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

Boris PahorKairo • Cairo

Cankarjev dom • LIFFeSlovensko narodno gledališče Maribor •Slovene National Theatre MariborGledališče Ane Monro • Ana Monro TheatreKUD France Prešeren

Savinjska dolina • The Savinja ValleyDirka po cvičkovih klancih • Tour of the Cviček Slopes GorenjePolkaVenezuela

Kulturne ustanove

Adria Airways In-Flight Magazine5 )

Adria Airways In-Flight Magazine5 )

Cultural Institutions

oktober, november • October, November 2010oktober, november • October, November 2010

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Spoštovane potnice in potniki!Prisrčno pozdravljeni in dobrodošli na letalu Adrie Airways!

Po podatkih Mednarodnega združenja letalskih prevoznikov (IATA) so začeli največji letalski prevozniki v drugem četrtletju letošnjega leta ponovno ustvarjati dobiček, medtem ko so v enakem obdobju preteklega leta še beležili izgubo. Kot razlog za boljše rezultate navaja IATA stabilne cene goriva in večje število potnikov. Ugodnejše rezultate ob koncu poletne sezone izkazuje tudi naša družba. Samo v avgustu smo prepeljali za 20 odstotkov več potnikov kot v enakem obdobju lanskega leta. Uvedli smo nekatere nove linije (Banjaluka, Marseille), racionalizirali letenje na posameznih progah in poskrbeli za večjo zasedenost sedežev v letalih. Ob povečanem številu prepeljanih potnikov se je število letov povečalo le za 4 odstotke, kar se bo odrazilo v pozitivnem finančnem učinku.

V celotnem obdobju prvih osmih mesecev je imela Adria dva odstotka več potnikov v primerjavi s preteklim letom, in to navkljub težavam v aprilu, ko je bilo zaprto Letališče Jožeta Pučnika Ljubljana in je izbruh vulkanskega prahu ohromil letalski promet. Ti podatki prav gotovo govorijo o našem učinkovitem ukrepanju ob nepredvidenih situacijah in nenehnem prilagajanju spremembam na trgu.

Začeli smo tudi z uresničevanjem načrtovane strategije za nadaljnjih pet let, ki bo našemu podjetju pomagala prebroditi gospodarsko manj ugodno obdobje. Adria Airways se je s 1. junijem 2010 preoblikovala v skupino Adria Airways, ki poleg matične družbe, katere osnovna dejavnost so letalski prevozi, združuje še povezani družbi Adrio Airways Tehnika in Adrio Airways Letalska šola. Obe hčerinski družbi imata zdrave korenine in jasno vizijo za prihodnost.

Prepoznavnost našega vzdrževalnega centra sodi med najboljše na svetu. Adria Tehnika vzdržuje domača letala pa tudi letala drugih evropskih prevoznikov v skladu z visokimi standardi Evropske unije in na osnovi ostalih mednarodnih varnostnih certifikatov. Dela potekajo v dveh sodobnih hangarjih, pred kratkim pa se je začela izgradnja še tretjega hangarja, po katerem so se že pred časom pokazale potrebe.

Letalska šola Adrie Airways je prav te dni obeležila 30-letnico svojega obstoja. V okviru naše letalske šole si bodoči piloti pridobijo veliko zna-nja in izkušenj za varno letenje. Zaradi izkušenega inštruktorskega kadra in sodobnega simulatorja postaja šola privlačna tudi za širšo regijo.

Naj vas, dragi potniki, še spomnim, da prične z 31. oktobrom veljati zimski vozni red, ki prinaša določene spremembe. Vabim vas, da si ogledate našo spletno stran www.adria-airways.com, kjer lahko dobite o letih in naši ponudbi dodatne informacije.

Želim vam še naprej prijeten let in kmalu spet na svidenje!

Mag. Tadej Tufek,glavni izvršni direktor

Dear passengers,May I offer you a very warm welcome aboard this Adria Airways aircraft.

According to data from the International Air Transport Association (IATA), in the second quarter of this year the biggest airlines once again started making a profit, while they were still reporting losses in the same period of last year. The IATA ascribes the improved performance to stable fuel prices and higher passenger numbers. And Adria has also been show-ing better results at the end of this summer season. In the month of Au-gust alone we carried 20 percent more passengers than in the same period of last year. We introduced some new services (Banja Luka, Marseille), rationalised flights on certain routes and worked to ensure greater seat oc-cupancy on our aircraft. Against this increase in the number of passengers, the number of flights rose by just 4%, and this will be reflected positively in

our finances.Throughout the period of the first eight months

of the year, Adria carried 2% more passengers than last year, despite the problems in April, when Ljubljana’s Jože Pučnik Airport was closed and air transport was crippled by the volcanic ash cloud. These figures certainly reflect the effective meas-ures we took in unpredictable situations and our constant adaptation to changes in the market.

We also embarked on fulfilling the planned strategy for the next five years, which will help the company weather this economically unfavourable period. On 1 June 2010 Adria Airways became the Adria Airways Group, which alongside the parent company, whose primary business is air transport, comprises the associated companies Adria Air-ways Tehnika (Technical Services) and Adria Air-ways Letalska šola (Flying School). Both subsidiar-ies have healthy roots and a vision for the future.

The recognition accorded to our maintenance centre ranks it among the best in the world. Adria

Tehnika maintains domestic aircraft and also aircraft from other European carriers, in line with the high standards of the European Union and based on a range of international safety certificates. Services are provided in two state-of-the-art hangars, and construction recently started on a third hang-ar, since the need for this was seen some time ago.

The Adria Airways Flying School is currently marking its 30th anniversa-ry. The flying school ensures that future pilots gain an enormous amount of knowledge and experience for safe flying. Meanwhile, the experienced instructors and latest-technology simulator are making the school attrac-tive in the wider region.

I should also remind you that our winter timetable starts on 31 Oc-tober, and this will mean one or two changes. Please visit our website www.adria-airways.com, which offers full details of our flights and range of services.

I hope you have a pleasant flight, and look forward to welcoming you back.

Tadej Tufek, MScCEO

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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:Adria Airways, Slovenski letalski prevoznik, d.d.

Adria Airways, The Airline of SloveniaZgornji Brnik 130h, 4210 Brnik - Aerodrom

Uredništvo / Editorial: Barbara Mihevc BukovecTel. / Phone + 386 4 259 4541

E- mail: barbara.bukovec@adria.siUrednica / Edited by: Meta Krese

Oglaševanje / Advertising: Alenka DvoršakTel. / Phone + 386 4 259 4526

E- mail: alenka.dvorsak@adria.siOblikovanje in AD / Design and AD: LUKS Studio

Prevod / Translated by: AmidasLektorica/ Language editing: Vera Samohod

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

ISSN 1318-0789

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

stališč Adrie Airways. Razmnoževanje brez pisnega dovoljenja je 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 pub lish er accepts no responsibility

for unsolicit ed material.

Brezplačen izvod / Your personal copy

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Vsebina/Contents

Janez Pukšič

Adrijin potnik/Adria PassengerPisatelj Boris PahorWriter Boris PahorNeva Zajc

EgiptDva obraza kairskega downtownaThe Two Faces of Downtown CairoMatjaž Kačičnik

Kulturne ustanove/Cultural Institutions

Dragi moj Cankarjev dom ...My Cankarjev DomSonja Juvan

Potniški terminal LIFFeThe LIFFe Passenger TerminalSimon Popek

Slovensko narodno gledališče MariborSlovene National Theatre MariborDavid Šalamun

45 let gledališkega festivala Borštnikovo srečanjeBorštnik Meeting Theatre Festival Celebrates 45 YearsAlja Predan

Štiri Ane iz LjubljaneFour Anas from LjubljanaGoro Osojnik

KUD France Prešeren

Hmelj/HopSavinjska dolina – dolina »zelenega zlata«The Savinja Valley, the Valley of Green GoldGlorjana Veber

Kolesarjenje/CyclingDirka po cvičkovih klancihTour of the Cviček SlopesAnja Rebolj

GorenjeTako zelo mojVery MineLora Power

PolkaPolka v slovenskem slogu: ameriška zabavna glasbaThe Slovenian-Style Polka: America's Good-Time MusicJoseph Valencic

VenezuelaTista pravljična vas. Tista kakavna vas.That Fairy-tale Village. That Cocoa Village.Maruša Krese

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Nova redna linija v MarseilleAdria Airways je vzpostavila novo redno linijo v Marseille (Francija). Adrijina letala povezu-jejo Ljubljano z Marseillem dvakrat tedensko ob sredah in nedeljah z dvema letoma dnevno, JP334 in JP 336, zjutraj in zvečer. Let do Marseilla traja 1 uro 40 minut.

New scheduled service to MarseilleAdria Airways has introduced a new scheduled service to the French city of Marseille. Adria’s aircraft operate between Ljubljana and Marseille twice a week, on Wednesdays and Sundays, with two flights on those days, JP334 and JP 336, in the morning and evening. The flight to Marseille takes 1 hour 40 minutes.

30 let Letalske šole Adrie AirwaysAdria Airways je ustanovila Letalsko šolo leta 1980 v sodelovanju s Fakulteto za strojništvo v Ljubljani. Njen prvotni namen je bil šolanje in usposabljanje pilotov na manjših letalih za pri-dobitev dovoljenja za poklicnega pilota, kar je bil pogoj za zaposlitev poklicnega oziroma pro-metnega pilota na velikih potniških letalih. Letalska šola Adrie Airways je z leti pridobivala na veljavi in ugledu in jo lahko imenujemo zibelka večine Adrijinih pilotov.

Naša letalska šola se je ob osamosvojitvi Slovenije soočila s težko ekonomsko situacijo, vendar se je ob pomoči posameznih navdušencev obdržala in je danes med prepoznavnejšimi v Evropi. Velika pridobitev za Letalsko šolo je bil simulator letenja, ki ga je pridobila leta 2007. V sklopu celotnega šolanja, ki obsega približno 220 ur, se namreč kandidati kar dobro četrtino celotnega programa šolajo v simulatorju.

»Želimo, da Letalska šola Adrie Airways postane največji letalski šolski center na širšem regijskem območju,« je povedal kopilot Primož Jovanovič, vodja Letalske šole Adrie Airways.

Adria Airways Flying School marks 30 yearsBack in 1980 Adria Airways established a flying school in partnership with the Faculty of Mechanical Engineering in Ljubljana. Its original purpose was to train up pilots on small aircraft so they could obtain a professional pilot’s licence, which was a condition for employing profes-sional or commercial pilots on big passenger aircraft. Over the years the Adria Flying School has gained credibility and standing, and can be called the cradle of most Adria pilots.

When Slovenia gained independence, the school faced major economic difficulties, yet with the help of individual enthusiasts it pulled through, and is today one of the better recognised schools in Europe.

A major boost to the flying school was a flight simulator, which the school acquired in 2007. As part of the overall training course, which covers around 220 hours, candidates spend over a quarter of the total course on the simulator.

“We want the Adria Airways Flying School to become the biggest aviation training centre in the wider region,” says co-pilot Primož Jovanovič, head of the school.

Poletni in zimski vozni redAdrijin poletni vozni red bo v veljavi še do 30. oktobra 2010. V njem vam Adria Airways ponuja več kot 220 poletov na teden iz Ljubljane na več kot 22 evropskih destinacij, lete znotraj EU Frankfurt–Dunaj ter v sodelovanju s partnerji Star Alliancea možnost potovanja po vsem svetu.

V oktobru 2010 bomo uspešno zaključili s poletnimi rednimi povezavani z Atenami, Barcelono, Madridom, Dublinom in Manchestrom. Te povezave bodo ponovno v našem voznem redu od aprila 2011 dalje. Novo uvedena lini-ja v Banjaluko ostaja tudi v zimskem voznem redu, pridru-žuje pa se ji še nova povezava v Marseille (Francija).

Zimski vozni red prinaša določene novosti, predvsem v zvezi s pogostostjo posameznih letov. Če želite več podrob-nih informacij, vas vabimo, da si jih ogledate na naši sple-tni strani www.adria-aiways.com.

Za vse, željne toplih krajev tudi pozimi, organiziramo v sodelovanju s turističnimi agencijami čarterske lete v pri-ljubljeni počitniški destinaciji v Egiptu – Sharm el Sheik in Hurgado ter na Tenerife v Španiji.

Summer and winter timetableAdria’s summer timetable, which will continue to operate until 30 October 2010, offers more than 220 flights a week from Ljubljana to more than 22 European destinations, plus flights within the EU connecting Frankfurt and Vienna, and, in coop-eration with Star Alliance partners, the possibility of travel worldwide.

In October 2010 we will successfully conclude the summer scheduled services to Athens, Barcelona, Madrid, Dublin and Manchester. These connections will start up again in the time-table operated from April 2011. The newly introduced service to Banja Luka is continued in the winter timetable, and is joined by a new service to Marseille in France.

The winter timetable brings with it some new features, mainly relating to the frequency of certain flights. For details please go to our website www.adria-aiways.com

Anyone in need of some winter warmth can book one of our charter flights, operated in partnership with travel agents, to the popular Egyptian holiday destinations of Sharm el Sheikh and Hurghada and to Tenerife in Spain.

Adria Airways Novosti/NewsFo

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Ujemi ugoden polet!Na vseh Adrijinih rednih linijah imamo ugodne ponudbe po načelu »Kupi prej, potuj ceneje«. Da bi našo ponudbo še bolj približali vašim potrebam, imamo na voljo znižane ponudbe tudi za potovanje med tednom.

Adria Airways Special Offers!Special offers are available on all of Adria’s scheduled services on a “buy early, fly for

less” basis. To make our services even more attractive, reduced fares are available

for travel during the week.

Posebna akcija “Vroči stol”Za vas smo pripravili posebno akcijsko prodajo 10.000 letalskih vozovnic za polete iz Ljubljane v različna evropska mesta po izjemno ugodni ceni 119 EUR. V ceno so vključene tudi vse takse, razen stroška rezervacije. Prodaja vozovnic bo potekala od 1. oktobra do 20. decembra za lete, ki jih boste lahko izkoristili do 26. marca 2011, razen v obdobju od 21. oktobra do 2. novembra 2010 in od 22. decembra do 15. januarja 2011. Več podrobnosti si lahko ogledate na naši sple-tni strani www.adria-airways.com.

“Hot seat” special offerWe have put together a special promotional offer of 10,000 air tickets for flights

from Ljubljana to various European cities at the amazingly good price of 119

euros. The price includes all taxes except booking fees. These tickets will be on

sale from 1 October to 20 December for flights that you can take up to 26 March

2011, except for the period from 21 October to 2 November 2010 and from 22

December to 15 January 2011. For further details, visit our website www.adria-

airways.com.

Adria Outlet in ostale posebne ponudbe Adrie Airways na spletu

V Adria Outletu vas čakajo priložnosti za nakup enosmernih vozovnic po posebno ugodnih cenah. Tiste, ki se radi prepuščate hitrim odločitvam in se zlahka pustite zape-ljati, bo prebudila pestra ponudba naših destinacij.

Ne spreglejte tudi ostalih posebnih ponudb in bodite stalno obveščeni, zato nas redno obiskujte na www.adria-airways.com.

Aktualne ponudbe/Latest Offers

V vsaki številki revije vas bomo seznanjali z najnovejšimi ugodnimi ponudbami, ki jih za vas

pripravljamo skozi vse leto. / We will keep you up to date with our latest special offers in each issue

of the magazine. Special offers are available throughout the year.

Adria Outlet and other Adria Airwaysspecial offers onlineThe Adria Outlet gives you the chance to buy one-way tickets at specially reduced pric-

es. If you are the sort of person who likes to decide on the spur of the moment and is

easily tempted, you will find plenty to interest you in our wide range of destinations.

Don’t miss our other special offers – keep up to date by visiting

www.adria-airways.com.

Delujem ekonomično,potujem poslovno!Za nakup letalske vozovnice vsaj sedem dni pred začetkom vašega potovanja vam za ceno potovanja v ekonomskem razredu nudimo polet v poslovnem. Ponudba velja za nakup vozovnice v ekonomskem razredu po najvišji ceni. Edina omejitev je nakup vozovnice najmanj sedem dni pred odhodom; spre-membe rezervacij so brezplačne.

Varčujem, a ne na račun kakovosti!Več o ponudbi preberite na www.adria-airways.com ali pa pokličite tel. št. 080 13 00.

Work economically, travel in business!When you buy a ticket at least seven days in advance, you can travel in business class for

the price of an economy-class fare. This offer applies to economy-class tickets purchased

at the highest rate. The only restriction is that you must purchase your ticket at least

seven days before you travel. Changes to the reservation can be made free of charge.

Savings, no change in quality!For more information visit www.adria-airways.com or call us on 080 13 00.

Adrijine E-noviceVabimo vas, da obiščete naše spletne strani www.adria-airways.com in se prija-vite na Adrijine E-novice. S tem boste enkrat mesečno obveščeni o naših novo-stih in posebnih ponudbah. E-novice bodo za vas vir dragocenih informacij in idej pri načrtovanju potovanja ali počitnic.

Naj bo obveščenost vaša prednost!

Adria E-newsWhy not visit our website www.adria-airways.com and subscribe to Adria’s

E-news service? Once a month you will receive updates on new services and

special offers – straight to your inbox! This means that E-news will be a valuable

source of information and ideas when you are planning a journey or holiday.

Let information be to your advantage!

Outlet _inflight:Layout 1 19.5.2008 14:15 Page 1

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Adria Airways Aktualne ponudbe/Latest Offers

Preživite hladne jesenske dniv toplih krajih!Vabimo vas, da poletite z nami in našimi pogodbenimi partnerji v tople kraje. Oglejte si nekaj privlačnih destinacij iz naše jesenske ponudbe:

Larnaca – od 394 EURKairo – od 477 EURNew York – od 658 EURHavana – od 700 EURMaldivi – od 835 EURMauritius – od 851 EURDominikanska republika – od 784 EURCancun – od 816 EURPhuket – od 717 EUR

Cene veljajo za povratna potovanja iz Ljubljane. Navedeni zneski vključujejo vse takse in ostale

pristojbine, RAZEN stroška rezervacije.

