni-mi potrebami in jih omogočamo vsem potnikom na vseh svojih letih; takšno ugodnost boste med prevozniki vse redkeje srečali, saj pomeni zagotavljanje posebnih obrokov dodatne stroške in jih ostale družbe rade omejujejo bodisi z dolžino letov ali s potovanjem v economy razredih. Več informacij o posebnih obrokih lahko preberete na naših spletnih straneh www.adria.si.

V prihodnosti želimo izkoristiti še več možnosti, ki jih ponuja tehnologija, in se z njeno pomočjo približati svojim potnikom. Radi bi vsem tistim, ki bodo opravili nakup letalske vozovnice preko interneta, ponudili možnost, da si bodo lahko sestavili obrok po svojem okusu. To bi bila plačljiva usluga, lahko pa tudi brezpačna za vse tiste potnike, ki jih želi Adria nagraditi za njihovo zvestobo.

When a pleasant aromafills the cabin...A vital part of any our flight is the food and drink service. How passen-

gers are served on the aircraft depends on many factors, such as the flying time, the principle of value-for-money, the spatial limitations of

aircraft galleys, security regulations, and above all whether the passengers are flying business class or economy class.

Newer aircraft are flying faster and faster, reducing flying time. Meal service can only be provided during level flight, when the seatbelt signs are switched off. This significantly reduces the time allowed for food and drink services, as the galleys and all equipment in them must be secured during take-off and land-ing. Passengers who find out when buying their tickets that flying time is 45 minutes can expect service for just 25 minutes, given favourable weather condi-tions; the remaining time the aircraft is ascending or descending.

The principle of value-for-money is easiest to satisfy by supplying food at our home airport of Ljubljana, where in addition to the benefits of supplying at a single point, it is easy to carry out quality controls and shape the menu choice. We supply our own drinks and non-durables used on the aircraft, striving to work with Slovenian producers. By no means the least factor in the choice of a specific type of catering is the limited space in aircraft galleys. They are very small, as the passenger cabin and passenger comfort are of greater importance, and have to meet the security requirements. Adria aircraft are equipped with convection ovens. The only other equipment is a water heater: the rest of the galley consists of a miniature work surface and storage capacity. The meals, drinks, glasses and everything else that the cabin crew need for in-flight service are prepared on the ground, and ferried to the galley on transporters in metal containers. Each flight is a mathematical challenge, the plan for the use of

{ Adria Airways }

EUR

210From Brussels to LjubljanaFare with all charges excluding reservation fee. More info www.adria-airways.com.

space in the galley being an equation with several unknowns: the number of passengers, the size of the meal trays, and the flying time are all factors that together with the chronic lack of space shape the in-flight service for passengers.

Adria carried more than one million passengers in 2006. The number of meals supplied actually exceeds the passenger numbers by 15%, as a result of no-shows, the difference between the number of bookings and the number of actual passengers on the flight. At Ljubljana alone we bought more than 875,000 sandwiches and sweet snacks for passengers, while our meal supplier Airest d.o.o. used more than 10 tonnes of bread, 48 tonnes of fruit of various kinds, 16 tonnes of vegetables, more than 3 tonnes of beef and veal, over 8 tonnes of chicken and turkey fillets, 1 tonne of pork and just under 1 tonne of crustaceans, trout, salmon and tuna. And more than 5 tonnes of prosciutto and ham and almost 6 tonnes of cheese were cut into thin, delectable slices for our passengers.

Unfortunately, there will always be the occasional passenger who does not enjoy our meals. We try our very best to take on board their comments and criticisms, and we truly believe that given time and sustained effort we will satisfy the majority of their wishes. Alongside the usual meals offered to passengers, depending on the type of flight, we also offer additional services known as “special meals” in the air industry. These meals are designed for passengers with special health, religious or nutritional requirements, and are available to all passengers on all our flights, something that is becom-ing rarer these days, as providing special meals means extra costs, and other companies prefer to restrict them either by the length of flight or travelling in an economy class. For more information on special meals, see our website at www.adria-airways.com.

In the future we also aim to make use of more of the possibilities offered by technology to accommodate our passengers. We would like to offer passengers buying tickets online the chance to compose a meal to their own taste. There would be a fee, but the service could be offered free of charge to all those pas-sengers that Adria wants to reward for their loyalty. A

EUR

247From Barcelona to LjubljanaFare with all charges excluding reservation fee. More info www.adria-airways.com.

V naši družbi načrtujemo, da bi razširili krog storitev na letalu tudi z majh-nimi pogostitvami ali pozornostjo – naročil jo bo lahko kdorkoli za svojo lju-bljeno osebo, ki potuje (npr. torto za rojstni dan, cvet in čestitko/voščilnico, šaljivo darilo za »devičnika« – to je za tistega, ki potuje prvič).

Our plans for the full complement of services on the aircraft also extend to little details and treats that anyone can order for a loved one on board, such as birthday cakes, flowers, cards, and a fun gift for “virgins”, those making their first flight.

( 54 )

( 55 )

{ }

{ Idr

ija }

( 56 )

Po drugi svetovni vojni je v Idriji živel kšeftar, ki se je pisal Goli. Imel je prodajalno v samem središču mesta in bles de je bil med prvimi, ki jo je opremil z velikimi izložbenimi ste-

kli. Verjetno je nekoč ta slavni ausloh nekdo razbil, kajti dogodek se je tako močno zasidral med Idrijčane, da še dandanes, desetletja pozne-je, stari knapi zafrkavajo otroke, ki jim gredo na živce: “Aha, ksindl, te ži paznam. Ti si tist, ki je pr Golitu šipa ubeu.” Nekoliko samosvoj in dokaj obešenjaški humor se je v mnogih letih v Idriji skoraj gvišnu oblikoval in obrusil v zatohlih globinah rudniških rovov. Starejši kna-pi so mlade novince uštat napluozal, da muhasti jamski škrat Berkman-dlc v zameno za varnost in bogato rudo pričakuje daritev v obliki do-

bre malice in steklenice geruša. Prefrigani “škrati” so nastavljene darove seveda z veseljem pahlaptal.

Idrijčani smo danes pestra mešanica različnih fremderjev iz mnogih evropskih dežel, ki so od odkritja živega srebra dalje hodili gurbat v ru-dnik. Mesto je postalo nekakšen “talilni lonec”, kjer so se stapljali raz-lični narodi in narodnosti. Čeprav je Idrija geografsko eno najbolj za-prtih mest v Sloveniji, je bila po drugi strani vedno med najbolj odpr-timi, svetovljanskimi. Slovenci, Nemci, Čehi, Francozi, Rusi, Poljaki, Italijani in Bosanci ali pa Makedonci so si skozi zgodovino podajali krampe in lopate, si tu zgradili domove, okoli svojih hišic prekopali lihe in ziunke in sčasoma vsi postali Idrijčani. Gataude pa tu niso živeli

Kdo je ubil šipopri Golitu?Besedilo in fotografije: Iztok Bonãina

Draga Urbas Keravica

( 57 )

Franc Lapajne - »Nebiški uoãe«

( 58 )

{ Idr

ija }

in delali samo preprosti rudarji. Živo srebro s svojimi nenavadnimi la-stnostmi, tehnologija rudarjenja, način življenja, pa tudi bogat rastlin-ski in živalski svet v okolici so privabili marsikaterega vrhunskega stro-kovnjaka tistega časa. Prišli so npr. italijanski zdravnik in naravoslo-vec Giovanni Antonio Scopoli, vsestranski znanstvenik Balthasar Ha-cquet, politehnik Franc Anton Steinberg, geolog Marko Vincenc Li-pold in drugi. Prišleki z vseh vetrov so okraševali tudi idrijsko narečje, ki je danes med najbolj nerazumljivimi, bogatimi in kumštnimi v Slove-niji. Ne samo vsakdanje besede, celo pri osebnih imenih v Idriji ni-smo dali nak in smo jih nadomestili z bolj “domačimi” vzdevki, npr. Ic, Guc, Pepš, Ihc, Lejčk, Fiš, Fefk, Buni, Lude …

Čeprav je bil prektošn v idrijskih družinah pogosto prazen, vrle Idrij-čanke niso kaj dosti jamrale, ampak so pagruntale, da lahko svojim zga-ranim možem pomagajo s čudovito rokodelsko veščino – klekljanjem. Rodila se je idrijska špica, ki je še danes najbolj prepoznavna “blagov-na znamka” mesta. In kje še drugje po svetu so se revni, zmatrani ru-darji po prihodu iz prašnega in temačnega podzemlja usedli za doma-čo mizo, žene pa so jim padmitnco, smukavc, acvirkavca ali kafje postre-gle na snežno belih, z elegantno čipko obrobljenih prtih?!

Marbet je prav težaven in pogosto nezdrav način življenja rudarjev botroval temu, da se je kot protiutež v tej odmaknjeni, težko dostopni kotlini med strmimi gavci porajalo bogato, vsestransko kulturno življe-nje. Viri pripovedujejo o številnih glasbenih, pevskih in gledaliških skupinah. Rudarska pleh muska ima eno najdaljših tradicij v evrop-skem prostoru in zagotovo je igrala tudi leta 1769 ob otvoritvi najsta-rejše gledališke stavbe na Slovenskem. O tem, da je izobraževanje te-

sno sledilo kulturi in umetnosti kraja, priča tudi prva slovenska real-ka, ustanovljena leta 1901. Možgani, duša in srce so bili v Idriji vedno u španovi s pridnimi, žuljavimi rokami, tako moškimi kot ženskimi. Kar se kaže tudi v sodobnem času, ko lahko mesto ponosno pokaže na marsikaterega izjemno uspešnega meščana, bodisi na športnem, kulturnem, znanstvenem, umetnostnem ali gospodarskem področju.

Zato moramo pri spoznavanju prave mestne podobe in utripa upo-števati prav vse Idrijčane. Tako upokojene rudarje, ki so v rovih žrtvo-vali svojo mladost in še vedo, kaj pomeni pozdrav “srečno”, zdolgoča-seno gospodinjo, ki skrivaj pogleduje mimoidoče na ulici in upa, da bo lahko sosedi nesla na nos zadnje plaudre, večnega pijančka, ki že dopoldne dela obhod po mestnih gostilnah in si povsod privošči koza-rec kavsne, kot tudi nasmejano klekljarico, ki je na svoji buli pravkar zategnila zadnji mežu.

Zofija Bogataj - Zofi

Jože Rupnik

acvirkavca – ocvirkova potica

ausloh – izložbeno okno

bles de – menda, verjetno

bula – blazina za klekljanje

dali nak – dali mir

fremder – tujec, priseljenec

gataude – seveda

gavci – hribi

geruš – tradicionalna alkoholna pijača,

narejena iz pelina

gvišnu – zagotovo

gurbat – delati

jamrat – stokati, tarnati

kafje – kava

kavsna – vino, alkohol

knap – rudar

ksindl – otrok

kšeftar – trgovec, mešetar

kumštno – zapleteno, pomembno

liha – njiva

marbet – morebiti, mogoče

mežu – vozel

napluozat – nalagati

padmitnca – koruzni močnik

pagruntat – dognati, ugotoviti

pahlaptat – hitro jesti

plaudra – govorica (običajno neresnična)

prefrigan – pameten, iznajdljiv

prektošn – denarnica

smukavc – vrsta juhe

špica – čipka

pleh muska – godba na pihala

u španovi – skupaj, v sodelovanju

uštat – pogosto

ziunk – zelenjavni vrt

zmatran – utrujen

( 59 )Darko Lampe - Fridi

( 60 )