Spend the cold autumn days somewhere warmThis is your invitation to come fly with us and our partners to warmer locations. Check out some of the attractive destinations in our autumn schedule:

Larnaca from 394 eurosCairo from 477 eurosNew York from 658 eurosHavana from 700 eurosMaldives from 835 eurosMauritius from 851 eurosDominican Republic from 784 eurosCancun from 816 eurosPhuket from 717 euros

Prices are quoted for a return trip from Ljubljana. These prices include all taxes and other fees

EXCEPT booking fees.

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Adria Airways Aktualne ponudbe/Latest Offers

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Cene veljajo za povratna potovanja iz Ljubljane. Navedeni zneski vključujejo vse takse in ostale

pristojbine, RAZEN stroška rezervacije.

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EnotnoevropskoneboRast letalskega prometa zahteva boljše

varnostne standarde, povečana skrb za okolje

pa od letalskega prometa zmanjšanje emisij

toplogrednih plinov. 28.000 letov na dan, ki jih opravi

4.700 letal, je že skrajna obremenitev za letališča in

upravljavce zračnega prometa. Poleg tega še razdrobljenost

evropskega neba ovira optimalno izrabo razpoložljivih

kapacitet, letalskim družbam pa nalaga nepotrebno

finančno breme; v zračnem prostoru je tudi vedno več

omejitev, zaradi tega leti trajajo dalj časa, stroški so večji

in zamude bolj pogoste. Odgovor na vse to je pobuda

Evropske komisije za Enotno evropsko nebo (SES – Single

European Sky. O njej smo se pogovarjali z mag. Francem

Željkom Županičem, direktorjem Kontrole zračnega

prometa Slovenije, d.o.o.

Kako je prišlo do pobude za Enotno evropsko nebo in kakšni so njeni

cilji?

SES je ambiciozna pobuda za reformo arhitekture upravljanja zračnega prometa, ki jo je dala leta 1999 Evropska komisija. Evropska organizacija za varnost zračne plovbe Eurocontrol aktivno sodeluje tako pri zakono-dajnih kot tudi pri tehnoloških dimenzijah Enotnega evropskega neba. Glavni cilji te pobude so preoblikovanje evropskega zračnega prostora, ustvarjanje dodatnih kapacitet in povečanje celotne učinkovitosti upra-vljanja evropskega zračnega prometa.

Zakaj je evropsko nebo tako razdrobljeno?

Že leta predstavlja precejšnjo težavo neučinkovita mreža zračnih poti, ki so oblikovane tako, da večinoma potekajo med radionavigacijskimi sredstvi na zemlji, zato letala letijo po ukrivljenih oziroma lomljenih poteh. Zaradi tega je zračni prostor v Evropi razdrobljen na sektorje (62 sektorjev s 420 podsektorji). Skupni center za upravljanje evropskega zračnega prometa (t. i. CFMU – Central Flow Management Unit) v Bru-slju vsakemu letalu določi točen čas vzleta (CTOT – Calculated Take Off Time). Letalo lahko z odhodnega letališča poleti takrat, ko je zanj v vseh sektorjih, skozi katere leti, rezerviran prostor. Zato včasih letalo na po-polnoma praznem letališču čaka na dovoljenje za vzlet.

Kje v Evropi je promet najgostejši?

Največja koncentracija letalskega prometa je v osrednji zahodni Evro-pi, zato nastaja največ zamud ravno na velikih letališčih na tem obmo-čju: v Frankfurtu, Londonu in Parizu.

Na kakšen način bo Enotno evropsko nebo izboljšalo pretočnost prometa?

Način upravljanja zračnega prometa se od začetka, to je od sredine prejšnjega stoletja, pa do danes, ni bistveno spremenil. Prva in edina večja sprememba upravljanja je bila uvedba radarjev, kar je postopoma močno izboljšalo pretočnost prometa in s tem povezano tudi kapaciteto zračnega prostora nasploh. Tehnološki postopki in organizacija dela pa so ostali v svojem bistvu ves čas enaki. S sedanjim načinom razmišljanja zagotovo ni več mogoče doseči bistvenih sprememb v kvaliteti in kvan-titeti upravljanja zračnega prometa.

V zadnjem desetletju je prišlo do precejšnjega tehničnega napredka na področju navigacijskih naprav in naprav za nadzor zračnega prometa. Ta napredek je vredno raziskati, saj bi ob primerni uporabi oziroma izrabi ver-jetno lahko omogočil precejšen preskok v tehnologiji in organizaciji upra-vljanja zračnega prometa, ki lahko kaj hitro da tudi ekonomske učinke.

Pri Programu za raziskave o upravljanju zračnega prometa enotnega evropskega neba SESAR (Single European Sky Air Traffic Management – ATM – Research) sodeluje v 300 projektih v vrednosti 2.1 milijarde evrov

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{ Adria Airways }

1.400 inženirjev; zato lahko rečemo, da je to eden izmed najbolj ambici-oznih in inovativnih raziskovalnih in razvojnih projektov, ki jih je kdaj koli lansirala Evropska unija.

SESAR je tehnološki steber drugega zakonodajnega paketa Enotnega evropskega neba, ki ga je Evropska komisija sprejela 25. junija 2008. Ta steber se osredotoča na uvajanje boljše tehnologije. SESAR združuje vse zainteresirane strani v letalstvu, ki naj bi razvile in vodile sistem upra-vljanja zračnega prometa nove generacije. Njegov razvoj bo omogočil varno, trajnostno in stroškovno učinkovito upravljanje zračnega prome-ta, ki naj bi se do leta 2020 podvojil.

Evropska komisija je sprejela že drugi zakonodajni paket o Enotnem

evropskem nebu. Kaj nam prinašajo ti zakoni?

Cilj teh predlogov je izboljšati varnost ter zmanjšati stroške in število zamud. Konkretno bo to pomenilo manjšo porabo goriva, tako da bodo letalski prevozniki lahko zmanjšali letne emisije CO2 za 16 milijonov ton, letne stroške pa za dve do tri milijarde evrov. Od nje ne bodo imeli kori-sti le letalski potniki, ampak tudi izvajalci tovornega letalskega prometa, vojska in lastniki zasebnih letal. Paket bo ustvaril tudi nova delovna me-sta v letalstvu, evropska proizvodna industrija pa bo imela vodilno vlogo inovatorke na področju tehnologije za upravljanje zračnega prometa (tj. satelitskih sistemov – Galileo –, podatkovne povezave ipd.), zaradi česar bo konkurenčnejša na svetovnih trgih.

Zakonodaja tudi določa, da morajo do konca leta 2012 države članice izboljšati svoje delovanje, v prvi vrsti v obliki čezmejnega sodelovanja pri optimizaciji navigacijskih storitev v t. i. funkcionalnih blokih zračne-ga prostora.

Kaj so funkcionalni bloki zračnega prostora?

Leta 2004 je Evropska komisija z uredbo EC 551/04 [60] pod okriljem programa Enotnega evropskega neba določila funkcionalne bloke zrač-nega prostora, t.i. FAB-e (Functional Airspace Block). Države članice so se s tem zavezale, da bodo rekonfigurirale svoje zgornje dele zračnega prostora v funkcionalne bloke zračnega prostora z namenom doseganja največje možne kapacitete in učinkovitosti mreže upravljanja zračnega prometa. V zadnjih letih je bilo v Evropi lansiranih devet iniciativ FAB-ov. Slovenija skupaj s Češko, Slovaško, Madžarsko, Avstrijo, Hrvaško in BiH oblikuje funkcionalni blok zračenega prostora osrednje Evrope (FAB CE – FAB Central Europe). Vzpostavitev FAB-ov je ena izmed najbolj izstopajočih potez zakonodaje Enotnega evropskega neba in eden od glavnih sredstev za doseganje operativnih izboljšav uporabe zračnega prostora. Pristop »od spodaj navzgor«, ki operativi in njihovim strokov-njakom dopušča iniciativo o načinih kooperacije, bo verjetno najboljše zagotovilo za uspeh.

Kdaj lahko torej državljani pričakujemo Enotno evropsko nebo?

Ključnega pomena za Enotno evropsko nebo so funkcionalni bloki zračnega prostora, t.i. FAB-i, satelitsko-navigacijski sistem Galileo in pro-gram za raziskave o upravljanju zračnega prometa enotnega evropskega neba SESAR. Oblikovanje funkcionalnih blokov zračnega prostora naj bi se zaključilo do konca leta 2012.

Evropska unija in Evropska vesoljska agencija (ESA – The European

SingleEuropean SkyText: Adrijana Šelj

The growth in air transport demands improved safety standards, while increased concern for the environment demands reduced greenhouse-gas emissions from air trans-porters. The 28,000 flights made each day by 4,700 aircraft is

an extreme burden for airports and air traffic controllers. Furthermore, the fragmented nature of European skies hinders the optimum use of available capacities, and places an unnecessary financial burden on air-lines. Airspace is governed by increasing restrictions, and for this rea-son flights are taking longer, costs are higher and delays more common. The response to all this is an initiative from the European Commission: the Single European Sky (SES). We discussed this with Franc Željko Županič, director of Slovenia’s air-traffic control company.

How did the Single European Sky initiative come about, and what are

its aims?

SES is an ambitious initiative to reform the architecture of air-traffic control, launched by the European Commission in 1999. The European air-safety organisation Eurocontrol is actively cooperating in both the legislative and technological dimensions of the Single European Sky. The main objectives of this initiative are to transform European airspace, to create additional capacities and to increase the overall effi-ciency of European air-traffic control.

Space Agency) gradita evropski satelitsko-navigacijski sitem Galileo. To je prvi civilni globalni satelitski navigacijski sistem, ki bo združljiv z ameriškim GPS; po pričakovanjih bo omogočil celo vrsto novih aplikacij in bo performančno (točnost, kontinuiteta, razpoložljivost) boljši od GPS sistema. Delovati naj bi začel leta 2013. Vsa letala Enotnega evrop-skega neba bodo opremljena s novimi navigacijskimi sistemi. Celoten sistem bo deloval kot nekakšen letalski internet, kjer bodo vsem, ki sodelujejo v letalskih operacijah (letalske družbe, letališča, kontrole zrač-nega prometa), ves čas na voljo vsi podatki o letalih.

Faza uvajanja tehnoloških dosežkov SESAR-ja pa je predvidena med letoma 2014 in 2020.

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Why is European airspace so fragmented?

For years there have been considerable difficulties with the ineffi-cient network of air corridors, which are designed so that for the most part they run between radio-navigation devices on the ground, so air-craft fly along twisted or disjointed routes. This means that European airspace is fragmented into sectors (62 sectors with 420 subsectors). The joint European air-traffic control centre (the CFMU – Central Flow Management Unit) in Brussels assigns for each aircraft a precise take-off time (CTOT – Calculated Take Off Time). An aircraft can take off from the departure airport once there is space reserved for it in all the sectors through which it flies. Sometimes an aircraft can wait for this permission to take off at a completely empty airport.

Where in Europe is traffic heaviest?

The main concentration of air traffic is in the centre of Western Eu-rope, so the highest number of delays are right at the big airports in that area: in Frankfurt, London and Paris.

How will the Single European Sky improve the flow of air traffic?

From the beginning, that is since the middle of the last century and up to the present day, the method of air-traffic control has not changed significantly. The first and only major change to the system was the in-troduction of radars, which gradually brought radical improvements to the flow of traffic and to the associated capacity of airspace generally. The technological processes and organisation, however, have remained essentially the same. With the current way of thinking, it is certainly no longer possible to achieve any significant change in the quality and quantity of air-traffic control.

Over the past decade there have been considerable technical ad-vances in the area of navigational tools and equipment for controlling air traffic. These advances are worth exploring, since with appropriate use and exploitation they may probably facilitate a major leap in the technology and organisation of air-traffic control, which could produce economic effects quite rapidly.

In the SESAR programme (Single European Sky Air Traffic Manage-ment – ATM – Research) there are 1,400 engineers collaborating in 300 projects valued at EUR 2.1 billion, so we could say that this is one of the most ambitious and innovative research and development projects ever launched by the European Union.

SESAR is the technological pillar of the second legislative package of the Single European Sky, which the European Commission adopted on 25 June 2008. This pillar focuses on the introduction of improved tech-nology. SESAR brings together all interested parties in aviation that should be developing and managing the new generation of air-traffic control systems. Its development will enable the safe, sustainable and cost-effective management of air traffic, which should double by 2020.

The European Commission has adopted the second legislative packa-

ge for the Single European Sky. What will these laws involve?

The aim of these proposals is to improve safety, and to reduce costs and the number of delays. Specifically this will mean reduced fuel con-sumption, so that airlines can reduce their annual CO2 emissions by 16

million tonnes, and their annual costs by two to three billion euros. This will benefit not just air travellers, but also air cargo operators, the military and private aircraft owners. The package will also create new jobs in aviation, while the European manufacturing sector will play a leading part as an innovator in air-traffic control technology (i.e. satel-lite systems – Galileo – data links and so forth), and this will make it more competitive in world markets.

The legislation will also lay down that by the end of 2012 the Member States must improve their operations, first and foremost in the form of transboundary cooperation in optimising navigation services in what are called Functional Airspace Blocks.

What are Functional Airspace Blocks?

In 2004, through Regulation EC 551/04 [60] and under the aegis of the Single European Sky programme, the European Commission identi-fied Functional Airspace Blocks (FAB). In this way the Member States undertook to reconfigure the upper sections of their airspace into func-tional airspace blocks, with the aim of achieving the greatest possible capacity and efficiency of the air-traffic control network. In recent years nine FAB initiatives have been launched in Europe. Slovenia, the Czech Republic, Slovakia, Hungary, Austria, Croatia and Bosnia-Herzegovina make up the Central European block (FAB CE – FAB Central Europe). Es-tablishing the FABs has been one of the most outstanding features of Single European Sky legislation, and one of the main means of achiev-ing operational improvements in the use of airspace. The “bottom-up” approach, which allows operational systems and their experts to take the initiative on methods of cooperation, will probably be the best guarantee of success.

So when can citizens expect the Single European Sky?

The crucially important elements of the Single European Sky are the functional airspace blocks or FABs, the Galileo satellite-navigation sys-tem and the SESAR programme for researching air-traffic management in the Single European Sky. The formation of FABs should be concluded by the end of 2012.

The European Union and the ESA (European Space Agency) have launched the European satellite-navigation system known as Galileo. This is the first civil global satellite navigation system that will be compatible with the American GPS; expectations are that this will en-able a whole range of new applications and in performance terms (ac-curacy, continuity, availability) it will be better than the GPS system. It should start operating in 2013. All Single European Sky aircraft will be equipped with the new navigation systems. The entire system will operate as a kind of aviation Internet, where all data on aircraft will be available the whole time to all those involved in aviation operations (airlines, airports, air traffic control).

The introduction phase for SESAR technological advances is planned for 2014 to 2020. A

{ Umetnost & kultura }

Ljubljana, od 8. do 17. oktobra

16. Mednarodni festival sodobnih umetnosti –Mesto žensk Letošnja izdaja festivala Mesto žensk bo prečila umetnostne discipline na temo Med preteklostjo in prihodnostjo. Konceptualno ozadje se navezuje na istoimensko knjigo Hannah Arendt, ki je že v šestdesetih letih minulega stoletja izpostavila problematiko človeškega obstoja, saj je, oropan tradicionalnih, transcendental-nih, religioznih in moralnih meril, s katerimi premošča prepad med preteklostjo in prihodnostjo, izgubil usmeritev. Ustvarjalke in teoretičarke različnih pogle-dov, izkušenj, pristopov, ozadij in kulturnih okolij bodo tako razvnemale obče-stvo med 8. in 17. oktobrom z razmisleki, pa tudi z odgovori na vprašanja o raz-merjih med preteklostjo in prihodnostjo, v katera smo vpeti danes. Dogodki se bodo zvrstili na različnih lokacijah, kot so Cankarjev dom, Center urbane kulture Kino Šiška, Stara mestna elektrarna – Elektro Ljubljana, Galerija Škuc, Kinodvor, Gledališče Glej, Plesni teater Ljubljana, Grubarjeva palača, Tromostovje …

Mesto žensk 2010: Ditka Haberl, Marcella and The Forget me Nots, Hana Ma-khmalbaf, Andreja Rauch Podrzavnik, Lauren Newton & Joëlle Léandre, Helena Hunter, Eleanor Bauer, DakhaBrakha, Oreet Ashery, Perry Bard, Stefania Bona-telli, Katharina Hesse & Lara Day, Jessica Lagunas, Vesna Miličević, Nandipha Mntambo, Katarina Mootich, Maflohé Passedouet, Kira O'Reilly, Petra Reimann, Yvonne De Rosa, Judith Witteman, Meta Grgurevič, Miya Masaoka, Antonia Baehr, Nicole Beutler, Tanja Ostojić, Marina Gržinić & Aina Šmid, Ana Hoffner, Isa Rosenberger, Sophie Déraspe, Sonja Heiss, Mia Engberg, Shalimar Preuss, Charlotte Ginsborg, Birgitte Staermose, Manon de Boer, Stereo Total, HK 119, Guerrilla Girls on Tour, Nataša Živković, Katarina Stegnar, Denys Blacker.

Ljubljana, 8 to 17 October

16th International Festival of Contemporary Arts – City of WomenThis year’s City of Women festival will traverse artistic disciplines on the topic Be-

tween Past and Future. The conceptual background is tied to the book of the same

name by Hannah Arendt, who back in the 1960s sought to highlight the issue of hu-

man existence, which, robbed of the traditional, transcendental, religious and moral

qualities with which it might bridge the abyss between past and future, had lost its

way. Women involved in the arts and women theoreticians of varying views, experi-

ences, approaches, backgrounds and cultural environments will thus enliven the

community between 8 and 17 October with their take on subjects, as well as their

responses to questions about the relationship between the past and future in which

we are involved today. Events will take place at various locations, including Can-

karjev dom, the Kino Šiška Urban Culture Centre, the old city power station Elektro

Ljubljana, Galerija Škuc, Kinodvor, Gledališče Glej theatre, Plesni teater Ljubljana

dance theatre, Grubar Palace, the Three Bridges and more.