{ Idr

ija }

Who Smashed the Windows

at Goli’s?Text and photography: Iztok Bonãina

In the period following the Second World War a kšeftar (shopkeeper) by the name of Goli lived in Idrija. He had a shop in the very centre of the town and was apparently one of

the first shopkeepers to fit his shop with large window displays. It seems that one day someone smashed this famous display window, an event so firmly rooted in the memory of the people of Idrija that even today, decades later, old knapi (miners) use it to tease children who get on their nerves: “Aha, ksindl, I know you. You’re the one who smashed Goli’s window.” This unique and rather black form of humour was presumably perfected and polished over many years in the deep and airless tunnels of Idrija’s mines. The older knapi often advised young miners to make an offering to the capricious cave goblin Berkmandlc in the form of a good bite to eat and a bottle of geruš (absinthe) in ex-change for safety and a rich seam of ore. The ingenious “goblins” were

naturally happy to make short work of these offerings.Today the people of Idrija are a varied mixture of fremderji (foreign-

ers, immigrants) from many European countries. They originally came here to work in the mine following the discovery of mercury in the area. The town became a kind of melting pot where various na-tionalities and ethnicities blended together. Although in geographical terms Idrija is one of the most isolated towns in Slovenia, it has on the other hand always been one of the most open and cosmopolitan. Over the course of history Slovenes, Germans, Czechs, French, Rus-sians, Poles, Italians, Bosnians and Macedonians have wielded picks and spades, built themselves a home here, dug fields and vegetable gardens around their little houses and over time become Idrijans. But of course it was not only simple miners who lived and worked here. The unusual properties of mercury, mining technology, the local way of life and the rich flora and fauna of the surrounding area attracted many leading experts of the day. These included the Italian doctor and naturalist Giovanni Antonio Scopoli, the scientist Balthasar Hacquet, the polymath Franc Anton Steinberg, the geologist Marko Vincenc Lipold and others. Immigrants from the four corners of the earth also helped shape the Idrijan dialect, which is today one of the richest, most complex and most incomprehensible in Slovenia. Every-day expressions and even personal names were transformed, the latter being replaced by more “local” nicknames such as Ic, Guc, Pepš, Ihc, Lejčk, Fiš, Fefk, Buni, Lude…

Although the prektošn (purse) was frequently empty in Idrijan families, the good women of Idrija did not waste time complaining.

Beno Pahor

Instead, they discovered that they could help their overworked hus-bands with their wonderful skill at bobbin-work. And thus Idrija špica (lace) was born. Even today, it remains the town’s most recognisable “trademark”. Where else in the world could poor, weary miners, on returning from the dark and dusty underworld, sit at tables covered with snow-white tablecloths edged with elegant lace while their wives served them padmitnca (hasty pudding), smukavc (a kind of soup), ac-virkavca (lardy cake) or kafje (coffee).

Perhaps the difficult and often unhealthy way of life of the miners was the reason that a rich, many-sided cultural life came into being as

a kind of counterweight in this remote, inaccessible basin surrounded by steep hills. Historical sources mention numerous musical, choral and theatrical groups. The miners’ pleh muska (wind band) has one of the longest traditions in Europe, and certainly played in 1769 at the opening of the oldest theatre in Slovenia. The first secondary modern school in Slovenia, founded in 1901, is evidence that education close-ly followed culture and art in the town. In Idrija, brains, soul and heart have always gone together with hardworking, calloused hands, both male and female. This is still evident today, when the town can point proudly at its many sons and daughters who have enjoyed suc-cess in the fields of sport, culture, science, art and business.

And thus if we really wish to get to know the true spirit of the town, we have to take into account all Idrijans without exception: the retired miners who sacrificed their youth in the pits and still know the true meaning of the greeting srečno (literally, “good luck”), the bored housewife who watches passers-by from behind the curtain in the hopes that she will be able to pass on the latest gossip to her neighbour, the perpetual drunk, who begins his round of the town’s pubs in the morning and treats himself to a glass in each one, and the laughing lacemaker who has just pulled tight the final knot on her lacemaker’s pillow. A

Anton Munh

Ludvik âibej( 61 )

{ Idr

ija }

( 62 )

Ob vsem spoštovanju bogastva dediščine se je že pred časom pokazala potreba po tem, da bi se ročno kleklja-ni idrijski čipki z njeno bogato paleto vzorcev in oblik ter

prefinjenosti dalo tudi sodobno obliko. Ta premik je po eni strani nare-koval trg – kdo pa danes še nosi npr. bele čipkaste ovratnike? – po drugi strani pa ga je omogočilo tudi obujeno zanimanje novih generacij obli-kovalcev in likovnikov za stare tekstilne tehnike. Ti so idrijsko čipko privzeli kot medij za svoje ustvarjanje unikatnih, avtorsko zasnovanih uporabnih predmetov, kot so oblačila, nakit in modni dodatki, ali pa celo samostojnih tekstilnih umetniških objektov.

Snovanje avtorske čipke je kompleksen proces, ki zahteva od avtorja združevanje znanja s področja oblikovanja in poznavanje samih čip-karskih tehnik, zelo koristno pa je vsekakor tudi poznavanje čipkarske tradicije ter vloge in pomenov, ki jih je imela čipka v preteklosti. V tem kontekstu čipka ni več obravnavana zgolj kot dekorativni element, njena govorica postane mnogo močnejša, bolj avtonomna in bogata. Pogosto se pri tem presegajo nepisana pravila, ki so nekoč veljala za čipko – belino zamenjujejo barve, ploskovitost poigravanje s tretjo di-menzijo, naravne materiale, kot sta lan in bombaž, pa sodobni sukanci najrazličnejših struktur in otipa. Gre za izjemno kreativno dogajanje, v katerem postanejo klekljarske tehnike, ki so se oblikovale dolga stoletja, sredstvo avtorjevega individualnega likovnega izraza. Na tej točki vse bolj izginja meja med rokodelstvom in oblikovanjem oz. umetnostjo,

med koordinatama, ki že od vsega začetka določata klekljano čipko. Seveda pa ni nujno, da oblikovalec čipko sam tudi izdela. Avtorska čipka vse pogosteje nastaja v tesnem sodelovanju med oblikovalcem kot avtorjem idejne zasnove oz. skice, risarjem vzorca, ki oblikovalsko idejo prevede v čipkarski jezik, in čipkarico kot izdelovalko čipke. Ali celo v neposrednem sodelovanju med oblikovalcem in čipkarico, ki čipko izde-la zgolj na osnovi oblikovalske skice. V tem primeru je njena vloga zelo drugačna od tiste, ki jo je imela v minulih stoletjih. Ni več le mojstrska izdelovalka čipke na osnovi vzorca, dorečenega do najmanjše podrobno-sti. Njeno delo postane kreativno, saj je odločitev, s katero tehniko in s kakšnim mešanjem barv bo dosegla s klekljanjem po predlogi viden učinek, prepuščena njej sami.

V Idriji je tak način dela že dodobra uveljavljen, zlasti ko gre za sode-lovanje med študentkami oblikovanja tekstilij in oblačil in Društvom klekljaric idrijske čipke. Društvo združuje v sebi najboljše klekljarice iz mesta in bližnje okolice, ki svoje znanje neprestano dopolnjujejo in ši-rijo, pomemben segment njihovega dela pa predstavlja prav ustvarjanje čipk v sodelovanju z oblikovalci. Za vzpostavitev tega sodelovanja, ki se danes zdi že kar nekako samoumevno, je bilo v začetku potrebne veliko komunikacije, odprtosti in dobre volje na obeh straneh. Šlo je namreč za premikanje meja v glavi, preseganje stoletnih nenapisanih pravil o tem, kaj se pri čipki sme in kaj ne. Sama se še dobro spominjam zgražanja starejših čipkaric nad oblikovalskimi »kracami« in barvnimi kombinacijami, ki so drastično odstopale od pravilnih, jasnih tradicio-nalnih vzorcev. Na drugi strani pa tudi mnogih nerealnih pričakovanj oblikovalcev, ki čipki niso posvetili toliko pozornosti, da bi dojeli njeno logiko in zakonitosti, in so bili nato nad končnim izdelkom razočarani. Pa tudi mnogih tistih, ki so se, vedoč, da je ročno izdelana čipka zdaj pač »in«, zadovoljili s prvim kosom čipke, ki jim je prišel pod roke. In potem smo na svečanih večernih oblačilih videvali enake kose čipke kot na prtih, zavesah in posteljnini – za nameček ponavadi še prav ponesre-čeno uporabljene.

Danes je drugače. Kot bi kar tekmovali, kaj vse je mogoče še doseči v oblikovanju čipke. V Idriji boste, ko gre za čipko, vedno našli kaj novega in drugačnega. Kreativnost ne spi.

Idrijska čipka – iz tradicije v sodobnost

Besedilo: Tina Koder Fotografije: Iztok Bonãina

( 63 )

{ Idr

ija }

( 64 )

Idrija Lace – from Traditionto ModernityText: Tina Koder Photography: Iztok Bonãina

Despite the great respect for its rich heritage, it has for some time been clear that handmade Idrija lace, with its refinement and its wealth of patterns and forms,

also needs a modern form. This shift has been dictated on the one hand by the market – who today still wears, for example, white lacy collars? On the other hand it has been made possible by a fresh inter-est in old textile techniques among the new generations of designers and artists. These designers and artists have adopted Idrija lace as a medium for the creation of one-off, original items such as clothes, jewellery and fashion accessories, or even stand-alone textile works of art.

Creating designer lace is a complex process that requires the de-signer to combine knowledge from the field of design with a thorough knowledge of lacemaking techniques. Knowledge of the lacemaking tradition, and the roles and importance that lace has had in the past is also very useful. In this context, lace is no longer treated merely as a decorative element. Its language becomes much more powerful, more autonomous and richer. Frequently there is a transgression of the unwritten rules that once applied to lace – whiteness is replaced by colours, flatness by a flirtation with a third dimension, natural materials such as flax and cotton by modern yarns of very different structures and textures. It is an extremely creative process in which lacemaking techniques developed over centuries become the means for the designers’ individual artistic expression. At this point the boundary between handicrafts and design or art, the two coordinates that have defined bobbin lace since the very beginning, is becoming increasingly blurred. Of course, designers do not necessarily make the lace themselves. Designer lace is increasingly frequently created in close collaboration between the designer as the author of the outline concept or sketch, the pattern drawer, who translates the designer’s idea into lacemaking language, and the lacemaker who actually makes the lace. Direct collaboration between the designer and the lacemaker, who makes the lace on the basis of the designer’s sketch is a possibility. In this case the lacemaker’s role is very different from the traditional role that lacemakers have had for centuries. She is no longer merely making lace on the basis of a pattern that is complete down to the smallest detail. Her work becomes creative, since the de-cision on what technique and what mixture of colours to use in order

( 65 )

{ Idr

ija }

( 66 )to achieve the effect shown in the sketch is left to her.

In Idrija this method of work is already well established, especially in the case of collaboration between students of textile and clothing design and the Society of Idrija Lacemakers. The Society’s members include the best lacemakers from the town and its surrounding area, who are constantly complementing and widening their knowledge. The creation of lace in collaboration with designers represents an important segment of their work. In order to establish this collabora-tion, which has already begun to seem an almost obvious develop-ment, a great deal of communication, openness and goodwill was needed on both sides. This is because it was a question of shifting mental boundaries and transgressing centuries-old unwritten rules on what may and may not be done with lace. Personally, I have a very clear memory of the older lacemakers’ indignation at the designers “scribbles” and combinations of colours that deviated drastically from the regular, clear, traditional patterns. On the other hand, I also remember many unrealistic expectations from designers, who had not devoted enough attention to lace to comprehend its logic and rules, and were, therefore, disappointed with the finished product. Not to mention the many designers who, aware that handmade lace is “in” at the moment, contented themselves with the first piece of lace they could get their hands on. And then we saw the same pieces of lace used in tablecloths, curtains and bed linen appearing on formal evening wear – often quite infelicitously.