City of Women 2010: Ditka Haberl, Marcella and The Forget Me Nots, Hana

Makhmalbaf, Andreja Rauch Podrzavnik, Lauren Newton & Joëlle Léandre, Helena

Hunter, Eleanor Bauer, DakhaBrakha, Oreet Ashery, Perry Bard, Stefania Bonatelli,

Katharina Hesse & Lara Day, Jessica Lagunas, Vesna Miličević, Nandipha Mntambo,

Katarina Mootich, Maflohé Passedouet, Kira O'Reilly, Petra Reimann, Yvonne De

Rosa, Judith Witteman, Meta Grgurevič, Miya Masaoka, Antonia Baehr, Nicole Beut-

ler, Tanja Ostojić, Marina Gržinić & Aina Šmid, Ana Hoffner, Isa Rosenberger, Sophie

Déraspe, Sonja Heiss, Mia Engberg, Shalimar Preuss, Charlotte Ginsborg, Birgitte

Staermose, Manon de Boer, Stereo Total, HK 119, Guerrilla Girls on Tour, Nataša

Živković, Katarina Stegnar and Denys Blacker.

www.cityofwomen.org

Foto

: T. S

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Ljubljana, Kino Šiška, 3. in 7. november

Oregon in CaribouOregon je brez dvoma ena najboljših zasedb, katerih glasbena pokrajina se razte-za tako daleč okrog sveta. Že tri desetletja navdihujejo poslušalce, ki so jih imeli priložnost poslušati v eminentnih koncertnih prizoriščih, kot so Carniege Hall, Lincoln Center, berlinska filharmonična dvorana, dunajski Mozartsaal, pa tudi v jazz klubih in večjih festivalih po vseh celinah. Tokrat se jim bo na koncertnem seznamu pridružila tudi ljubljanska Kino Šiška, kjer bodo lahko džezovski navdu-šenci 3. novembra prisluhnili skupini prekaljenih glasbenikov.

Dan Snaith aka Caribou (ex Manitoba), eden najbolj samosvojih in cenjenih glasbenih producentov zadnjega desetletja, bo 9. novembra ponovno navduševal ljubljansko občinstvo – tokrat na krilih novega albuma Swim in z osveženo live zasedbo, v kateri si poleg Dana izmenjavajo bobne, elektronske inštrumente, kitare in vokale še Ryan Smith, John Schmersal in Brad Weber. Če mislite, da po-znate Caribou, še enkrat premislite. Kljub temu da so Caribou in njihova prejšnja inkarnacija Manitoba že navduševali na ljubljanskih odrih, vam bo zvok novega albuma Dana Snaitha z naslovom Swim razširil mavrični spekter glasbenih širjav in užitkov v magičen spoj elementov indie rocka, elektronske plesnosti, sonične psihadelije in vizualnih ekstravaganc.

Ljubljana, Kino Šiška, 3 and 7 November

Oregon and CaribouOregon are undoubtedly one of the best groups around, with a musical landscape that

covers so much of the world. For three decades now, they have been an inspiration to

audiences that have had the chance to hear them in major concert venues such as

Carnegie Hall, the Lincoln Center, Berlin Philharmonic Hall, Vienna’s Mozartsaal and in

jazz clubs and prominent festivals on all continents. This time around, on 3 November

it is the turn of Ljubljana’s Kino Šiška theatre to join the list of venues where jazz fans

can hear this group of highly polished musicians.

On 9 November Dan Snaith aka Caribou (ex Manitoba), one of the most singular

and valued music producers of the last decade, will once again be thrilling a Ljubljana

audience, on the tail of his new album Swim and with a revitalised live group, which

alongside Dan features the drums, electronic instruments, guitars and vocals of Ryan

Smith, John Schmersal and Brad Weber. If you think you know Caribou, think again.

Even though Caribou (and previous incarnation Manitoba) have already been raptur-

ously received at Ljubljana venues, the sound of the new album from Dan Snaith

and friends will expand the spectrum of your musical experience and enjoyment into

a magical fusion of elements of indie rock, electronic dance, sonic psychedelia and

visual extravagances.

www.kinosiska.si

Ljubljana, Kiberpipa, od 23. do 26. novembra

HAIP 10 // Nova naravaBienalni festival, ki tudi v svoji četrti ediciji ostaja družbeno aktualen, obravnava teme in izpostavlja problematike polja intermedijske umetnosti in najnovejših komunikacijskih tehnologij. Mednarodni festival HAIP predstavlja tako dela mla-dih obetavnih kot tudi uveljavljenih umetnikov, teoretikov, kreativnih inženirjev in skupin, ki so usmerjeni v vrhunske, na ravni praktične ali ideološke izbire in z odprtimi standardi podprte umetniške prakse. Zato se bodo na festivalu predstavili posamezniki in skupine, ki s svojim delovanjem kreativno in kritično obravnavajo družbeni razvoj in napredek. S tem fokusom festival HAIP podpira raziskovanje in ustvarjanje tistih sodobnih umetniško-znanstvenih praks, ki pre-segajo meje posameznih zvrsti in vsebin. O tem priča tudi ime festivala »HAIP«, ki je kratica za »Hack-Act-Interact-Progress«.

Festival, ki ga organizira Kiberpipa, multimedijski center, obsega predavanja, delavnice, razstavo umetniških del, performanse in klubski večer.

Ljubljana, Kiberpipa, 23 to 26 November

HAIP 10 // New NatureThis biennial festival, which is now in its fourth edition, remains socially relevant, ad-

dressing topics and highlighting issues in the field of intermedia art and the latest

communication technologies. The international HAIP festival presents the work of both

promising newcomers and established artists, with theoreticians, creative engineers

and groups focused on leading artistic practice supported by open standards on the

level of practical or ideological choice. This festival will present individuals and groups

whose work creatively and critically deals with social development and progress. With

this focus, the HAIP festival supports the research and creativity of those modern artis-

tic and scientific practices that cross the boundaries of individual genres and contexts.

This is something also indicated by the festival’s name “HAIP”, for “Hack-Act-Interact-

Progress”.

The festival involves lectures, workshops, an art exhibition, performances and a

club evening and is organised by the Kiberpipa multimedia centre.

www.haip.cc

{ Art & Culture }

Marko ModicSežana, Kosovelov dom, do konca novembra

KRASMOSISLjubljana, Atelje Mikado, od 26. oktobra do konca novembra

AbstraktaMarka Modica poznamo po fotografijah, v katerih skuša prodreti v stvarnost in materijo in gledalcu prikazati nov svet, ki je, a vendarle tudi ni čista likovna abstrakcija.

Modic je začel razstavljati v osemdesetih letih; prvo samostojno razstavo je imel leta 1984 v Cankarjevem domu, tej pa je sledilo še več kot 25 razstav tako doma kot v tujini. Razstavljal je na primer v Italiji, na Škotskem in v Nemčiji. Vrsto let je dejaven tudi na področju performansa, TV in videa, s katerimi po-gosto nadgradi svoje fotografske razstave. Fotografski in umetniški krogi po svetu pripisujejo Modicu posebno mesto predvsem zaradi izvirnosti in barvi-tosti umetnin, kar je vidno tudi na obeh razstavah.

Pesnik Iztok Osojnik je za njegov ciklus Krasmosis med drugim zapisal, da se nam zaradi skrivnostnih, nepričakovanih detajlov, panoramskih posnetkov ali značilnih Modičevih montaž razpreta pred očmi silovita, globoka barvitost in raznolikost ter povsem nova realnost, ki se ne kaže samo v celoviti prekrvljenosti neba, zemlje, podzemlja ter bogatih sledi, ki jih je ustvarila tisočletna tektonika kulture in narave, temveč pomeni izbruh silovitega in nepričakovanega ume-tniškega mojstrstva, s katerim se na drugačen način srečamo že v poeziji Srečka Kosovela.

Marko ModicSežana, Kosovelov dom, until the end of November

KRASMOSISLjubljana, Atelje Mikado, 26 October to the end of November

AbstraktaMarko Modic is known for his photography, in which he attempts to penetrate

through to reality and matter, and to present to the viewer a new world that is,

nevertheless, not pure artistic abstraction.

Modic started exhibiting in the 80s; he gave his first solo exhibition in 1984 in

Cankarjev dom, and this has been followed by more than 25 exhibitions at home

and abroad. He has exhibited, for instance, in Italy, Scotland and Germany. For a

number of years he has also been actively involved in performance, TV and video,

which he often uses to enhance his photographic exhibitions. Photographic and

artistic circles around the world ascribe Modic a special place, especially owing to

the originality and colourfulness of his work, which are in evidence at both exhibi-

tions.

The poet Iztok Osojnik wrote of his cycle Krasmosis that the mysterious, unex-

pected details, panorama shots or typical Modic montages reveal to us a power-

ful, intense colourfulness and diversity, as well as an entirely new reality, which

is not just seen in the comprehensively enlivened sky, earth, underground and in

the rich traces created by the millennial tectonics of culture and nature, but also

signifies an outburst of forceful and unexpected artistic mastery, such as we may

encounter, in a different way, in the poetry of Srečko Kosovel.

www.ljudmila.org/modic

Ljubljana, Celje, Koper, Ptuj, od 27. novembra do 5. decembra

26. festival lezbičnega in gejevskega filmaNajstarejši tovrstni evropski festival z osrednjim programom v ljubljanski Kinoteki in ponovitvami v drugih mestih prinaša najkvalitetnejše filme zadnjih dveh let. V uradnem programu se bo zvrstilo 25 celovečernih igranih in dokumentarnih filmov, ob njih pa še prav toliko kratkih filmov. Organizatorji so pripravili poseben vpogled v diskriminacijo na Kitajskem in v afriških državah Kamerunu in Ugandi. Kot se je lani festival poklonil slovenskemu režiserju Boštjanu Hladniku, se bo letos velikanoma sovjetskega filma Sergeju Eisensteinu in Sergeju Paradžanovu. 1. decembra, na svetovni dan boja proti aidsu, pa bodo zavrteli dokumentarni film o filmskem zvezdniku Rocku Hudsonu, ki je bil pred 25 leti ena prvih svetovno znanih žrtev te bolezni. Festival bodo popestrili tudi tuji gostje in številni pogovori ob filmih. Roc

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{ Umetnost & kultura }

Ljubljana, Maribor, od 10. do 21. novembra

21. ljubljanski mednarodni filmski festival

LIFFeMed filmskimi navdušenci zelo priljubljen in težko pričakovan festival obišče v zadnjih letih okoli 50.000 obiskovalcev, ki si želijo kakovostnih filmskih vsebin, z zanimanjem pa sodelujejo tudi v pogovorih s filmskimi ustvarjalci.

Pri odločanju o tem, kateri film si bodo ogledali, bodo obiskovalcem tudi letos v pomoč uveljavljeni programski sklopi. Perspektive so uraden tekmo-valni sklop mladih režiserjev za Mobitelovo nagra-do vodomec. V okviru Predpremier si bodo obisko-valci lahko ogledali filmske vrhunce, odkupljene za predvajanje po Sloveniji. Kralji in kraljice nudijo dela prepoznavnih in nagrajevanih mojstrov so-dobnega filma, Panorama svetovnega filma pa festivalske favorite s petih celin. Ekstravaganca, t. i. polnočni kino, prinaša raznovrstne, drznejše in žgečkljive vsebine. V sklopu Proti vetru so na ogled filmi avtorjev, ki z radikalnejšo vizijo kljubujejo prevladujočim smernicam.

Fokus predstavlja vpogled v eno ali več »vročih« nacionalnih kinematografij; letos t. i. berlinska šola ali novi nemški film. Retrospektiva nudi obi-skovalcem celovit pregled del pomembnega sodob-nega cineasta; letos Simfonije velemesta – filmi, v katerih imajo (vele)mesta posebej vidno vlogo in so trdno stkana s pripovedjo ali tematiko filma: Berlin, London, Pariz, Rim, Los Angeles, São Paulo, Moskva, Mumbaj, Ciudad de Mexico, Kjoto …

V sklopu Posvečeno je obiskovalcem na voljo kratka, zgoščena predstavitev festivalsko in medij-sko poudarjenega avtorja, letos cineastov Palestin-ca Elia Suleimana in Filipinca Brillanta Mendoze.

Na 21. LIFFe so vabljeni tudi otroci in mladi, ki bodo našli zanimive filme v Programu za otroke in mladino.

V Ljubljani bo 21. LIFFe potekal v Linhartovi in Kosovelovi dvorani, Klubu Lili Novy ter v Drugem preddverju Cankarjevega doma, Kinoklubu Vič, Slo-venski kinoteki, Kinodvoru in Kinu Šiška. Kino Ši-ška je letos novo prizorišče, s katerim se film vrača v nekoč priljubljeno shajališče filmskih ljubiteljev. 21. LIFFe bo tudi letos gostoval v Koloseju Maribor.

Ljubljana, Maribor, 10 to 21 November

21st Ljubljana International Film Festival LIFFeIn recent years this film festival, which is so popular

and eagerly awaited among film enthusiasts, has

been attended by around 50,000 visitors, who seek

out high-quality film and are also eager to participate

in talks with film-makers.

Help in deciding what film to watch is once more

available to this year’s visitors in the form of estab-

lished programme sections. Promising talent can be

found in the official competition section for young

directors competing for the Mobitel vodomec (king-

fisher) prize. As part of the Prepremiere section, audi-

ences will be able to see film masterpieces bought for

screening in Slovenia. Kings and Queens showcases

the work of recognised and acclaimed masters of

modern cinema, while Panorama of World Film shows

festival favourites from five continents. The Extrava-

ganza midnight-cinema section offers a diversity of

more audacious and prickly content. The Towards the

Wind section auteur films featuring more radical vi-

sions that counter the predominant trends.

Meanwhile, Focus offers an insight into one or

more “hot” national cinema traditions; this year

features what is known as the Berlin School or New

German Film. The Retrospective offers visitors a

comprehensive overview of works by major modern

film-makers; this year features Symphonies of Big

Cities – films in which metropolises have an espe-

cially prominent part and are deeply woven into the

narrative or theme of the film: Berlin, London, Paris,

Rome, Los Angeles, São Paulo, Moscow, Mumbai,

Mexico City, Kyoto and more.

The Dedicated section offers visitors a brief,

condensed presentation of film-makers that are

prominent in festivals and the media, and this year

features the Palestinian Elia Suleiman and Filipino

Brillante Mendoza.

The 21st LIFFe also offers attractions for children

and young people, who will find interesting material

in the Children and Youth Programme.

Ljubljana’s 21st LIFFe will take place in the Linhart

and Kosovel halls, the Lili Novy Club and the Second

Foyer of Cankarjev dom, in Kinoklub Vič, Slovenska

kinoteka, Kinodvor and Kino Šiška. This year Kino

Šiška is a new venue facilitating the return of film

to a once popular gathering spot for film lovers. The

21st LIFFe will this year again also include Kolosej

Maribor.

www.liffe.si

Ljubljana, Celje, Koper, Ptuj, 27 November to 5 December

26th Festival of Lesbian and Gay FilmThe oldest such European festival, with a main programme in Ljubljana’s Kinoteka (Cinematheque) and repeat shows in

other cities, presents the best quality films of the past two years. The official programme comprises 25 full-length feature

films and documentaries, plus the same number of short films. The organisers have prepared a special look at discrimina-

tion in China and in two African countries: Cameroon and Uganda. Just as last year’s festival paid homage to Slovenian

director Boštjan Hladnik, this year it will pay its respects to two giants of Soviet cinema: Sergei Eisenstein and Sergei Para-

janov. On 1 December, World Aids Day, a documentary film will be shown on film star Rock Hudson, who was one of the

first world-famous victims of the disease 25 years ago. The festival will also be spiced up by guests from elsewhere and

numerous talks to accompany the films.

www.ljudmila.org/siqrd/fglfSer

gej P

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{ Art & Culture }

Žalec, Ekomuzej

Stalna zbirkaEkomuzej hmeljarstva in pivovarstva Slovenije, ki je odprl vrata konec lanskega novembra, je zago-tovo pridobitev celotne Spodnje Savinjske doline. Tako so zgodbe o življenju hmeljarjev nekoč in danes ter predmeti, povezani s hmeljarstvom, po-novno zaživeli.

Osrednji muzej, ki je v prostorih bivše sušilni-ce hmelja v Žalcu, je urejen v petih nadstopjih. Obiskovalec spoznava oblačila, običaje in načine preživljanja hmeljarjev ter številne predmete za predelavo in obdelavo hmelja. Zbirka je nastala s pomočjo družin, ki živijo s hmeljem, ter iz njihove dokumentacije, fotografij in spominov. In prav zato, ker je muzej vpet v okolje in povezan z ljudmi, ki živijo v okolici, ga tudi imenujejo ekomuzej. V stavbi so tudi učilnice, trgovinica in degustacij-ski prostor. Predstavljajo pa se tudi obe največji slovenski pivovarni in Inštitut za hmeljarstvo in pivovarstvo Slovenije. Na ogled sta še dva sušilna jaška, ki prikazujeta star način sušenja velikih ko-ličin hmelja.

Žalec, Ekomuzej

Permanent CollectionThe Slovenian Ecomuseum of Hop-farming and Brew-

ing [Ekomuzej hmeljarstva in pivovarstva], which

opened at the end of last November, is undoubtedly

an asset for the entire Lower Savinja Valley. It has

brought back to life stories of the life of hop-growers

and items associated with hop growing.

The main museum, which is housed in a former

hop-drying shed in Žalec, has been arranged on five

floors. Visitors can learn about the clothes, customs

and livelihoods of hop-growers and the numerous

items for producing and processing hops. The col-

lection was created through the help of families in-

volved with hops and their documents, photographs

and memories. Since the museum is integrated into

the environment and linked to people who live locally,

it is called an ecomuseum. The building also houses

classrooms, a small shop and a tasting room, along

with displays by the two biggest Slovenian breweries

and the Slovenian Institute of Hops and Brewing.