Today it is different. As though there were a competition to see just what is possible to achieve in lace design. In Idrija, where lace is con-cerned, you will always find something new and different. Creativity never sleeps.. A

V Idriji, glavnem slovenskem čipkarskem centru, si ob sodelovanju z različnimi instituci-

jami – občinami, čipkarskimi šolami, mestnim muzejem – že več let načrtno prizadevajo za dvig oblikovalskega nivoja ročno klekljane čipke in za njeno promocijo v javnosti. Pri tem projek-tno sodelujejo tudi z Oddelkom za oblikovanje tekstilij in obla-čil NTF Univerze v Ljubljani, letos pa je bil ustanovljen krovni Center idrijske čipke, ki bo v bodoče koordiniral in vodil večino aktivnosti v zvezi s čipko s posebnim poudarkom na njenem ra-zvoju v smeri sodobnega oblikovanja. Hkrati se kreativno doje-

manje čipke spodbuja tudi pri najmlajših, saj je idrijska Čipkar-ska šola, ki nepretrgoma deluje že vse od leta 1876, v svoj pred-metnik pred kratkim uvrstila tudi učni predmet risanje vzorcev, pri katerem otroci ustvarjajo svoje vzorce za čipke in jih kasneje tudi sami izdelajo. Tako otroci že v najzgodnejših letih dojamejo klekljanje kot kreativen in zabaven proces, pustolovščino, pri ka-teri se ideje spreminjajo v resničnost. Na ta način je seveda tudi njihova motivacija za učenje klekljanja večja, kar je zagotovilo za ohranjanje klekljarskega znanja in za njegovo prenašanje iz ge-neracije v generacijo.

In Idrija, Slovenia’s main lacemaking centre, deliberate efforts have been made over

the last few years, via the collaboration of various institutions such as the municipality, the lacemaking school and the town museum, to raise the level of design of handmade lace and to promote it among the public. The Textile and Clothing Design Department at the University of Ljubljana Faculty of Natu-ral Sciences and Engineering is involved in the project, while this year has seen the opening of the Idrija Lace Centre, which in the future will coordinate and guide the majority of activi-ties relating to lace, with a special emphasis on its development in the direction of contemporary design. At the same time a

creative understanding of lace is also being encouraged among the very young, since the Idrija Lacemaking School, which has been teaching lacemaking without interruption since 1876, has recently introduced the subject of Pattern Drawing to its cur-riculum. Pattern Drawing lessons give children the chance to create their own lace patterns and then use them to make their own lace. Thus at a very early stage children begin to under-stand lacemaking as a creative and fun process, an adventure in which ideas become reality. In this way, of course, their moti-vation to learn lacemaking increases, which is a guarantee for the conservation of lacemaking knowledge and its transmis-sion from generation to generation.

( 67 )

{ Idr

ija }

( 68 )

Torej skrivnost je taka: enega imamo vustih, drugi je naboden na vilicah in ga

držimo tik pred nosom, tretjega pa gledamona krožniku kot naslednjega izbranega.

Ob nedeljah in praznikih se luči v Idriji prižgejo zgodaj zjutraj. Gospodinje ponavadi vstanejo še v trdi temi in poleg lončka za kavo pristavijo še velik lonec, v katerega

dajo kuhat krompir. No, vsaj včasih je bilo tako, ko je bilo treba do kosila pripraviti nekaj sto ali več žlikrofov. Zamrzovalne skrinje so vse to spremenile in olajšale delo, toda način priprave je ostal bolj ali manj nespremenjen. Žlikrofi, tradicionalna idrijska jed iz krompirja in testa, so poceni hrana, ki pa s svojo obliko in okusom ponuja nekaj več.

Obstaja seveda bojazen, da si mlade Idrijčanke ne bodo več dale opravka s to ne ravno najbolj preprosto specialiteto. Tako kot čipke tudi ta jed zahteva dosti časa, spretnosti in potrpežljivosti.

Preden pa preidemo k zgodovini nastanka žlikrofov, še pomemben nasvet, kako jih je treba jesti. Glede na to, da je način uživanja star skoraj toliko kot sami žlikrofi, nam seveda ne preostane nič drugega, kot da se ga držimo. Torej skrivnost je taka: enega imamo v ustih, drugi je naboden na vilicah in ga držimo tik pred nosom, tretjega pa gledamo na krožniku kot naslednjega izbranega. Takoj ko je tisti iz ust na poti proti želodcu, je že na vrsti oni pod no-som, v naslednjem trenutku pa imamo novega nasajenega na vilicah in tako ponavljamo vse dotlej, dokler krožnik ni prazen. Treba jih je jesti vroče; mrzel žlikrof ni več pravi žlikrof, je pravilo. Zatorej se ne ustrašite, če boste v Idriji v gostilni za sosednjo mizo videli jedca, ki si jih bo dobesedno metal v usta. Bo že vedel, kaj počne!

S pomočjo Darka Vilerja iz Mestnega muzeja Idrija smo se dokopali do enega redkih, vsekakor pa zanimivih in za mnoge najboljših bese-dil o žlikrofih. Zapisano je treba vzeti s precejšnjim pridržkom, kajti še posebno v Idriji so pri vsaki stvari kaj hitro možna in skoraj nujna odstopanja. Zapis je nastal okoli leta 1950, avtor je Karl Bezeg, človek, ki se je ukvarjal z raziskovanjem navad in običajev teh krajev. Takole pravi: »Najbolj priljubljena in daleč naokoli najbolj znana idrijska jed so žlikrofi. Podobni so dunajskim Schlikkrapfertin, majhnim teste-nim zavitkom z vloženimi krofki, toda s posebno vsebino. In prav ta vsebina je največja skrivnost in umetnost pravih žlikrofov. Po idrijsko

se tem vloženim krofkom reče kugelce. Idrijčanke prav v njih denejo vse svoje kuharsko znanje, ljubezen in hrepenenje. Dobro uspeli žli-krofi poravnajo družinske spore, dajo praznikom poudarek, ponudijo odhajajočim in vrnivšim pozdrav, proslavijo rojstvo, god in svatbo ter utešijo bolečine v primeru smrti.«

Poleg tega najdemo v zapisu tudi to, da je bila v Idriji včasih ena sama gostilničarka, ki jih je znala pripraviti za vsak okus. To je bila gostilničar-ka Harmel v Gasi. Nadalje lahko preberemo, da so jih v večjih družinah, ki so štele od pet do osem članov, naredili tudi do 700. Zato ni bilo prav nič čudno, če so jih začeli pripravljati »z andohtjo« že dva dni prej.