Visitors can also view two drying pits, which show the

old method of drying large quantities of hops.

www.ekomuzej-hmelj.si

Peking, galerija Art Channel, od 20. novembra

Samostojna razstava Leona ZakrajškaV Pekingu bo predstavljen najnovejši opus grafika, specialista in slikarja Leona Zakrajška.

Specifika njegovega likovnega izraza je v združevanju tradicionalne azijske ustvarjalnosti in zahodnoe-vropske modernistične linije. Zavezanost starim grafičnim tehnikam Kitajske in Japonske, predvsem su-miju, je od umetnika zahtevala dolg trening in potrpežljivost. Po končani Akademiji za likovno umetnost Univerze v Ljubljani se je likovno izpopolnjeval na Centre International de Recerca Grafica-Callela v Španiji, na Tama Art University v Tokiu ter v ateljejih za grafiko Hanga Kobo-Seya-ku (mentor Harumi Sonoyama) in pri mojstrih lesoreza (Fumio Kitaoka, Yuki Rei, Seiko Kawachi).

Leon Zakrajšek je razstavljal na Kitajskem že v sklopu pekinškega bienala za časa olimpijskih iger 2008. Leta 2009 je bil povabljen kot gostujoči umetnik v enega najpomembnejših grafičnih centrov na Kitajskem, Guan-lan Original Print Base.

V decembru se bo umetnik s samostojno razstavo predstavil v ljubljanski galeriji Atelje Galerija, ki Zakraj-ška zastopa v Sloveniji.

Beijing, gallery Art Channel, from 20 November

Solo exhibition of Leon ZakrajšekThe latest collection of works by graphic artist, specialist and painter Leon Zakrajšek will be showcased in Beijing.

The specific quality of his artistic expression lies in a fusion of traditional Asian art and Western European mod-

ernist lines. His commitment to the ancient graphic techniques of China and Japan, in particular to sumi-e, have

demanded a long period of training and great patience from the artist. After graduating from the Academy of Fine

Arts at Ljubljana University, he enhanced his artistic education at the Centre Internacional de Recerca Grafica in

Calella, Spain, at Tama Art University in Tokyo, in the Hanga Kobo-Seya-ku graphic studio (under Harumi Sonoya-

ma) and with woodcut masters (Fumio Kitaoka, Yuki Rei and Seiko Kawachi).

Zakrajšek previously exhibited his work in China as part of the Beijing Biennial during the 2008 Olympic

Games. In 2009 he was invited as a guest artist to one of the major graphic-art centres in China: Guanlan Original

Print Base.

In December the artist will stage a solo exhibition at the Ljubljana gallery Atelje Galerija, which represents

Zakrajšek in Slovenia.

www.ateljegalerija.si

Reprodukcije umetnin / Photographs of Artworks: Aleksander Lilik, Umetniško delo / Art Work: Sumi na papir / Sumi on Paper, 49 X 35 cm, 2009( 16 )

{ Umetnost & kultura }

{ Art & Culture }

Pariz, od 18. do 21. novembra

Paris PhotoEden izmed najpomembnejših evropskih sejmov za fotografsko umetnost Paris Photo je letos zbral 100 galerij in založnikov, ki bodo predstavili najboljše fotografije iz sveta vse od 19. stol. pa do danes. Posebna pozornost je tokrat na-menjena fotografiji centralne Evrope (Madžarska, Poljska, Slovaška, Slovenija, Češka).

Galerija Fotografija iz Ljubljane predstavlja v okviru sejemske razstave uveljavljene slovenske fotografe: Igorja Andjelića, Borisa Gaberščika, Stojana Kerblerja, Klavdija Slubana, Janeta Štravsa, fotografski projekt Romana Ura-njeka (IRWIN) v sodelovanju s slovenskimi fotografi One cross a day ter mlajša fotografa Tanjo Verlak in Uroša Abrama; zastopala pa bo Uroša Abrama, Igorja Andjelića, Jako Babnika, Rogerja Ballena, Aleša Bravničarja, Borisa Gaberščika, Wilhelma Heiligerja, Yenny Huber, Stojana Kerblerja, Matjaža Krivica, Diano Lui, Evo Petrič, Tihomirja Pinterja, Hermana Pivka, Boštjana Puclja, Janeza Pu-kšiča, Bojana Radoviča, Eura Rotellija, Angeliko Sher, Klavdija Slubana, Janeta Štravsa, Metko Vergnion in Tanjo Verlak.

Paris, 18 to 21 November

Paris Photo One of the leading European fairs for photographic art, Paris Photo, this year gath-

ers together 100 galleries and publishers, who will present the best photographs

of the world from the 19th century to the present day. This year special attention

is focused on the photography of Central Europe (Hungary, Poland, Slovakia, Slov-

enia and the Czech Republic).

The fair exhibition presented by Galerija Fotografija of Ljubljana showcases the

acclaimed Slovenian photographers Igor Andjelić, Boris Gaberščik, Stojan Kerbler,

Klavdij Sluban, Jane Štravs, the photographic project by Roman Uranjek (IRWIN) in

partnership with Slovenian photographers entitled One cross a day and the young

photographers Tanja Verlak and Uroš Abram; it will also represent Uroš Abram,

Igor Andjelić, Jaka Babnik, Roger Ballen, Aleš Bravničar, Boris Gaberščik, Wilhelm

Heiliger, Yenny Huber, Stojan Kerbler, Matjaž Krivic, Diana Lui, Eva Petrič, Tihomir

Pinter, Herman Pivk, Boštjan Pucelj, Janez Pukšič, Bojan Radovič, Euro Rotelli, An-

gelika Sher, Klavdij Sluban, Jane Štravs, Metka Vergnion and Tanja Verlak.

Uroš Abram, iz serije/from the series Made in Me, Copyright Uroš Abram,Dovoljenje za uporabo/Permission for use: Galerija Fotografija

Jane Štravs: Alan Hranitelj, Copyright Jane Štravs,Dovoljenje za uporabo/Permission for use: Galerija Fotografija

Igor Andjelić, iz serije/from the series Casa come me, Copyright Igor Andjelić,Dovoljenje za uporabo/Permission for use: Galerija Fotografija

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Stockholm, FotografiskaModa! Do 2. januarja 2011 Več kot 200 del, med katerimi je ve-liko vintage fotografij, je ustvarilo 50 svetovno priznanih fotografov, zaradi česar je Moda! ena najbolj celovitih razstav modne fotografije v Evropi. Gre za veličastno odisejado skozi vi-zualni svet modne fotografije. Obsega vse, od eksperimentalnih kompozicij Mana Raya iz dvajsetih let prejšnjega stoletja do ikon, kakršni sta Irving Penn in Richard Avedon, pa do kulta supermanekenk v devetdesetih letih, ki sta ga gojila Stevena Meisel in Peter Lindbergh. Sodobno modno fotografijo predstavljata Steven Klein in Mikael Jansson, če omenimo le nekaj ustvar-jalcev.

Varšava, ZachetaJakub Julian Ziolkowski, HokainaDo 28. novembraJakub Julian Ziolkowski je eden prvih slikarjev mlajše generacije umetnikov, ki je obrnil hrbet tako pop banalnosti

Stockholm, FotografiskaFashion! Till 2 January 2011 Over 200 photographs, including a large number of vintage prints, cre-ated by 50 world-renowned photogra-phers, make Fashion! one of the most comprehensive exhibitions to date of fashion photography in Europe. It is a spectacular odyssey through fashion photography’s visual world, from Man Ray’s experimental compositions from the 1920s, through icons such as Irving Penn and Richard Avedon, to Steven Meisel and Peter Lindbergh’s cult around supermodels during the 1990s. Today’s fashion photography is represented by Steven Klein and Mi-kael Jansson, to name only a few.

Warsaw, ZachetaJakub Julian Ziolkowski, HokainaTill 28 NovemberJakub Julian Ziolkowski is one of the first painters of the young generation of artists to turn his back on pop-ba-nality, as well as on historical painting. Instead, he seeks inspiration in the traditions of painting, such as surreal-ism. The relations between the reality

kot zgodovinskemu slikanju. Namesto tega išče navdih v slikarski tradiciji, natančneje v nadrealizmu. Odnos med stvarnostjo slike in tistim, kar tvori to stvarnost, je ključnega pomena za njegovo umetnost. Posamezni motivi in elementi so deli kaotičnega sveta, ki pa je – protislovno – urejen.

Amsterdam, Huis MarseilleDayanita SinghDo 21. novembraIndijska fotografinja Dayanita Singh (New Delhi, 1961) je mednarodno pri-znana zaradi izjemne izraznosti in po-etičnosti svojih fotografij, na katerih se svetloba in vizualna konstrukcija tako skrbno dopolnjujeta, da ustvarjata komentar družbe in umetničine lastne preteklosti. Dayanita Singh se je šolala za fotoreporterko na Mednarodnem centru za fotografijo (ICP) v New Yorku, ki ga je obiskovala po študiju grafične-ga oblikovanja na Nacionalnem inšti-tutu za oblikovanje v Ahmedabadu. Po vrnitvi v Indijo v poznih osemdesetih letih prejšnjega stoletja je začela za

of a painting and what constitutes that reality are crucial for his art. Individual motifs and elements are parts of a chaotic world that, paradoxically, is ordered.

Amsterdam, Huis MarseilleDayanita SinghTill 21 NovemberIndian photographer Dayanita Singh (New Delhi, 1961) is internationally recognised for the highly expressive and poetic quality of her photographs, with light and visual construction so meticulously composed that they result in a comment on society and on her own past. Dayanita Singh was trained as a photojournalist at New York's International Center of Photog-raphy (ICP), which she attended after studying graphic design at the Na-tional Institute of Design in Ahmeda-bad. On her return to India in the late 1980s, Singh began photographing evidence of social injustice for news-papers and magazines.

časopise in revije fotografirati dokaze družbenih krivic.

Zürich, Kunsthaus ZürichPicassoOd 15. oktobra 2010 do 30. januarja 2011Čisto prva muzejska retrospektiva Pi-cassovih del je bila postavljena v Züri-chu od septembra do novembra 1932 v Kunsthausu, njen kustos pa je bil umetnik sam. To je bil pomenljiv trenu-tek v zgodovini moderne umetnosti. Razstava leta 2010 bo vključevala približno 70 glavnih del, ki jih je ume-tnik izbral skoraj pred osemdesetimi leti, saj želi poustvariti njegovo retro-spektivno predstavitev lastnega opu-sa. Spremljal jo bo katalog z orisom zgodovine razstave, njenega vpliva na sprejemanje Picassovega dela in polemike tistega časa ter njenega vzorčnega pomena za odnose med umetniki, trgovci z umetninami, muzeji in kulturnimi institucijami od začetka 20. stoletja do danes.

Zurich, Kunsthaus ZürichPicasso15 October 2010-30 January 2011Pablo Picasso’s first museum retro-spective was mounted in Zurich, from September to November 1932 at the Kunsthaus and curated by the artist himself. It was a signal moment in the history of modern art. The 2010 exhibition will feature some 70 of the major works chosen by the artist in 1932 as it seeks to reconstruct his retrospective pres-entation of his own oeuvre. It will be accompanied by a catalogue that traces the history of the exhibition, its influence on Picasso’s reception and the controversy surrounding him at the time, and its exemplary significance for the relationship among artists, art dealers, museums and cultural institu-tions from the early 20th century to the present day.

Bydgoszcz The International Film Festival of the Art of Cinematography Plus Camer-image 201027 November–4 DecemberThe International Film Festival of the

BydgoszczPlus Camerimage 2010Od 27. novembra do 4. decembraMednarodni filmski festival umetnosti kinematografije Plus Camerimage je največji in najprestižnejši festival, po-svečen umetnosti kinematografije in njenim ustvarjalcem. Nekonvencional-ni format festivala, ki filme nagrajuje v skladu z njihovo vizualno, estetsko in tehnično vrednostjo, se je izkazal kot alternativa tradicionalnim filmskim festivalom. Festival s številnimi seminarji in delavnicami, ki potekajo v času nje-govega trajanja, vodijo pa jih največji sodobni snemalci, režiserji in drugi filmski ustvarjalci, priteguje mnoge profesionalne filmarje in študente film-skih šol. Sestavni del in zelo privlačen vidik festivala so tudi najrazličnejše predstavitve sodobne filmske opreme ter najnovejših produkcijskih in popro-dukcijskih tehnologij.

Art of Cinematography Plus Camer-image is the greatest and most well recognised festival dedicated to the art of cinematography and its creators – cinematographers. The unconven-tional format of the Festival, which awards films according to their visual, aesthetic and technical values, has proved a valid alternative to traditional film festivals. Numerous professional film-makers and film-school students from around the world are attracted to the festival by the wide range of seminars and workshops organised, led by the great-est modern cinematographers, direc-tors and other film-makers. Various presentations of modern film equip-ment and of the latest production and post-production technologies are also an inherent and very attractive aspect of the Festival.

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{ Umetnost & kultura / Art & Culture }

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Besedilo: Neva Zajc Fotografije: Borut Krajnc

Boris Pahor, slovenski pisatelj iz Trsta, šteje že 97 let. Kraške korenine so mu dale neverjetno trdnost in

vztrajnost, tako da pri častitljivi starosti še zmeraj zmore toliko energije, da krajša niti daljša potovanja zanj niso

ovira. V zadnjih nekaj letih je prepotoval več Evrope kot prej v svojih najbolj dejavnih časih. Na poteh, kamor

spremlja svoje knjige in razlaga svoj credo, pa žanje priznanja in doživlja sprejem, kakršnega si ni nikoli predstavljal.

{ Adrijin potnik }

kot ga nisem videl prej, razen Pariza, in nekaj severne Francije, saj takrat nisem čutil potrebe po ogledih, predvsem pa ni bilo časa za to. Pred leti sem imel doma veliko dela z revijo Zaliv, ki sem jo urejal, kasneje sem moral s pisanjem nadomeščati zamujena leta, tako da so bili obiski in nastopi omejeni na dan ali dva. To so še zmeraj zgolj delovna potovanja.

Ves čas omenjate Francijo in Pariz. Kaj vas tako veže nanju?

Na Francijo me veže občutek, da je to zame še zmeraj kulturna prestol-nica. Poleg tega je tu še moja naklonjenost francoskemu jeziku, v kate-rem sem doma. Na Francijo sem se navezal že v mladih letih, ko sem v Padovi naredil izpite iz književnosti, spomnim se, da je bil to Baudelaire. Kasneje sem si s francoščino rešil življenje v taborišču, kjer sem dobil nalogo prevajalca. Bil sem v francoskem taborišču Natzweiler Struthof, pa v Dachauu, v Harzungenu, na koncu v Bergen Belsnu, in ko ni bilo več žice, sem pobegnil skupaj z dvema Francozoma, prišel v Pariz, zatem v sanatorij, kjer sem okreval in tam izpopolnil svojo francoščino z branjem klasikov. Ko so začeli prevajati moje knjige, sem imel stike z založniki in mediji, ki so mi bili naklonjeni, in sem se v resnici počutil domače.

Pa še ljubezen ste našli tam, v sanatoriju, mar ne?

Ja, ljubezen mi je rešila življenje. To je druga pomembna stvar, kajti začel sem verjeti v življenje. Fizično sem bil že rešen, moralno pa je bil moj položaj bolj žalosten. Številni bivši deportiranci so po vojni naredili samomor, veliko jih je bilo, ki niso našli poti domov, saj se niso znali vključiti v življenje zaradi brezbrižnosti ljudi, zaradi mnogih banalnosti. Podobno sem doživljal tudi jaz napetosti med dvema velesilama, ZDA in Sovjetsko zvezo. Prav v Trstu in v Berlinu sta se spopadala dva svetova. Nič kaj navdušen nisem bil nad povratkom domov, čeprav mi je bilo žal

Nenavadno veliko potujete. Očitno ste v dobri formi. Letos ste bili med

drugim kar dvakrat v Franciji, nazadnje v Parizu, pa na Dunaju in v Bar-

celoni, zdaj se odpravljate v Berlin in do konca leta to ni vse. Kaj vas

najbolj motivira, da se odločite za pot?

Odločim se, ko me kdo kam povabi. Sam ne delam načrtov in ne potu-jem po svoji volji. Spomnim se, da sva z ženo samo enkrat odpotovala za teden dni na dopust v Grčijo. V tistih časih nisva imela želje po odkrivanju sveta, pa tudi denarja za potovanja ne, saj sva vse prihranke vložila v hišo. Profesorska plača je bila »mizerija«. Po svetu mojih knjig niso prodajali tako dobro, da bi imel od njih kaj več. V Italiji je v zadnjih letih malo bolje, natisnili so moja dela v večji nakladi, a kaj ko se je to zgodilo pozno, pre-pozno, saj moje žene ni več, da bi jo lahko kam odpeljal.

Zdaj grem na pot zaradi knjig, ko me povabijo založbe. Lepo mi je, ko me vabijo v Pariz, saj obvladam jezik in vem, da so me Francozi sprejeli za svojega. Drugod, nazadnje v Barceloni, kjer so predstavili moj španski prevod Nekropole, si pomagam z italijanščino ali pa potrebujem preva-jalca. Podobno je v nemško govorečih državah. Nemščino obvladam le za silo; nazadnje sem govoril nemško leta 1945. Najraje grem tja, kjer lah-ko sam govorim o svojih knjigah.

O svojih knjigah, ki izhajajo, imate veliko povedati.

Lani je bilo prevedenih deset knjig v nemščino, to je ves nemško go-voreči trg, Avstrija, Nemčija in Švica, kjer me poznajo tudi po francoskih izdajah. Tam, kjer ima Francija svoje knjige, me poznajo. V Kanado me še niso povabili, čeprav bi šel tja z veseljem.

Poti po Italiji so drugačne kot po svetu …

Zanimive so. Običajno mesta, kamor me povabijo, sploh ne vidim,

Pisatelj Boris Pahorin njegove poti

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Zelo radi imate mlade, na svojih poteh se še najraje odločate za sreča-

nja z njimi.