Zanimivo je, da žlikrofi niti nimajo tako dolge tradicije. Ljudje, rojeni okoli leta 1840 in 1850, so namreč pripovedovali, da so surove javno prodajali in jih delali tudi po naročilu. Iz tega lahko sklepamo,

da njihova priprava po domovih ni bila tako razširjena kot danes. Že prej omenjena Harmel je vedela po-vedati, da je njihov izvor na ogrskem Sedmograškem in da so prišli od tam. S seboj naj bi jih bila prinesla stara rudarska rodbina Wernberger, katere rod je izumrl leta1922.

Zadnji potomec te rodbine, rojen leta 1866, se je dobro spominjal družinskega pogovora iz svoje mlado-sti, med katerim je njegov stari oče Franc Wernberger, ki je živel med letoma 1810 in 1880, povedal, da je žlikrofe sem zares zanesla njegova rodbina. Tako naj bi se bil po njegovi pripovedi Ivan Wernberger, ro-jen v Oravici na Ogrskem, leta 1811 poročil s tamkajšnjo domačinko, nato pa naj bi bil leta 1814 premeščen v Idrijo. Takrat naj bi bili prvi žlikrofi, seveda še ne povsem taki kot današnji, prestopili reko Idrijco. Krivka pa je bila seveda njegova neimenovana žena. Trajalo je kar ne-kaj časa, da so jih domačini sprejeli. Zapiskov o tem, da bi kdo zaradi čezmernega uživanja žlikrofov umrl, kakor se je dogajalo pri drugi posebnosti Idrije, alkoholni pijači geruš, ni. Pelin, ki je osnova geruša, je krasil marsikateri grob kot opozorilo ljubiteljem tega opoja; da bi komu na grobu pustili žlikrof, pa ni znano.

Žlikrofi so vsekakor del idrijske tradicije in kulture. Čeprav počasi izgubljajo pomen, ki so ga imeli včasih, v starem rudarskem mestu

ŽlikrofiBesedilo: Dušan Moravec Fotografije: Jani Peternelj

( 69 )

{ Idr

ija }

( 70 )

brez njih ni pravega slavja. Okusi se sicer spreminjajo, dodajajo se nove sestavine, in če boste v Idriji povabljeni na kosilo, lahko pri-čakujete, da vam bodo postregli z njimi. Večina vam bo zatrdila, da so najboljši prav tisti, ki jih jeste pri njih, in lahko jim verjamete. Pomembno pa je tudi, kaj se ponudi zraven. Nekateri prisegajo na ba-kalco iz koštrunovega mesa, drugi spet pravijo, da ni pravih žlikrofov brez zajca (v Idriji je bilo in je še zmeraj precej zajčnikov), nekateri jih jedo samo polite s pečenkino omako ali mogoče z golažem.

Novi časi so prinesli nove okuse in posebno med mladimi so prilju-bljeni žlikrofi z gorgonzolo. Nekakšna ustaljena porcija šteje 40 kosov, vse pa je odvisno od jedca. Marsikdo jih pospravi tudi 100.

Zaradi tradicionalnega postopka izdelave in tradicionalnega recepta je Ministrstvo za kmetijstvo, gozdarstvo in prehrano RS leta 2002 uradno zaščitilo tradicionalni ugled idrijskih žlikrofov in recept za nji-hovo izdelavo lahko najdete tudi v Uradnem listu RS.

Žlikrofi - Stuffed Dumplings

Text: Dušan Moravec Photography: Jani Peternelj

On Sundays and holidays the lights in Idrija come on early in the morning. Usually in pitch blackness, housewives get up and alongside their coffee pot they put

on a big pot to boil potatoes. Well, at least that’s how it used to be, when several hundred or more stuffed dumplings had to be prepared by lunchtime. Freezer chests have changed all this and made the work easier, but the method of preparation has remained more or less un-changed. These stuffed dumplings, known properly by their local and largely untranslatable name of žlikrofi, are the traditional Idrija dish of potato and dough, and constitute a cheap food, although their form and flavour offer something more.

There is of course a fear that the young women of Idrija will no longer have anything to do with this not the simplest of specialities. Like lace, this dish requires considerable time, skill and patience.

Yet before we get into the history of how these stuffed dumplings came about, an important word of advice about how they should be eaten. Given that the method of consumption is almost as old as the actual dumplings themselves, we really have little choice other than to stick to it. So here is the secret: you have one in your mouth, another is impaled on your fork and held just in front of your nose, while a third is observed on the plate

as the next up for selection. As soon as the one in your mouth heads off towards your stomach, the one in front of your nose is ready to come in, and in the next instant there is a new one planted on your fork, and thus the procedure is repeated until the plate is clean. They must be eaten hot, for the rule is that a cold dumpling is no longer a proper stuffed dumpling. So do not be alarmed if you’re at an Idrija eatery and the diner at the next table is literally chucking them into his mouth. He knows what he’s doing!

With the assistance of Darko Viler of the Idrija Municipal Mu-seum we unearthed one of the rare yet fascinating and for many the best texts on stuffed dumplings. This needs to be taken with some caution, for specifically and especially here in Idrija variances are immediately possible and almost essential in everything. This text was created around 1950, and was written by Karl Bezeg, a man who was involved in researching the habits and customs of this area. He writes: “The most popular and far and wide the best known dish of Idrija is that of stuffed dumplings. They are similar to the Viennese Schlikkrapfertin, small dough wraps with a doughnut stuffing, but with their own special content. And it is this content that is the biggest secret and art in true stuffed dumplings. The Idrija folk call these stuffed doughnuts little balls. The women of Idrija put absolutely all their culinary skill, love and longing into them. Properly enjoyed stuffed dumplings can settle family disputes, provide emphasis for holidays, offer a salutation to those departing and returning, celebrate births, name days and weddings, and provide solace in bereavement.”

Moreover, we may also read in this record that at one time in Idrija there was just one sole cook who knew how to prepare them for each and every taste. This woman went by the name of Harmel from Gasa. Further on, the text reveals that in large families numbering five to eight members, as many as 700 of them would be prepared. It was therefore no surprise at all that they started preparing them with “due diligence” even two days in advance.

It is interesting that stuffed dumplings do not even have a very long tradition. People born around 1840 and 1850 would recount how they were sold raw in public, and were also made to order. We may therefore conclude that their preparation in private homes was not as widespread as it is today. The aforementioned Harmel was wont to say

that they originated in the Hungar-ian part of Transylvania, that they came from “over there”. They were supposedly brought over by the old mining family of Wernberger, which died out in 1922.

The last member of that family, born in 1866, remembered well a family conversation from his early days, in which his grandfather Franc

Wernberger, who lived between 1810 and 1880, said that his family had indeed brought over the stuffed dumplings. As he recounted it, Ivan Wernberger, born in Oravicza in Hungary, married a local girl in 1811, and then moved to Idrija in 1814. At that time the first stuffed dumplings, of course not quite like they are today, supposedly crossed the Idrijca River. The culprit was of course his nameless wife. It took

So here is the secret: you have one in your mouth, another is impaled on your fork

and held just in front of your nose, whilea third is observed on the plate as the

next up for selection.

quite a while for the local people to accept them. There are no records of anyone dying from excessive consumption of stuffed dumplings, as there are regarding another speciality of Idrija, the alcoholic absinthe drink geruš. Wormwood, the basic ingredient of geruš, adorned many graves as a warning to those who were given to this form of intoxica-tion; no one is ever known to have left a stuffed dumpling on a grave.

In any event, stuffed dumplings are a part of Idrija’s tradition and culture. Although they are slowly losing the importance they once had, however, there is no proper celebration without them in this old mining town. Tastes change of course, and new ingredients are added, and if you are invited to lunch in Idrija, you can expect to be served them. Most people will affirm that the best ones are those you are eating there at their homes, and you can believe them. It is also important what they offer alongside. Some swear by mutton stew,

while others say that there are no true stuffed dumplings without rabbit (in Idrija there were and still are plenty of rabbit hutches), and some eat them simply doused in gravy or perhaps with goulash.

New times have brought new tastes, and especially among the younger folk they are popular with gorgonzola. A kind of now-tradi-tional portion is 40 dumplings, but everything depends on the eater. Many people can pack away as many as 100.

Owing to the traditional process of preparation and the traditional recipe, in 2002 the Ministry of Agriculture, Forestry and Food of-ficially protected the traditional standing of Idrija stuffed dumplings, and the recipe for their preparation can also be found in Slovenia’s Official Gazette .. A

Žlikrofi so slovenska specialiteta, narejena iz rezančnega testa in polnjena z nadevom iz kuhanega krompirja, čebule, začimb, jajc in zaseke ali slanine.

Žlikrofi are a Slovene culinary speciality consisting of pasta parcels stuffed with potato, onion, spices, egg and minced lard or bacon.

( 71 )

( 72 )

Besedilo in fotografije: Tomaž Miheliã

V zaãetku leta 2005 je bilo moã opazovati na sto-

tine Slovencev, ki so se odpravili v majhno vasi-

co Manga pod Bohorjem. Seveda je bilo v Mangi

kaj videti. Vsak veãer se je k poãitku zbralo na

tisoãe pinož. Ptice je bilo nemogoãe prešteti in še

ocene tistih najbolj zadržanih so se gibale okrog

milijona, veãina pa se je strinjala, da ob Mangi

prenoãuje veã pinož, kot je Slovencev.

Že v naslednjem letu so zamudniki dobili novo

priložnost, saj se je pri Postojni ustavila skupina

klavžarjev. Kljub deževnemu vremenu jih je na

športnem letališãu vsak dan »stražila« veãja sku-

pina radovednežev. Klavžarji so bili seveda vaje-

ni ljudi, saj to vrsto ptic po izumrtju s pomoãjo

umetne vzreje in ultralahkih letal, s katerimi

jih uãijo selitvenih poti, ponovno naseljujejo v

Evropo. To je bil tudi razlog, da so se ustavili na

letali‰ãu in ãakali na svojo veliko »mamo«.

( 73 )( 73 )

Mokož/Water Rail

( 74 )

{ Twitching }

Ptice so bitja, ki povsod po svetu privabljajo največ občudo-valcev. Nekatere zaradi letenja, druge zaradi barv ali svojega petja, tretje zaradi številčnosti. Ni je rastline ali živali, za katero bi po planetu stikalo toliko ljudi kot za pticami. In

to velikokrat z enim samim namenom. Da bi jo videli! Temu pojavu, ko se ljudje odpravijo po svetu samo zato, da bi videli zanje novo vrsto ptice, pravijo po Evropi »twitching«.

Dolgo časa je veljalo prepričanje, da tvičing v Sloveniji ne obstaja in temu pojavu smo se čudili podobno, kot se verjetno na zahodu ali severu čudijo našemu hribolaštvu.