Res je. Mladi niso pokvarjeni, kot pravijo mediji, za njihove zablode je kriva družba, ki jim ne daje pravega zgleda. Tudi zato, ker ni obračunala s svojo zgodovino, kar je prva stvar, ki bi jo morala narediti, da lahko gradi prihodnost na pravih temeljih. Preveč je prikritih stvari. V Italiji o zgo-dovini fašizma v naših krajih ne vedo nič.

Jim govorite o tem ?

Ja, o tem; in zanimivo je, da me poslušajo in mi pritrjujejo.

Katero svojo knjigo bi priporočili za branje mladim?

Priporočil bi jim novele, kjer pišem o našem doživetju fašizma, knjigo Trg Oberdan, ki je zdaj prevedena v nemščino in izide v italijanščini, pa Nekropolo, kjer gre za taborišča, kjer smo bili rdeči trikotniki, antinaci-sti vseh evropskih dežel, od Rusov in Poljakov do Norvežanov, v tabo-riščih, kjer smo morali delati za Nemčijo in kjer so mnogi umrli, ker so preprosto shirali.

Kaj pa knjiga o ljubezni?

Če gre za ljubezensko zgodbo, je to vsekakor Spopad s pomladjo, kjer ljubezen prepriča taboriščnika v vero v življenje. O ljubezni govorijo tudi druge knjige. V Italiji zdaj lahko berejo roman Parnik trobi nji. Ljubezen sem vselej vključil v svoje zgodbe.

Kaj radi sami berete?

Sodobnikov ne berem, saj nimam časa. Najraje se vračam nazaj, k Tolstoju in Dostojevskemu, italijanskemu neorealizmu, Pavesiju in

zaradi staršev. Očitali so mi ljubezensko navezanost, pa ni bilo tako. Mo-til me je kaos, ki je vladal v Trstu in ki sem ga doživel ob vrnitvi domov.

Toda vrnili ste se. Kako pomemben je v vaših mislih, spominih Trst, ki

ima v vašem življenju izjemno mesto in vlogo?

Trst je lepo mesto. To je moje rojstno mesto. Rodil sem se v starem mestu, ki je bilo kasneje uničeno po volji Mussolinija. Rad ga imam, nje-govo dvojezičnost, italijansko in slovensko, ki je v demokratični državi prava stvar. To bi bilo najlepše za Trst in morda nekoč res bo, čeprav šele čez leta …

Ali čutite, da se stvari v Trstu spreminjajo, da postaja bolj prijazno do

Slovencev in odprto v svet?

Zdi se mi, da se odpira. Če govorim o naši literaturi, se je mesto odpr-lo. Mediji so se spremenili, po njihovi zaslugi pa tudi javno mnenje, ki zdaj spreminja pogled na književnost, tudi pogled na Trst, k čemur je pri-pomogla tudi samostojnost slovenske države. Tu so prevodi slovenskih književnikov v italijanščino in druge jezike. V mojem primeru se je zgo-dilo, da sem postal nekakšno medijsko odkritje, star človek, ki ga Italija ni poznala, ki pa je poznan v drugih kulturnih centrih Evrope. Odzvala se je tudi Slovenija, ki očitno ceni, kar naredi tujec. Slovenec postane po-memben, ko se uveljavi na tujem. Ni mi bilo lahko.

Za uveljavljanje narodnostne identitete ste zastavili vse življenje …

Narodnostna identiteta ni nacionalizem, to je to, kar poudarjam ves čas in kar nekateri razumejo, drugi ne. Pomeni skrb za drugega, za svojo skupnost, za tiste, ki živijo s tabo. To moramo povedati mladim, ki bodo oblikovali svet.

Pisatelj Boris Pahorin njegove poti

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{ Adria Passenger }

Vittoriniju. Kosovela imam zmeraj pri sebi, tako kot sem v Afriki vedno imel s seboj Prešerna. Kosovel je bil svetovljan in rad ponavljam njegove besede: »Bodimo evropski, a ohranimo svoj obraz«.

Radi imate naravo, vedno ste jo občudovali. Radi hodite po kraški po-

krajini, nekoč ste hribolazili. Kaj bi najraje pokazali tujcu?

Tujcu sem veliko povedal v svojih knjigah, da bi vzbudil njegovo zani-manje. Ko sem pisal roman Mesto v zalivu, sem pisal o naših kraških lju-deh, o Krasu in Trstu, zaradi česar so nekateri prišli pogledat naše kraje.

Trst je bil za časa stare Avstrije ne samo evropsko, ampak tudi svetov-no mesto, obmorsko mesto, povezano z Daljnim vzhodom. Premalo zna-no je bilo. Trst je lep kraj. Pokrajini od Trsta proti Miramaru in vzpenjajo-čemu se hribovitemu delu je Charles Nodier rekel »velika gora«. To je lep pogled z morja. »Trst je košček pomladnega cvetja, položen na skalo,« je dejal Nodier. To je tu, pri nas, Barkovlje, Miramar, spomladi je kot vrt v cvetju … To lahko pokažemo tujcu.

Text: Neva Zajc Photography: Borut Krajnc

WriterBoris Pahorand his journeys

Boris Pahor, the Slovenian writer from Trieste, has notched

up 97 years so far. His roots in the Karst have given him

an incredible robustness and resilience, and at his now

venerable age he still possesses such energy that short and

even longer journeys are no barrier. In the past few years he

has travelled across more of Europe than he did in his most

active years. On trips to accompany his books and explain

his credo, he garners accolades and enjoys a reception such

as he never imagined.

You travel an unusual amount. Clearly you are in good shape. This year

your itinerary has included two trips to France, most recently to Paris,

and trips to Vienna and Barcelona. Now you’re heading off to Berlin, and

that’s not all for this year. What is your biggest motivation to travel?

I decide to travel when I get an invitation to go somewhere. I don’t make the plans myself, and I don’t go wherever I want. I remember that my wife and I travelled away on holiday just once, for a week in Greece. At that time we had no desire to discover the world, nor did we have any money for travel, since we were putting all our savings into our house. The teacher’s pay was “wretched”. And my books were not selling around the world well enough to bring in any more. In Italy things have been a bit better in recent years. They have given my works bigger print runs, but it’s no use now, it’s too late, since my wife is not around any more for me to take her anywhere.

Now I travel for the books, when the publishers invite me. It’s nice to get an invitation to Paris, since I speak the language and I know that the French have accepted me as one of their own. Elsewhere, most recently in Barcelona, where the Spanish version of my book Nekropola [Pilgrim Among the Shadows] was being presented, I use my knowledge of Ital-ian or I need a translator. It’s similar in German-speaking countries. I can just about get by in German; I last spoke German in 1945. I like most of all to go where I can speak for myself about my books.

You have a lot to say about your books that are published.

Last year ten books were translated into German, covering all the German-speaking market: Austria, Germany and Switzerland (where I’m also known in the French editions). I’m known wherever France has its books. I haven’t yet been invited to Canada, but I would gladly go there.

Journeys around Italy are different from elsewhere in the world.

They are fascinating. Usually I don’t get to see anything of the cities I’m invited to, just as I hadn’t seen them earlier, except for Paris and a bit of northern France, since earlier I didn’t feel the need to look around, and mainly there was no time for that. A few years ago I had a lot of work at home with the magazine Zaliv [The Bay], which I edited, and later I had to make up for missed years with my writing, so my trips and ap-pearances were limited to a day or two. These are still just working trips.

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You keep mentioning France and Paris. What ties you to them so much?

I’m tied to France by the feeling that, for me, it is still the cultural capi-tal. Added to this is my affection for the French language, in which I am at home. I formed a bond with France in my early years, when I sat the litera-ture exam in Padua, and I remember that it was about Baudelaire. Later my French saved my life in the prison camp, where I got the job of translator. I was in the French camp of Natzweiler Struthof, then in Dachau, in Harzun-gen, and finally in Bergen Belsen, and when the wire gave out, I escaped with two Frenchmen, came to Paris and then to a sanatorium, where I recuperated and perfected my French by reading the classics. When my books started being translated, I had contact with publishers and media that were favourably inclined towards me, and I did indeed feel at home.

And you even found love there, in the sanatorium.

Yes, love saved my life. This is another important thing, for I started believing in life. Physically I was saved, but my morale was in a sorrier state. Many former deportees committed suicide after the war, there were a lot of them who never made it home, since they were not able to integrate into life owing to people’s indifference, owing to many banalities. In a similar way I experienced the tension between the two superpowers, the USA and Soviet Union. It was right there in Trieste and Berlin that the two worlds clashed. I was not at all thrilled to return home, although I was sad about my parents. They accused me of being too attached to my love, but that wasn’t it. I was troubled by the chaos that ruled in Trieste and that I experienced when I came home.

But you returned. How important is Trieste in your thoughts and memo-

ries? It has had an exceptional place and role in your life.

Trieste is a beautiful city. It is my birthplace. I was born in the old town, which was later destroyed at the behest of Mussolini. I love it, its bilingualism, Italian and Slovene, which is the right thing in a demo-cratic country. This would be the best thing for Trieste and perhaps it will really happen, albeit only after some years.

Do you feel that things in Trieste are changing, that it is becoming fri-

endlier towards the Slovenians and more open to the world?

It seems to me to be opening up. If I talk about our literature, the city has opened. The media have changed, and thanks to them public opinion, which is now altering its view of literature, and even its view of Trieste, something helped by Slovenia’s independence. There are trans-lations here in Italian and other languages of Slovenian authors. In my own case, I became a kind of media discovery, an old man, unknown in Italy, but who was known in other cultural centres of Europe. There was also a response from Slovenia, which clearly appreciates what a foreign-er is doing. Slovenians become important when they get established abroad. It wasn’t easy for me.

You staked your whole life on recognition for ethnic identity.

Ethnic identity is not nationalism, and this is what I emphasise all the time. Some people understand it, others don’t. It means concern for others, for your community, for those who live with you. We need to tell this to the young people who will shape the world.

You like young people a lot, and on your trips you seek out meetings

with them.

It’s true. Young people are not depraved, as the media say; their transgressions are the fault of society, which does not provide the right model for them. It’s also because they have not faced up to their history, which is the first thing they should do in order to build a future on the right foundations. Too many things are covered up. In Italy they know nothing about the history of Fascism in this area.

Do you talk to them about this?

Yes, about this; and it’s interesting that they listen to me and corrobo-rate it.

Which of your books would you recommend that young people read?

I would recommend the short stories where I write about experienc-ing Fascism, the book Trg Oberdan [Oberdan Square], which has now been translated into German and is coming out in Italian, and Nekropola, which deals with the camps that housed the red triangles, the anti-Nazis from all European countries, from Russians and Poles to Norwegians: camps where we had to work for Germany and where many died from just wasting away.

What about books on love?

If you’re talking about a love story, then of course Spopad s pomladjo [Clash with Spring], where love convinces a camp inmate to believe in life. Other books also talk about love. In Italy you can now read the novel Parnik trobi nji [The Steamer’s Horn Blows for Her]. I always included love in my stories.

And what do you like to read?

I don’t read modern writers, since I don’t have the time. I like best to go back in time, to Tolstoy and Dostoyevsky, to Italian neorealism, to Pavesi and Vittorini. I always have Kosovel close at hand, just as in Afri-ca I always had Prešeren with me. Kosovel was a cosmopolitan and I like to repeat his words: “Let us be European, but let us keep our face.”

You love nature, you have always admired it. You like walking in the

Karst landscape, and you used to climb. What would you most like to

show a foreigner?

I have offered much in my books to spark the interest of people from elsewhere. When I was writing the novel Mesto v zalivu [City in the Bay], I wrote about our Karst people, about the Karst and Trieste, and for this reason some people came to look at this area.

During the time of old Austria, Trieste was not just a European but a world city, a maritime city linked to the Far East. It was not sufficiently known. Trieste is a beautiful place. The landscape from Trieste towards Miramar and the rising hilly area was pronounced by Charles Nodier the “great mountain”. It is a fine sight from the sea. “Trieste is a little piece of a spring flower set on a cliff,” said Nodier. That’s here, our home, Barkovlje, Miramar, in spring it’s like a garden in bloom … This is what we can show to people from elsewhere. A

Besedilo in fotografije: Matjaž Kačičnik

Blišč kairskega središča ali downtowna je že davno zbledel. Wust El-Balad, kakor mu rečejo v arabščini, ali v dobesednem

prevodu center mesta, je poln nostalgije za svojo bleščečo preteklostjo in zdi se, da z vsakim koščkom odpadlega ometa kakor pozlata z antičnega kipca bledijo tudi spomini na kairski Belle Époque. V minulih desetletjih je tako izgubil precej pozlate, a njegovi biseri se niso porazgubili. Središče Kaira je kakor lepotica, ki je vedno oblečena priložnostim primerno. Dnevno garderobo zamenja večerna in kasneje celo nočna, lahko nas zapeljuje kot mlado in moderno dekle ali pa kot dama s črno-belih fotografij …

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Kairo

Dvaobraza kairskega downtowna

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{ Kairo }

Kediv Ismail Paša, egipčanski vladar v 19. stoletju, je bil nad francosko prestolnico tako navdušen, da je dal zgraditi svoj Pariz ob Nilu. V naslednjega pol stoletja so najboljši evropski arhitekti ustvarili metropolo, kjer je bilo verjetneje,

da boš na ulici slišal govoriti grško, francosko, angleško ali italijansko kot pa arabsko. Prestolnica ob Nilu je bila pozimi priljubljeno zatočišče evropske aristokracije. Mnogi med njimi so se celo pritoževali, da je Kairo popolnoma evropski, in razočarani spoznavali, da eksotični in romantični Orient živi še samo na slikah in podobah.

Navkljub več kot petdesetletnemu zanemarjanju in propadu je dobr-šen del Pariza ob Nilu še vedno na svojem mestu. Sicer v lastni senci, zaprašen, z zgubano in razpokano kožo, a vendar. V središču, na trgu Ta-laat Harb, še vedno stoji slaščičarna Groppi, nekdaj najbolj znana čajnica v Sredozemlju, zgrajena v slogu art decoja s čudovitimi mozaiki ob vho-du. Le čez cesto je treba stopiti do Café Riche, kjer razstavljajo črno-bele fotografije, spomine na kairsko zlato obdobje. Med srebanjem kave z vo-njem po kardamomu izveste, da je prav v tej kavarni kralj Faruk spoznal svojo drugo ženo; mogoče vas bodo celo posedli za isto mizo, kamor je mnoga leta vsak teden zahajal nobelovec Nagib Mahfouz.

Medtem ko so pritličja stavb dobila novo, »moderno« obleko, so se zgornja nadstropja ohranila nedotaknjena, polna čudovitih detajlov in prefinjenih ornamentov. In prav zato moramo pri pohajkovanju obrniti pogled navzgor. Šele potem bo bogastvo arhitekture pregnalo vse, kar vas na prvi pogled odbija, preglasilo bo hrup zgoščenega prometa in pre-krilo desetletja propada.

V nasprotju z večino evropskih prestolnic, ki se po sončnem zahodu počasi zazibajo v spanec, kairski downtown zaživi šele ponoči. Ko se ozračje po celodnevni pripeki malce shladi, je za Egipčane čas za naku-povanje. Neonska svetloba premočno osvetljenih izložb preplavi ulice, pločnike zasedejo prodajalci najrazličnejše krame. Središče postane mravljišče: medtem ko množice mladih pred kinematografi čakajo na naslednjo predstavo, ženske nakupujejo, moški del družbe pa se uma-kne v kavarne. Na splošno se zdi, da se polovica družabnega življenja odvija prav v kavarnah, v družbi sladkega čaja in opoja vodne pipe, iz

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V nasprotju z večino evropskih prestolnic, ki se po sončnem zahodu počasi zazibajo v spanec, kairski downtown zaživi šele ponoči.

{ Kairo }

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{ Kairo }

razglašenega radia pa se, neredko tudi kot spomin na stare dni, sliši pe-tje Om Kalsoum, največje arabske pevke v zgodovini. Za ljubitelje tradi-cionalne glasbe in jazza je obvezen obisk Makana, centra za egipčansko kulturo in umetnost, kjer na obrobju downtowna s koncerti vsak torek in sredo razvajajo svojo publiko. V zatemnjenem prostoru se lahko z obveznim kozarcem oslezovega čaja (karkadeja) v rokah predate zvokom s celotnega področja Egipta in Sudana, kakšen drug večer pa spoznate mističnost in spiritualnost sufijske in religiozne glasbe. V Makanu doži-vite pristno ljudsko glasbo, ki vztrajno in nepovratno izumira v podežel-skih mestih in vaseh.

In ko trgovine zaprejo svoja vrata, začne kakor oglje na vrhu vodnih pip ugašati življenje tudi v kavarnah. Takrat je čas za obisk kabareta. Sherezade, Arizona, Munchener je le nekaj imen, kjer lahko kakor juna-ki iz Mahfouzovih romanov uživate v predstavah trebušnih plesalk. V zatemnjenih prostorih se poleg osvetljenega odra ob mizah bleščijo le široko odprte oči obiskovalcev, ki jim ne uide niti en gib mične trebušne plesalke. Potovanje v času v središče Mahfouzovih romanov traja vse do jutra, dokler muzein ne prikliče novega dne.

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{ Cairo }

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{ Cairo }

The TwoFaces ofDowntown CairoText and photography: Matjaž Kačičnik

The splendour of Cairo’s city centre or Downtown dis-trict has long faded. Wust El-Balad, as it is called in Arabic (the expression literally means “centre of the city”), is full of nos-talgia for its glittering past, and it seems that behind every

piece of crumbling plaster, falling away like the gilding from an ancient statue, memories of Cairo’s Belle Époque are also fading. The city has lost much of its gilding in past decades, but its jewels have not disappeared.

Downtown Cairo is like a beautiful woman who is always dressed ap-propriately, whatever the occasion. Her daytime wardrobe is replaced by evening wear and, later, by night attire. She can seduce us like a young, modern woman, or like a lady from a black-and-white photograph...