Kljub svoji majhnosti se Slovenija odlikuje po izjemni pestrosti; ptice niso nikakršna izjema, tako da lahko naša dežela ponudi na po-dročju ptic zares veliko. Pestrost reliefa in podnebja je pri nas ustvarila pogoje za gnezdenje 220 vrstam ptic, če pa jim prištejemo še tiste, ki tu prezimujejo ali se z njimi srečamo ob njihovi selitvi, bi lahko vsak dan v letu poimenovali po drugi vrsti ptice. Slovenija se je izkazala kot bogata tudi tedaj, ko je pristopala k Evropski uniji. Direktiva, ki člani-cam nalaga varovanje najpomembnejših območij za ptice, velja kar za četrtino slovenskega površja v obliki 26 območij Nature 2000.

Obisk prav vsakega izmed teh območij bo navdušil še tako zahtev-nega ptičarja ali pa ljubitelja ptic, in ker večino države prekriva gozd, Kozaãa/Ural Owl

Smrdokavra/Hoopoe

( 75 )

Pinože/Bramblings

Skalni strnad/Rock Bunting

( 76 )

{ Twitching }

je nekako razumljivo, da smo ravno pri gozdnih pticah Slovenci vele-sila. Slovenijo na primer poznamo po tem, da je v njej vsaj teoretično možno videti vseh 9 v Evropi živečih predstavnikov poddružine žoln, od katerih sta belohrbti in triprsti detel prava ornitološka poslastica. Kozačo na primer najlažje vidimo prav v Sloveniji, čeprav je ta vrsta tipična za gozdove severne tajge.

Največja znamenitost pa so neverjetne kombinacije, ki so nastale zaradi pestrega in razgibanega okolja. Tako lahko zjutraj opazujemo belko le malo oddaljeno od skalnega strnada ali pa sočasno poslušamo petje gozdnega jereba in slegurja. Če želite v naravi primerjati podob-no oglašanje koconogega čuka in smrdokavre, nimate na izbiro kaj dosti drugega kot Slovenijo. Neverjetnih ptičjih kombinacij je tu zares veliko.

Slovenija je ena izmed redkih dežel, kjer se bodo tisti, ki si želijo v čim krajšem času videti čim več vrst, razen na mokrišča odpravili tudi v gozd, na suhe kraške travnike in v Alpe. Obisk npr. Volovje rebri v tem smislu že postaja osnovna želja naravoslovno usmerjenega turista. Le kje v Evropi pa je še moč najti kraj, kjer se sreča toliko velikih in redkih vrst (medved, volk, ris, planinski orel, beloglavi jastreb, kačar in velika uharica) ali pa se redkosti pojavljajo v toliko neverjetnih kom-binacijah?

“Twitching”the Slovenian Way

Text and photography: Tomaž Miheliã

Early in 2005 hundreds of Slovenians could be observed setting out for the little village of Manga pod Bohorjem. Naturally, there was something to see in Manga. Every evening thousands of bramblings gathered there to rest. It

was impossible to count the birds, and even the most conservative esti-mates hovered around a million, while the majority agreed that there were more bramblings spending the night in Manga than there were Slovenians. The very next year those who had missed their chance had a new opportunity, with the arrival near Postojna of a group of bald ibises. Despite the wet weather, every day a large group of curious people “stood guard” over the birds at the sports airfield. The bald ibises were of course used to people, for since they became extinct here,

Klavžar/Bald Ibis

( 77 )

with the help of artificial breeding and ultralight aircraft to show them their migratory routes, they have been resettling in Europe. This also explains why they had stopped at the airfield and were waiting for their big “mummy”.

Birds are the creatures that attract the largest numbers of admirers all over the world. Some are drawn by their flight, some by their colour or song, and others by their sheer numbers. There is no plant or animal that generates such a desire for contact from people on this planet. And this usually has just one purpose: to see them! This phenomenon, where people head off around the world simply to see what is for them a new species of bird, is called “twitching” in Europe.

For a long time it was generally believed that twitching did not exist in Slovenia, and we marvelled at it in rather the same way that people to the west or north of us might have marvelled at our mountain climbing.

Despite its small size, Slovenia is distinguished by an extraordinary diversity, and birds are no exception here, so Slovenia can offer truly a great deal in terms of birds. The diversity of relief and climate zones in Slovenia has created conditions suited for the nesting of 220 bird spe-cies, and if we include those that winter over here or which we encoun-ter on their migration, we could name each day of the year after a dif-ferent bird species. Slovenia was also recognised for its wealth when it joined the European Union. The EU directive requiring Member States to protect the most important areas for birds applied to as much as a quarter of Slovenia’s surface area, in the form of 26 Natura 2000 areas.

A visit to any one of these areas will delight the most demanding or-nithologist, and since the majority of the country is covered in forest, it is quite understandable that Slovenia is something of a superpower in forest birds. For instance, this country is known for the fact that at least in theory you can see all nine of the European-dwelling representatives of the woodpecker sub-family, of which the white-backed woodpecker and the three-toed woodpecker are true ornithological delights. And the Ural owl, for example, can most easily be seen here in Slovenia, even though the species is typical of the forests of the northern taiga.

Yet the most extraordinary feature is the incredible combinations that came about owing to the varied and hilly environment. In the morning, for instance, you might observe a ptarmigan just a short hop away from a rock bunting, or at the same time you might hear the song of the hazel grouse and rock thrush. If you want to compare the similar calls of the Tengmalm’s owl and hoopoe in the wild, you have little choice other than Slovenia. There are truly a large number of extraordi-nary bird combinations here.

Slovenia is one of those rare countries where those seeking in the shortest possible time to see the greatest possible number of species, will head off to the forests, the dry karstic meadows and Alps, as well as to the wetlands. A visit to Volovja Reber, for instance, has in this light become the primary desire of any nature-driven tourist. It would in-deed be hard to think of anywhere else in Europe where so many large and rare species come together (bear, wolf, lynx, golden eagle, griffon vulture, short-toed eagle and eagle owl), or where such rarities would appear in such amazing combinations. A

Triprsti detel/Three-toed Woodpecker

Gozdni jereb/Hazel Grouse