Ismail Pasha, Khedive of Egypt in the 19th century, was so smitten by the French capital that he decided to build his own Paris on the Nile. Over the course of the next half century, the finest architects in Europe created a metropolis where one was more likely to hear Greek, French, English or Italian spoken than Arabic. The capital on the Nile became a popular wintering place for the European aristocracy. Many of them even complained that Cairo was completely European, as they discov-ered, to their disappointment, that the exotic and romantic Orient only existed in paintings and images.

Despite over 50 years of neglect and decay, a good part of this “Paris on the Nile” is still standing. It may live in its own shadow, it may be dusty, with wrinkled and cracked skin, but it is still there. In the centre, on Talaat Harb Square, is Groppi’s, once the most famous tea room in the Mediterranean, built in the Art Deco style with wonderful mosaics surrounding the entrance. Just across the street is the Café Riche, where the black-and-white photographs preserve memories of Cairo’s golden age. As you sip coffee flavoured with cardamom, you learn that it was in this very café that King Farouk met his second wife; perhaps you will even sit at the same table that the Nobel Prize-winning novelist Naguib Mahfouz used to occupy on his regular weekly visits to this café over the course of many years.

While the ground floors of the buildings have been given a new, “modern” appearance, the upper storeys have survived untouched, full of wonderful details and refined decoration. That is why you need to keep looking up as you wander around. Only then will the richness of the architecture drive away everything that at first glance repels you, drown out the noise of the dense traffic and hide the decades of decay.

Unlike most European capitals, which slowly drift off to sleep after sunset, Cairo only really comes alive at night. When the atmosphere begins to cool after the heat of the day, it is time for the Egyptians to go shopping. The neon light of dazzling display windows floods the streets and the pavements are taken over by vendors of every variety of junk imaginable. The city centre becomes an ant hill: as crowds of young people queue outside the cinemas for the next show, women shop and the male members of the family retreat to the cafés. In general it seems that people spend half of their social lives in cafés, over sweet tea and the heady smoke of the hookah or waterpipe, while from an out-of-tune radio, often as a reminder of the old days, comes the voice of Om Kalthoum, the greatest female singer in Arab music history. For

lovers of traditional music and jazz, a visit to Makan is a must. Part of the Egyptian Centre for Culture and Art, Makan offers concerts every Tuesday and Wednesday at the edge of the Downtown district. In a dark-ened room, with the obligatory glass of hibiscus tea (karkadé) in your hand, you can surrender to sounds from all over Egypt and Sudan, or on another evening discover the mysticism and spirituality of Sufi and religious music. At Makan you experience the authentic folk music that is slowly but surely dying out in rural towns and villages.

And when the shops close their doors, life in the cafés starts to dim too, like the coals in the bowl of a hookah. Now is the time to visit a caba-ret. Scheherezade, Arizona, Munchener... just a few of the places where, like the heroes of Mahfouz’s novels, you can enjoy the performances of belly dancers. Dark rooms and a brightly lit stage, where the only glim-mer of light at the tables is in the wide-open eyes of the paying custom-ers, who do not want to miss a single movement of the attractive dancer. A journey in time to the heart of a Mahfouz novel lasts until dawn, when the muezzin’s call to prayer signals the start of a new day. A

Unlike most European capitals, which slowly drift off to sleep after sunset, Cairo only really comes alive at night.

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{ Egypt }

EgiptV deželi faraonov številni templji, grobnice in piramide še vedno burijo domišljijo prav slehernega obiskovalca.

In the land of the Pharaohs, a wealth of temples, tombs and pyramids captures the imagination of every visitor.

Krščanska samostanska tradicija se je rodila prav v Egiptu. Nedavno restavrirana samostana sv. Pavla in sv. Antona ob Rdečem morju sta najstarejša samostana na svetu.

Christian monasticism was born in Egypt. The Coptic monasteries of St. Anthony and St. Paul along the Red Sea coast are the world's oldest.

Če se želite izogniti masovnemu turizmu na Mojzesovi gori – biblijski gori – Sinaj in okrog samostana sv. Katerine, se podajte na enega izmed številnih sprehodov ali trekingov po gorah Sinaja.

To escape the mass tourism on Mt. Sinai or around St.Chaterine monastery, choose from among the many walks and treks available in the Sinai mountains.

Foto

: M. K

ačič

nik

Foto

: M. K

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nik

Foto

: M. K

ačič

nik

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Jadranje s feluko – egipčansko jadrnico – je najlepši način potovanja po Nilu.

Sailing a felucca (Egyptian sailing boat) is the most pleasant way to travel on the Nile.

Monumentalna, a hkrati elegantna medresa sultana Hasana (1356–62) je eden izmed najveličastnejših islamskih spomenikov v Egiptu.

Monumental yet elegant, the Madrasa of Sultan Hasan (1356–62) is one of the finest and most magnificent Islamic monuments in Egypt.

Sodobna aleksandrijska knjižnica skuša biti dostojno nadomestilo antični knjižnici, enemu izmed sedmih čudes starega sveta.

The new and modern library of Alexandria aims to be a worthy successor to its ancient predecessor, one of the Seven Wonders of the Ancient World.

Hurgada, ki leži ob Rdečem morju, velja za eno najbolj znanih letovišč v Egiptu. Sloves si je pridobilo zaradi izjemno čistega morja, čudežnih koralnih grebenov in peščenih plaž.

Hurghada, which lies on the Red Sea, is one of the most famous resorts in Egypt. It gained fame for its exceptionally clear sea, wondrous coral reefs and sandy beaches.

Nacionalni park Ras Mohammad je oddaljen od mesta Sharm el Sheik le dvanajst kilometrov. Veliko poznavalcev potapljaškega sveta uvršča njegov podvodni svet med najlepše potapljaške kraje na svetu.

Ras Mohammed National Park is just 12 kilometres from the city of Sharm el Sheikh. Many experienced divers rank its underwater realm as one of the finest diving locations in the world.

Foto

: M. K

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nik

Foto

: M. K

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: I. B

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: I. B

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{ Kulturne ustanove }

Dragi mojCankarjev dom …

smo z Wilsonom, članom skupine Pine Leaf Boys, ki igrajo glasbo ca-jun, pripravili in pojedli slastno jambalayo.

Največkrat sem na isti dan v Cankarjevem domu v času filmskega fe-stivala LIFFe in knjižnega sejma. Imam tudi poseben ljubezenski liffo-vski prstan, ki me s kristalom, v katerem »plava« manjši kristal druge barve, spominja na gibljive slike na platnu. Na 20. LIFFu sem si ogledala 20 filmov in spoznala najmanj toliko strastnih filmoljubov, s katerimi si delimo ocene, priporočila in včasih tudi vstopnice za izbrane filme. V času festivala se mi zdi Cankarjev dom kot popek sveta: toliko ljudi, dogodkov, filmov, gibanja in prekratkih noči; po vsaki poznovečerni projekciji je naslednje jutro delovno in čaka me še en logistično do po-polnosti načrtovan dan za sedmo umetnost.

S knjižnega sejma pa se itak vsakič opotekam pod težo nakupljenih knjig, čeprav si zabičam, da je pet novih dovolj. In število se na koncu potroji, početveri.

Kar nekaj svojih rojstnih in silvestrskih večerov sem preživela v Can-karjevem domu, saj so to priložnosti, ko si je treba privoščiti najboljše. In vsakič je bilo prelepo. Predvsem zato, ker sem te zelo osebne trenut-ke delila s prijatelji – tudi iz Cankarjevega doma, saj je poslovno sode-lovanje z mnogimi oplemenitilo iskreno prijateljstvo. Zato se lahko po telefonu pokličemo sredi noči, če je treba. In mislimo drug na drugega tudi na počitnicah, potovanjih in doma.

Cankarjev dom ima poštni naslov na Prešernovi ulici 10: imeni dveh največjih slovenskih literarnih umetnikov sta se prepletli v središču Ljubljane. A Cankarjev dom ima zaradi svojih ljudi še najmanj en na-slov. Zaradi Mitje, Brede, Zvezdane, Janine, Darinke, Saše, Simona, Damjane, Andreje in drugih ima naslov tudi v mojem srcu. In jaz v nje-govem. Po nekem čudovitem dogodku sem gospodu direktorju, Mitji Rotovniku, v zahvalo napisala: »Dragi Mitja, Cankarjev dom je tudi moj dom.«

Doma pa sem tam, kjer mi je lepo.

Sonja Juvan, z ljubeznijo in iskreno naklonjenostjo

Pred 32 leti sva dva bruca iz proletarskega Zasavja, vpisana na primerjalno književnost na Filozofski fakulteti v Ljubljani, v bližini Drame »visela« na ograji gradbišča bodočega kultur-nega hrama in si hrepeneče želela, da bi bila nekoč del njega.

Potem sva šla v bližnjo gostilno Koper na dva kozarčka terana in nekaj cigaret Drine »bez filtra« – oboje je bilo takrat zelo »in«. Zagotovo sva se zatem zlahka zavihtela na oblake in od tam zrla v prihodnost …

Obema so se mladostne sanje več kot uresničile: Jani Novak je kot frontman skupine Leibach nastopil v Cankarjevem domu že mnogo-krat, jaz pa sem se, ko sem se leta 1989 zaposlila na Delu in se preselila v Ljubljano, vedno bolj povezovala s to kulturno ustanovo.

Moja prva služba organizatorke kulturnih prireditev je v hrastniškem kulturnem centru trajala šest let, na Cankarja pa tako ali drugače nisem pozabila. Pred četrt stoletja smo kulturne dogodke v prestolnici (še) obiskovali v skupinah in v Ljubljano pripotovali z avtobusi. Spomnim se, da sem na jubilejni koncert Akademske folklorne skupine France Marolt pripeljala sto obiskovalcev iz Zasavja; takrat so bili mnogi v Can-karjevem domu prvič in zadnjič. Gospe so si uredile frizure in oblekle najlepše obleke, gospodje so si nadeli kravate. Bil je svečan in poseben dogodek, tudi zame – vse je potekalo brezhibno, nihče se ni izgubil in vsi so bili nad prireditvijo navdušeni. Gallusova dvorana jih je prevzela, plesalci očarali. Noč po dogodku nisem spala od sreče in ponosa. Stara sem bila 25 let.

Po nekaj letih dela na Delu so mi – glede na izobrazbo – dodelili (mojemu srcu pa podarili) za poslovnega partnerja Cankarjev dom. Življenje nam včasih pokloni enkratne možnosti, ko se delo in ljubezen prepleteta v nekaj tako izjemno lepega, da se je treba tega zavedati vsak trenutek posebej. Sama sem to priložnost objela z obema rokama in z vsem srcem.

Na hitro sem izračunala, da sem bila doslej v Cankarjevem domu več kot tisočkrat. Vsakič me prevzame čar pričakovanja, kaj bom videla, slišala, doživela. Tako dobro mi denejo »stare prijateljice« – Gallusova, Linhartova in okrogla dvorana –, udobno in sodobno se počutim v pre-novljeni Kosovelovi »filmski« dvorani, v drugem preddverju in v klubu. Slednji mi je še posebej pri srcu zaradi prekrasnega razgleda ter pestrih in raznolikih dogodkov, ki me vsakič navdušijo. Celo kuhali smo že in prejela sem potrdilo, da sem bila na delavnici louisianske kuhinje, kjer

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{ Cankarjev dom }

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{ Cultural Institutions }

My Cankarjev DomIt was 32 years ago that two freshmen students from

working-class Zasavje, enrolled to study comparative literature at Ljubljana’s Faculty of Arts, were hanging around near the Drama theatre, by the fence of the building site for a future shrine of cul-

ture, hoping against hope that one day they would be a part of it. Then we headed off to the nearby Koper bar for a couple of glasses of Teran and some smokes of non-filter Drina, both of which were really hip at that time. No doubt we then rode high on the clouds, gazing out into the future.

And for both of us, those dreams of youth were more than fulfilled: As the frontman of the group Laibach, Jani Novak has performed countless times in Cankarjev Dom, and as for me, after I took a job at the newspaper Delo and moved to Ljubljana in 1989, I became increas-ingly involved with it.

My first job as a cultural events organiser at the Hrastnik Cultural Centre lasted six years, but in one way or another I kept Cankar in my mind. A quarter of a century ago we would (still) attend cultural events in the capital in groups, and we travelled to Ljubljana by bus. I remem-ber taking a hundred people from Zasavje to a special anniversary concert of the France Marolt folklore group, and many of them were in Cankarjev Dom for the first and last time. The ladies had their hair done and put on their best outfits, and the gentlemen wore ties. It was a formal and special event: including for me – and everything went without a hitch, no one got lost and everyone was thrilled with the performance. They were captivated by the Gallus Hall, and enchanted by the dancers. That night, I was too happy and proud to sleep. I was 25 years old.

After a few years working at Delo, given my educational background they allocated me Cankarjev Dom as a business partner (and as a gift to my heart). Sometimes life offers us unique opportunities, when work and love merge into something so extraordinarily beautiful that you have to be conscious of it each and every moment. I embraced this op-portunity with both arms and all my heart.

After a quick calculation I realise that to date I have been in Cankar-jev Dom more than a thousand times. Each time I am gripped with the magic of anticipation about what I am going to see, hear and experi-ence. I get such a lot from my “old friends” – Gallus, Linhart and the

round hall – and I feel comfortable and with-it in the renovated Kosovel “film” hall, in the other lobby and in the club. I am especially fond of the club because of its fantastic view and its wealth and variety of events, which always inspire me. We even cooked in there, and I have a certificate saying I attended a workshop of Louisiana cuisine, at which together with Wilson, a member of the Cajun group the Pine Leaf Boys, we cooked up and ate a delicious jambalaya.

The time when I am most likely to be in Cankarjev Dom all day is during the Liffe film festival and the book fair. I also have a special Liffe love ring, which has a crystal in which a smaller crystal of another colour “floats”, like the moving pictures on the screen. At the 20th Liffe festival I saw 20 films and got to know at least as many passionate film aficionados, and we shared ratings, recommendations and sometimes even tickets for selected films. During the festival, Cankarjev Dom seems to be the centre of the world: so many people, events, films, movements and sleepless nights: each late-night screening is followed the next morning by a working day, and I face another day planned to logistical perfection in dedication to the seventh art.

As for the book fair, of course I come staggering out of it every time loaded down with books I’ve bought, although I chastise myself that five new ones are enough. But by the end, that number is trebled or quadrupled.

I have also spent quite a few birthdays and New Year’s Eves at Can-karjev Dom, because those are occasions when you have to give your-self the best. And each time was wonderful. Mainly because I shared those highly personal moments with friends – including from Can-karjev Dom, since business collaboration with many of them has en-hanced a sincere friendship. This means we can call each other even in the middle of the night, if we need to. And we also think of each other on holiday, on trips and at home.

Cankarjev Dom’s postal address is Prešernova ulica 10: so the names of the two greatest Slovenian literary figures, Prešeren and Cankar, meet here in the centre of Ljubljana. But Cankarjev Dom also has an-other address, because of the people who work there. Because of Mitja, Breda, Zvezdana, Janina, Darinka, Saša, Simon, Damjana, Andreja and others, it also has an address in my heart. And my address in its heart. After some wonderful event, I wrote this to thank the director, Mitja Rotovnik: “Dear Mitja, Cankarjev dom je tudi moj dom – the home of Can-kar is my home, too.”

I feel at home wherever I feel really fine.

With love and sincere affection,

Sonja Juvan

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{ Cankarjev dom }

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{ Kulturne ustanove }

V kontekstu poliglotskega in zelo frekventnega poligona, kjer se mešajo rase, vere, ideološka prepričanja, pa seveda materialne dobrine, sta si letališče in novinarsko središče filmskega festivala zelo podobni. Na LIFFu smo si

v prostoru, kjer se srečujejo novinarji, gostje ali navadni obiskovalci, pred štirimi leti zamislili nekakšno »počivališče«, novinarsko središče z elementi malce bolj asketskega wellnessa. Terminali in čakalnice na letališčih imajo denimo VIP salone ali posebej urejena »oddihališča«, predvsem za potnike na medkontinentalnih letih, LIFFe je imel željo gledalcem, ki transkontinentalno in medkulturno letijo med filmi z vsega sveta, ponuditi »festivalski wellness«, pa čeprav bi moral sam kot programski vodja, ponosen na izbor filmov, trditi, da obiskovalcu LIFFa večjega užitka in zadovoljstva ne more nuditi nič drugega kot dober film. Kljub temu se ideja o nasutem pesku v drugem preddverju Cankarjevega doma, umetnem soncu v obliki velike, oranžne krogle ter nekaj palmah in kopici udobnih ležalnikov ni zdela tako napačna ali pretirano utopična. No, izkazalo se je, da je bila vendarle malce pream-biciozna, zato smo končali pri udobnih naslanjačih in foteljih, brezžič-nem spletu in klasičnem VIP salonu.

Naše drugo preddverje skratka postane sredi novembra svetovni potniški terminal; če večino koledarskega leta govorimo o pretočnosti, kakršno poznajo letališča na Brniku, v Celovcu ali Trevisu, bomo med 10. in 21. novembrom v času 21. LIFFa znova priča parafrazam O'Hare, LAXa, Schiphola ali Charlesa de Gaulla. Kopica ljudi bo od nekod pri-šla in bo nekam zelo hitro spet nadaljevala pot. Vsi ne bodo govorili istega jezika, a se bodo že nekako sporazumeli. Razlika bo tudi v tem, da festivalski »potniki« ne bodo nujno razvrščeni po prioritetah trenu-tnega svetovnega reda, temveč bodo obravnavani enako, ne glede na formalno ločeni status profesionalcev, gostov ali običajnih ljubiteljev filma. Tudi v tem je čar filmskih festivalov; skupaj s filmi s Filipinov, iz Avstralije, Kanade, Koreje, Mehike ali Skandinavije prihajajo njihovi so-ustvarjalci, ki se pomešajo z lokalnim občinstvom in ustvarijo majhno globalno vas. In če letijo med kontinenti v fizičnem ali imaginarnem smislu, je irelevantno. Na festivalu vse prisotne povezujejo ideje in emocije.

Potniški terminal LIFFeThe LIFFe Passenger Terminal

Inasmuch as they both represent busy, polyglot gatherings of different races, religions, ideologies and (of course) material goods, an airport and a film-festival press centre have a great deal in common. Four years ago we came up with a new idea for the

area where journalists, guests and ordinary visitors meet at LIFFe, the Ljubljana International Film Festival: it would be a kind of “lounge”, a press centre with elements of a wellness centre, albeit a rather ascetic one. Terminals and waiting rooms at airports have VIP lounges or spe-cial “rest areas”, particularly for passengers on intercontinental flights. LIFFe wanted to offer its audiences – who make transcontinental and intercultural “flights” between films from all over the world – a kind of “festival wellness centre”, although as a programme director who is proud of the selection of films at the festival, I ought to say that there is no greater pleasure and satisfaction for the visitor to LIFFe than a good film. Be that as it may, the idea of a sandy beach in the second foyer of Cankarjev Dom, an artificial sun in the shape of a large, orange ball, palm trees and a stack of comfortable deckchairs did not seem such a bad idea, or excessively utopian. It turned out, however, that this idea was perhaps a little overambitious, so we ended up with comfortable armchairs, Wi-Fi and a classic VIP lounge.

In mid-November, our second foyer becomes, in short, a global pas-senger terminal; if for most of the year we are talking about a passenger turnover similar to those of Brnik, Klagenfurt or Treviso, from 10 to 21 November, for the duration of the 21st edition of LIFFe, we will once again be seeing numbers comparable to those at O'Hare, LAX, Schiphol or Charles de Gaulle. A large number of people will arrive from somewhere and will very quickly continue their journey to somewhere else. They will not all speak the same language and yet somehow they will understand each other. Another difference will be that the festival “passengers” will not necessarily be classified according to the priorities of the current world order, but will all be treated equally, regardless of the formally sep-arate status of professionals, guests and ordinary film lovers. This is part of the charm of film festivals; together with films from the Philippines, Australia, Canada, Korea, Mexico or Scandinavia, come the people who have helped make them, mixing with the local audience and creating a miniature global village. It does not matter whether they fly between continents in the physical sense or in the imaginary sense. At a festival, all those present are connected by ideas and emotions. A

Besedilo/Text: Simon Popek, programski vodja LIFFa/ LIFFe programme director

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{ Kulturne ustanove }

Slovensko narodno gledališče Maribor

Danes se v hiši, kjer je zaposlenih tudi mnogo baletnikov iz različnih koncev sveta, uporabljajo številni jeziki. Opere izvajajo načeloma v iz-virnih jezikih, kar je lepo slišati.

V preteklih letih so gostovali v več evropskih državah, kot so Hrva-ška, Bosna in Hercegovina, Francija, Nizozemska, Portugalska, Belgija, pa tudi v Združenih državah Amerike, Singapurju in Izraelu. V prejšnji sezoni so bili nagrajeni v Bogoti, Omsku, Umagu in na Reki. Nagradili so jih tudi doma. Operni pevec Emil Baronik je prejel Glazerjevo nagra-do in je tako že drugi, ki ima v tej gledališki hiši to odlikovanje.

Letos poteka pod okriljem SNG-ja že 45. festival Borštnikovo sreča-nje, ki postaja vedno bolj odmeven tudi v mednarodnih strokovnih krogih. To je tudi eden od razlogov, da bo SNG Maribor to sezono go-stoval z Dramo ter Opero in Baletom na Japonskem. Predstavili se bodo tudi na gledališkem festivalu v Egiptu. Kot vsako leto od 1999. dalje bo tudi letos organizirano tridnevno tekmovanje mladih pevcev »Ondina Otta«. Direktor Slovenskega narodnega gledališča Maribor, Danilo Rošker, je za prihajajočo sezono napovedal povečanje repertoarja z »Dramo Otroški«, kjer bodo gledališko umetnost predstavljali otrokom na zabaven način, in z »Dramo Plus«, kjer bodo ponavljali uspešnice zadnjih let.

»Ko sem bila mlada, je bila za nas predstava v gledališču pravi svečan dogodek,« pove gospa Marjeta Sagaj, abonentka Slovenskega narodne-ga gledališča Maribor. Velikokrat si celo ogleda dopoldansko odkuplje-no šolsko predstavo. »Vesela sem, ko vidim, kako zadovoljni so tudi mladi gledalci.«

»Danes je program bolj raznovrsten, gledališka hiša je odprta skoraj vsak dan. Včasih je bilo vsega manj. Že samo ob pričakovanju na obisk gledališča je bilo veselje veliko. Kasneje sem velikokrat hodila na operne in dramske predstave v Gradec, danes sem prav srečna, saj prihaja veliko Avstrijcev v naše gledališče. Nivo predstav se je v zadnjih letih izredno dvignil,« zaključi najin pogovor gospa Sagaj. In kako ji ne bi verjel, saj je že v šestdesetih prvič občutila vznemirjenje ob dvigovanju gledališkega zastora.

Skriti kot v trojanskem konju in težko dostopni kot v ladijski strojnici se nahajajo v stavbi Slovenskega narodnega gledališča Maribor številne pisarne, delavnice, kabineti, kjer približno 300 stalnih delavcev skupaj s 150 honorarnimi oblikuje njegov

program. Pravzaprav so to prostori, kjer nastajajo predstave. Maribor-ska gledališka hiša je ena redkih v Evropi in edina v Sloveniji, ki pod eno streho združuje dramo, opero, balet in simfonični orkester. Vse te umetniške veje delujejo v sožitju. Samo v letu 2009 je bilo na odrih ma-riborskega gledališča uprizorjenih 488 predstav, ki si jih je ogledalo več kot 177.000 ljudi. V prihajajoči sezoni bo imela Drama pet premier, Balet dve in Opera štiri, simfonični orkester bo predvajal šest simfoničnih in šest komornih koncertov.

Šele ko sem prvič vstopil v ta podzemni labirint, sem občutil prave razsežnosti gledališča. Pralnice, ogromne hale za rekvizite, ki pričarajo na odru različna zgodovinska obdobja, so me osupnile. Prav tako veli-kanski hidravlični sistemi, ki omogočajo menjavo scenografije, ko zastor pade. Tako lahko igra pušča gledalca z dvomi Fausta ali pa mu omogoča varno pot skozi Božansko komedijo. Pred predstavami v gledališki hiši urno delajo frizerji, krojači, čevljarji, najrazličnejši tehniki, kostumografi, maskerji, odrski mojstri in mnogi drugi soustvarjalci. Pri predstavah, kot je Verdijeva Traviata, je na nogah do 180 ljudi, da je lahko ob dvigu zave-se vse nared za soliste, igralce, zbore, baletnike in orkester.

Stari del današnjega gledališča je bil zgrajen leta 1852. To je bil zače-tek stalnega poklicnega nemškega mestnega gledališča, ki je delovalo do razpada avstroogrske monarhije. Leta 1909 so ustanovili prvo slo-vensko poklicno gledališče v Narodnem domu. Kultura v Mariboru se je nenehno krepila, zlasti s prihodom Primorcev, ki so pred italijanskim nasiljem bežali proti Štajerski. Prej številčno močnejši Nemci so se za-čeli Slovencem odmikati. Še isto leto, ko je bila določena meja z Avstrijo in Italijo, je 27. septembra 1919 v Stari dvorani zazvenela prva slovenska beseda. Uprizorjena je bila prva igra v slovenskem jeziku, žaloigra Tugo-mer Josipa Jurčiča, prirejena s pomočjo Frana Levstika. Otvoritev nove Velike dvorane leta 1994 je omogočila bolj razkošne predstave in pripo-mogla k temu, da je dobil SNG leta 2003 status nacionalnega gledališča.

Besedilo: David Šalamun

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{ SNG Maribor }

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{ Cultural Institutions }

Slovene National Theatre MariborText: David Šalamun

Hidden in the depths of the Slovene National Theatre (SNG) Maribor, as though it were a Trojan horse, and as hard to get to as the engine room of an ocean liner, are the numerous offices and workshops where around 300 per-

manent staff and 150 contract staff are busy putting together the thea-tre’s programme. This is actually where productions come into being. Maribor’s theatre is one of the few venues in Europe, and the only one in Slovenia, to bring together under one roof a theatre company, opera and ballet companies, and a symphony orchestra. All these different performing arts exist together in Maribor. In 2009 alone, the theatre in Maribor staged 488 performances that were watched by a total audience of 177,000. In the forthcoming season, the theatre company will have five premieres, the ballet company two and the opera company four. The orchestra will perform six symphonic concerts and six concerts of chamber music.

It was not until I entered the underground labyrinth for the first time that I got a sense of the true dimensions of the theatre. I was amazed at the laundry rooms and the enormous prop rooms that provide the materials to conjure up different historical periods on the stage, not to mention the giant hydraulic systems that enable the scen-ery to be shifted when the curtain falls. This is how a play can leave the audience with the doubts of Doctor Faustus or accompany them safely through the Divine Comedy. Before every performance in the theatre, hairdressers, tailors, dressmakers, shoemakers, sundry technicians, costume designers, make-up artists, stage managers and many other staff are all busily at work. In the case of productions such as Verdi’s La Traviata, up to 180 people are on the go to ensure that when the curtain goes up everything is in place for the soloists, actors, choruses, dancers and orchestra.

The old part of today’s theatre was built in 1852. This was the start of the permanent, professional, German-speaking Stadttheater, which con-tinued to operate until the breakup of the Austro-Hungarian Empire.

In 1909 the first Slovenian professional theatre was founded in the Nar-odni Dom (national cultural centre). Cultural life in Maribor grew ever stronger, particularly with the arrival of Slovenes from Primorska, the Slovenian Littoral, who fled to Štajerska to escape the violence of the Italian Fascists. The German population, once numerically stronger, began to lose ground to the Slovenes. On 27 September 1919, in the same year that the borders with Austria and Italy were fixed, the Slov-ene language was heard for the first time in the theatre’s Old Hall, with the staging of the first play in Slovene, Josip Jurčič’s tragedy Tugomer, adapted for the theatre with the help of Fran Levstik. The inauguration of the new Great Hall in 1994 opened the way for more lavish produc-tions, something which helped the SNG obtain national-theatre status in 2003.

Today many different languages can be heard in the theatre. Operas are generally performed in their original language, which is beautiful to hear. SNG employs a large number of dancers from different parts of the world.

Past SNG productions have toured various European countries in-cluding Croatia, Bosnia and Herzegovina, France, the Netherlands, Portugal and Belgium, as well as travelling further afield to the United States of America, Singapore and Israel. Last season they won awards in Bogotá, Omsk, Umag and Rijeka. They have also won awards at home. The opera singer Emil Baronik won the 2010 Glazer Award, be-coming the second artist from SNG Maribor to receive this prestigious accolade.

This year the SNG hosts the 45th edition of the Borštnik Theatre Fes-tival, an event which is attracting increasing attention in international theatre circles. This is also one of the reasons why SNG Maribor will be performing in Japan this season with its theatre, opera and ballet com-panies. There will also be a performance at a theatre festival in Egypt. Like every year since 1999, this year will once again see the three-day Ondina Otta Competition for Young Opera Singers. SNG Maribor direc-tor Danilo Rošker has announced an expansion of the repertoire for the coming season, with “Children’s Drama”, where the art of the theatre will be presented to children in an entertaining manner, and “Drama Plus”, which will see repeats of hit productions from recent years.

“When I was a girl, going to the theatre was a very special event for us,” says Mrs Marjeta Sagaj, an SNG Maribor season-ticket holder. She is even a frequent attendee of matinée performances aimed at schoolchil-dren, explaining that it makes her happy to see how much the young audiences enjoy themselves. “Today the programme is more varied and the theatre is open almost every day. There used to be less of eve-rything. Even the expectation of a trip to the theatre was a source of great happiness. Later I would often go to see operas and plays in Graz. It pleases me that these days many Austrians come to our theatre. In recent years the level of the productions has increased enormously,” concludes Mrs Sagaj. And who am I to dispute the word of someone who first felt that feeling of excitement as the theatre curtain goes up way back in the 60s. A

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{ Kulturne ustanove }

Oktobra se Maribor prelevi v gledališko meko. Deset festivalskih dni ga spremeni v mravljišče igralcev, režiser-jev, študentov, producentov, novinarjev, gledaliških entu-ziastov in firbcev, ki se srečujejo na ulicah in v kafičih, po

hotelskih lobijih in gledaliških foajejih. Mesto dobesedno preplavijo ljudje, ki jim odrske deske pomenijo svet. Skupine prihajajo in odhaja-jo, staro in mlado govori samo o teatru, komentirajo predstave, obču-dujejo igralski svet, prenašajo čenče, posedajo po gledališki kavarni in v Trač baru, nenadoma vsi pozabijo na kruh in vino, štejejo samo še igre. Bliskavice na fotoaparatih neusmiljeno in neutrudno mežikajo, ljudje se bodisi skrivajo pred njimi ali pa se jim r(z)adovoljno nastavljajo, ru-meni tisk si mane roke, kulturne strani uglednih dnevnikov se pridno polnijo. Vse do festivalskega konca, ki je obenem tudi njegov vrhunec – podelitev strokovnih nagrad in nagrade za življenjsko delo igralcu ali igralki, imenovane Borštnikov prstan.

Lani je Borštnikovo srečanje gostilo legendarnega nemškega reži-serja Petra Steina z njegovim solo performansom, naslovljenim Faust fantasia. Ta dogodek tudi simbolično zaznamuje prelomnico usmeritve tega častitljivega gledališkega festivala. Gre za osrednji, najstarejši in najuglednejši gledališki festival v Sloveniji, ustanovljen leta 1966 v drugem največjem slovenskem mestu in z domicilom v Slovenskem narodnem gledališču Maribor. V svoji dolgoletni zgodovini se je zelo spreminjal in se končno ustalil kot selekcioniran nacionalni festival tekmovalnega značaja. Ime je dobil po igralcu in režiserju Ignaciju Bor-štniku (1858−1919), utemeljitelju sodobnega slovenskega gledališča.

Ko sem pred letom dni prevzela umetniško vodenje FBS, sem dobila odlično platformo, na katero je mogoče zlagati gradnike, ki bodo festi-val utrdili še drugače. Predvsem me je zanimala možnost mednarodne-ga pozicioniranja, ki je postala tudi ena mojih poglavitnih nalog. Letos, ko festival praznuje 45 let delovanja, se bo torej internacionaliziral. In tu se navezujem na omenjeno gostovanje Petra Steina. Letošnje leto bo dejansko prelomno. Vpeljali smo ogromno novosti, več kot podvojili število gledaliških in strokovnih dogodkov, domačih in mednarodnih, uvedli različne programske sklope, povabili študente igre, režije in dramaturgije, da svoj učni proces za dober teden preselijo iz Ljubljane v Maribor, itd.

45 let gledališkega festivala Borštnikovo srečanje

Mednarodni gledališki program smo poimenovali mostovi, saj je »most spomenik soglasju«, kot piše Monique Truong. Gostili bomo gle-dališča in skupine iz Budimpešte, Beograda, Zagreba, Vroclava in Reke. Z Mednarodno zvezo gledaliških kritikov (AICT/IATC) in Društvom gle-daliških kritikov in teatrologov organiziramo mednarodno konferenco z naslovom Interkritika, s slovensko sekcijo Mednarodnega gledališkega inštituta ITI pa pripravljamo simpozij Dramaturgija med realnostjo in vizijo. Slovenija bo tokrat prvič predstavila tudi svoj gledališki showcase za povabljeno tujo strokovno javnost. Nesporno smo gledališka dežela. O tem ne pričajo le številna mednarodna gostovanja in nagrade, marveč tudi vztrajno povečevanje vsakoletne produkcije. V pretekli sezoni se je zgodilo okrog 110 gledaliških premier. Za dvomilijonsko nacijo je to izjemna številka. Zato imamo tako kvalitetno gledališče in zato je tudi smotrno, da ga promoviramo navzven.

Predvsem pa smo zavezani, da se z dobrim in obilnim programom oddolžimo ljudem. »Že stoletja, če ne že tisočletja, ljudje, lačni in siti, pametni in neumni, lepi in grdi, radovedni in zdolgočaseni, vredni in zanikrni, z zanimanjem strmijo na različne odre, ki jim jih različna sto-letja postavljajo pred nos.« Tako je v svoji knjigi Biti z igro zapisal nestor slovenskega gledališča, režiser Mile Korun. Neverjetno, kakšna magija je v tej dovršeni konvenciji, ki jo predstavljata svetova na odru in v dvora-ni, razmejena z gledališko rampo! Ljudje hodijo v teater po vse: po misel, smeh, druženje, po smisel bivanja, resnico, svobodo ... In mariborska gledališka publika, ki zanesljivo sodi med najboljše, bo letos na festiva-lu lahko našla vse to, nemara celo še kaj več.

Besedilo: Alja Predan, umetniška direktorica

Every October, Maribor turns into a theatre Mecca. Ten days of festival transform it into a hive of actors, directors, students, producers, journalists, theatre enthusiasts and the curious, all crossing paths in the streets and coffee bars, in

hotel lobbies and theatre doorways. The city is literally swarming with people for whom the stage is their world. Groups come and go, old and young talk only of the theatre; they comment on performances, marvel at the world of acting, trade gossip, hang out in the theatre café and Trač bar, then suddenly everyone forgets about food and wine, for the play is the only thing that matters. Cameras flash away relentlessly and tirelessly, with people either hiding from them or gladly-glibly posing, the tabloids rub their hands together, and the arts pages of the quality dailies are dutifully filled. This goes on right up to the end of the fes-tival, when it also peaks, when actors are awarded professional prizes and prizes for life’s work, known as the Borštnik ring.

Last year the Borštnik Meeting hosted the legendary German direc-tor Peter Stein and his solo performance entitled Faust fantasia. That event also symbolically marked a turning point in the direction taken by this venerable theatre festival. This is the main, oldest and most distinguished theatre festival in Slovenia, established in 1966 in the second biggest Slovenian city and based in the Slovenian National Theatre of Maribor. In its long history it has changed considerably, and finally settled into being a select national festival of a competitive nature. It gained its name from the actor and director Ignacij Borštnik (1858−1919), the founder of modern Slovenian theatre.

When I took over the artistic direction of the festival a year ago, I gained a perfect platform on which it would be possible to lay the building blocks to consolidate the festival in even more ways. I was interested primarily in the possibility of international positioning, and this has become one of my main objectives. So this year, as the festival celebrates its 45th anniversary, it will be internationalised. And this leads me to our hosting of Peter Stein. This year will be truly a turning point. We have introduced many new features, we have more than dou-

Borštnik Meeting Theatre Festival Celebrates45 Years

bled the number of theatre and professional events, both domestic and international, we have introduced different programme sections, and we have invited students of acting, directing and stage writing to shift their learning process for over a week from Ljubljana to Maribor.

The international theatre programme has been called mostovi, bridges, since “every bridge is … a monument to an accord,” as Monique Truong writes. We will be hosting theatres and groups from Budapest, Belgrade, Zagreb, Wroclaw and Rijeka. With the International Associa-tion of Theatre Critics (AICT/IATC) and the Society of Theatre Critics and Theatrologists, we are holding an international conference entitled Interkritika, and together with the Slovenian section of ITI, the Interna-tional Theatre Institute, we are preparing a symposium on Dramaturgy between Reality and Vision. For the first time Slovenia will also present its theatre showcase for an invited professional audience from abroad. We are undoubtedly a theatrical country. This is evidenced not just by the numerous international tours and prizes, but also by the continuously growing production from year to year. In the past season, there were around 110 theatre premieres. That is an extraordinary number for a na-tion of two million. This is why we have such high-quality theatre and for this reason it also makes sense to promote it outwardly.

Yet most importantly we are bound to repay people with a good and extensive programme. “For centuries, if not millennia, people, hun-gry and full, wise and stupid, beautiful and ugly, curious and bored, worthy and despised, have headed off with interest to various stages that different centuries have set before them.” Thus writes the Nestor of Slovenian theatre, Mile Korun, in his book Biti z igro (Being with the Play). It is incredible what magic there is in this perfected convention presented by the worlds on the stage and in the auditorium, and sepa-rated by the proscenium arch! People go to the theatre for everything: ideas, laughter, company, the meaning of life, truth, freedom … And Maribor’s theatre-going public, which surely ranks among the best, will be able to find at this year’s festival all of this, and probably even more. A

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Text: Alja Predan, artistic director

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{ Kulturne ustanove }

Najprej je bila ena Ana – Ana Monro, mitska oseba, ki je v tridesetih letih minulega stoletja delala dopoldne v To-bačni tovarni, zvečer pa v baru Nebotičnik plesala striptiz. Tja je zahajal tudi dr. Sergej Lev, prav tako mitska oseba,

in vzplamtela je kratka, strastna in nesrečna ljubezen, ki je povzročila, da se je potrta Ana za dolga desetletja umaknila v osamo kočevskih pragozdov. Od tam se je vrnila leta 1982 z dekretom o ustanovitvi Gle-dališča Ane Monro, neodvisne avtorske skupine, ki se je napajala pri cirkusu, sovjetskem agitpropu in sodobnem eksperimentalnem gleda-lišču. Skupino sta ustanovila Roza in Mare (*), čez nekaj mesecev sem se jima pridružil tudi sam in nastala je prva predstava »1492 ali Ali lahko predvojna striptizeta danes še sploh kaj pokaže«, ljubavna zgodba iz viteških časov, ki ljubimca prisili, da z letalom pobegneta, a se zaradi karambola s kondorjem izgubita, potem pa se v neki zakotni špelunki spet srečno najdeta in občudujeta sončne zahode … To so bili živahni časi – pred-stavo smo igrali na vseh mogočih in nemogočih prizoriščih doma in v tujini. Kmalu so se zasedbi pridružili tudi drugi – Žiga, Borut, Eki (**) … in sledila je množica raznovrstnih predstav v dvoranah in na ulici. Konec osemdesetih smo bili del gibanja, ki je na noge postavilo in prenovilo KUD France Prešeren, majhen kulturni center v Trnovem v Ljubljani. Tam smo uprizorili tudi Sanremo, superuspešnico. V bizarni glasbeni parodiji na tedaj še zelo popularni glasbeni festival sem igral vlogo Domenica Modugna, odvratnega starca in mafijca, ki se v želji, da bi zapeljal mlado Gigliolo Cinquetti, spremeni v mladega ribiča. Prav zabavali smo se v tistem času, še posebno, ko smo začeli s predstavo Impro variete, gledališko improvizacijo, v kateri smo se preizkusili v po-polni novosti v tistem času. Najboljši pri tem so bili trenutki, ko si na odru kaj rekel ali naredil, da si presenetil celo samega sebe, in se potem še dolgo spraševal, od kod je ta reč priletela. Iz tega se je kasneje razvila Improliga, ki še danes razveseljuje gledalce po vsej Sloveniji.

V devetdesetih je počasi dozorela odločitev, da večino svoje produkci-je usmerimo v javni prostor, na ulice in trge. In tako je prišla druga Ana – Ana Desetnica (***), mednarodni festival uličnih gledališč. Najprej bolj sramežljivo v okviru mariborskega festivala Lent, od leta 1998 pa tudi

Štiri Aneiz Ljubljane

kot samostojen festival v Ljubljani in kasneje tudi v drugih slovenskih mestih – Novi Gorici, Kamniku, Šoštanju, občasno v Murski Soboti, Celju, Novem mestu. Po vseh teh letih organiziranja festivala se je zame zgodil največji čudež prvi dan festivala na prvi predstavi – igralci pri-pravljeni, občinstva pa nikjer. A pet, deset minut pred predstavo začne prihajati množica gledalcev, ki potem spremljajo cel festival. A tisti tre-nutek tesnobe, ali bodo prišli, potem pa olajšanje, ko pridejo, je zame še vedno najbolj vznemirljiv. Od kod neki pridejo?

Po prelomu tisočletja smo dejavnost Gledališča Ane Monro precej raz-vejali – dejavno smo se vključili v mednarodna sodelovanja in mreže ter Ano Desetnico uveljavili v širšem evropskem prostoru. Počasi je bil tudi čas, da začnemo svoja znanja in izkušnje posredovati tudi prihajajočim generacijam, in ustanovili smo prvo evropsko šolo za mlade ulične ume-tnike – ŠUGLO, dveletni program, ki zdaj izobražuje že drugo generacijo mladih uličnih zanesenjakov.

V letu 2009 pa je dozorela precej radikalna odločitev – Ani Desetnici so se pridružile še tri Ane. Vse štiri Ane – Ana Desetnica, Ana Plamenita, Ana Mraz in Prešerna Ana – skupaj tvorijo Letni krog Ane Monro, radikalno novo zamisel na področju organiziranja festivalskih prireditev v mestu Ljubljana; vsaka od An je namreč žanrsko drugačna in odraža letni čas, v katerem je: Ana Desetnica je poletni festival uličnega gledališča, Ana Plamenita jesenski festival noči in ognjenih ambientov, Ana Mraz zim-ski festival kratkih artističnih točk na mostu čez Ljubljanico, Prešerna Ana pa pomladni festival plesa na ulici. Tako je gledališče na ulici pri-sotno skozi celo leto in ljudje imajo vedno znova priložnost in razlog, da pridejo v mestno središče in se tam družijo z umetniki, obenem pa hočemo vsem, igralcem, gledalcem in celemu svetu sporočiti, da je za ulično gledališče primeren vsak dan v letu.

In kam naprej nese pogled? Proti vzhodu – Balkanu in Mali Aziji, kjer Gledališče Ane Monro precej gostuje s svojo predstavo Zlati osel, predela-vo antičnega romana Metamorforze, s to posebnostjo, da jo lahko igramo v jeziku dežele, kjer gostujemo – v Armeniji v armenščini, v Španiji v špan-ščini, v Iranu v perzijščini ... Če se samo spomnim gostovanja v Iranu spo-mladi letos, ko sem doživel, da so študentje na podelitvi nagrad izžvižgali

Besedilo: Goro Osojnik, vodja Gledališča Ane Monro

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{ Kulturne ustanove }

predstavnike uradnih oblasti, ali pa kako sem v pogovoru z njimi čutil, da bi najraje iz mene potegnili tudi drobovje, tako željni so znanja in infor-macij ... želim si, da bi tudi mi nekako postali del tega vznemirljivega do-gajanja na ulicah Balkana in Orienta in Male in Srednje Azije. Ana Dese-tnica bo v naslednjih letih poskusila postati to, kar Slovenija geografsko pravzaprav je: most med Jutrovim in Zahodom, festival, kjer se mešajo kulture, energije in ustvarjalnosti in kjer se srečujejo ljudje, umetniki in organizatorji iz mnogoterih dežel in kultur, odprta vrata za ene in druge, skozi katera bodo lahko dobili stik med sabo in stopili v drugi svet …

V resnici že v tem članku nastopajo več kot štiri Ane, še posebno, če upoštevam še eno, na katero sem še posebej ponosen, saj je edina na svetu – Ana Glasnica, posebna štiristranska priloga časopisa Dnevnik, posvečena uličnemu gledališču doma in po svetu, ki izhaja štirikrat le-tno, usklajeno s festivalskimi dogodki. A kaj, ko se mi zdi to tako dober naslov – Štiri Ane iz Ljubljane, dame klene in izbrane, v Ljubljano so kre-nile, da bi z gledalci se dobile … Lepo se imejte in — srečamo se na ulici!

(*) – Andrej Rozman – Roza, pesnik, pisatelj in gledališčnik, in Mare Kovačič, kipar, videast in vsestran-

ski vizualni umetnik

(**) – Žiga Saksida, igralec in glasbenik, Borut Cajnko – mojster tehnike in tudi igralec –, Primož Ekart,

akademski igralec

(***) – To je bil že tretji festival na ulici, ki smo ga organizirali; prvi je bil Pomladni festival v letih

1980–83, drugi pa Poletje pred Metalko v letih 1985–87.

In the beginning there was one Ana – Ana Monro, a mythical person of the 1930s who worked by day in the Ljubljana Tobacco Factory, and by night performed stripteases at Nebotičnik bar. The bar was also frequented by Dr Sergej Lev, another mythical

figure, and thus was sparked a brief, passionate and doomed love affair, causing the dejected Ana to withdraw for decades to the solitude of the virgin forests of Kočevje. She returned from there in 1982 with the decree establishing Gledališče Ane Monro, or Ana Monro Theatre, an independent and original arts group that drew inspiration from the cir-cus, Soviet agitprop and modern experimental theatre. The group was founded by Roza and Mare (*), and a few months later they were joined by myself. The first production, entitled 1492 or Can a pre-war striptease

Four Anas from LjubljanaText: Goro Osojnik, leader of Gledališče Ane Monro

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{ Cultural Institutions }

artist still show anything today, was a love story from chivalric times, in which the lovers are forced to flee in an aircraft, but owing to a collision with a condor they lose each other, then in some remote cave they hap-pily find each other again and admire the sunset… Those were vibrant times, and we staged this production at all possible and impossible venues at home and abroad. Soon the team was joined by others – Žiga, Borut and Eki (**) – and this spawned a multitude of different perform-ances in theatres and on the street. At the end of the 80s we were part of a movement that got KUD France Prešeren, a little cultural centre in the Trnovo district of Ljubljana, back up and running. It was there that we staged Sanremo, our mega-hit. In a bizarre musical parody of what was then still a very popular music festival, I played the part of Domen-ico Modugno, a depraved old man and Mafioso. In the desire to seduce the young Gigliola Cinquetti, he changes into a young fisherman. We had a lot of fun in those days, especially when we started performing our Impro variete, a theatre improvisation show in which we were trying out something completely novel for that time. The best thing about that was the moments when you said or did something on stage that even surprised yourself, and then you spent a long time wondering where it had come from. It was out of this that the Improliga – a com-petitive comedy-improvisation league – evolved, something that now delights audiences throughout Slovenia.

In the 90s we gradually arrived at the decision to focus most of our production on public spaces, in city streets and squares. And thus ar-rived another Ana – Ana Desetnica (***) – the international festival of street theatre. It started off a little coyly as part of the Lent festival in Maribor, but since 1998 it has run as an independent festival in Ljubljana and later also in other Slovenian towns – Nova Gorica, Kam-nik, Šoštanj, and occasionally in Murska Sobota, Celje and Novo mesto. After all these years organising the festival, for me the most amazing thing happened on the first day of the festival in the first performance – the performers all ready, but no audience. Then five or ten minutes before the show, a mass of spectators starts arriving, and then they fol-low the entire festival. But that moment of anxiety over whether they will come, and then the relief when they do, is still the most exciting thing for me. Where do they come from?

With the start of the new millennium, Gledališče Ane Monro has gone into some major diversification – we are actively involved in inter-national collaboration and networks, and Ana Desetnica has become established in the wider European area. There has also been time for us to begin sharing our knowledge and experience with future genera-tions, and we set up the first European school for young street artists, known as ŠUGLO, which offers a two-year course, and we are currently training up a second generation of young street enthusiasts.

In 2009 quite a radical decision came to fruition – Ana Desetnica was joined by three other Anas. All four Anas – Ana Desetnica, Ana Plamenita, Ana Mraz and Prešerna Ana – together make up the Annual Cycle of Ana Monro, a radical new concept in the organisation of festival events in Ljubljana. Each Ana has a different genre and reflects the season in which she appears: Ana Desetnica is the summer festival of street thea-tre, Ana Plamenita “Flaming” is the autumn festival of night and fire,

Ana Mraz “Frost” the winter festival of short artistic points on a bridge across the River Ljubljanica, and Prešerna “Jolly” Ana is the spring festi-val of street dancing. This means that street theatre is present through-out the year, and people keep getting new opportunities and reasons to go to the city centre and mingle with the artistes, while at the same time we want to send a message to everyone, to the performers, audi-ences and the whole world, that street theatre is appropriate for any day of the year.

So what are we looking ahead to now? Towards the east – towards the Balkans and Asia Minor, where Gledališče Ane Monro is touring exten-sively with its production Zlati osel [The Golden Ass], a reworking of the ancient novel Metamorphosis, with the special feature that it can be per-formed in the language of the country where it is performed – Armeni-an in Armenia, Spanish in Spain, Persian in Iran and so on. Just to recall one performance, in Iran this spring, I witnessed the students at the prize-award ceremony whistling at the official government representa-tives, and I recall how when I talked to them I felt like they were going to disembowel me, so eager were they for knowledge and information… I would like us to become somehow a part of these exciting events in the streets of the Balkans, the Orient, Asia Minor and Central Asia. In the coming years Ana Desetnica will try to become what geographically Slovenia actually is – a bridge between the Levant and the West, a festi-val where cultures, energy and creativity mix, and to serve as a meeting point for people, artists and organisers from a multitude of lands and cultures, with doors open for each other so that people might establish contact and enter different worlds.

In truth there are more than four Anas, even in this article, especially when you consider one more of whom I am especially proud, since she is the only one in the world – Ana Glasnica “Announcer”, a special four-page supplement in the newspaper Dnevnik, devoted to street theatre in Slovenia and around the world. It is published four times a year, and is coordinated with the festival events. But that doesn’t matter when we have such a fine title – Four Anas from Ljubljana. These are four robust and select ladies who have arrived in Ljubljana to hook up with their audiences. I wish you all the best and – see you in the streets! (*) – Andrej

Rozman - Roza, poet, writer and theatre artiste, and Mare Kovačič, sculptor, video artist and universal

visual artist

(**) – Žiga Saksida, actor and musician, Borut Cajnko – technical supremo and actor and Primož

Ekart, Academy-trained actor

(***) – This was the third street festival that we organised, the first was the Spring Festival in 1980–

83, and the second was the Summer in front of Metalka in 1985–87.

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KUD France PrešerenKUD France Prešeren is a cultural and arts society

whose non-profit programme policy of an open social space supports high-quality, different and as yet unestablished culture.

It is a place where, ever since the distant year of 1919, individuals and groups have shaped and expressed their interests in the cultural, artistic, educational, sociological and technical fields. It shows special concern for disadvantaged groups, in this way fostering and develop-ing greater tolerance and respect of difference.

A major influencing factor on the creation of activities, the atmos-phere and image of the society is the connection between those attend-ing the events and the creators and providers of the programme.

KUD, as it is referred to (Kulturno-umetniško društvo, or Cultural and Arts Society), brings together puppet and theatre programmes for children and adults, concerts in a variety of musical genres, exhibi-tions, lectures, literary evenings, seminars, round tables and work-shops, as well as a range of performance events. A

KUD France Prešeren je kulturno-umetniško društvo, ki s svojo neprofitno programsko politiko odprtega socialnega prostora podpira kakovostno, drugačno in še neuveljavljeno kulturo.

To je prostor, kjer že od daljnega leta 1919 posamezniki in skupine oblikujejo in izražajo svoje interese na kulturnem, umetniškem, iz-obraževalnem, sociološkem in tehničnem področju. Posebno skrb posvečajo deprivilegiranim skupinam ter s tem spodbujajo in razvijajo večjo strpnost in spoštovanje drugačnosti.

Na oblikovanje njihovih aktivnosti, vzdušja in podobe društva v ve-liki meri vpliva tudi povezovanje med obiskovalci prireditev in ustvar-jalci ter izvajalci programa.

KUD združuje lutkovni in gledališki program za otroke in odrasle, koncerte različnih glasbenih zvrsti, razstave, predavanja, literarne ve-čere, seminarje, okrogle mize in delavnice ter razne performanse.

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Hmelj

Besedilo: Glorjana Veber Fotografije: Joco Žnidaršič

Skozi savinjski prostor diha bogata zgodovina, hranjena iz duha keltskega noriškega kraljestva, ki je v kraje »zelenega zlata« segalo v mlajši železni dobi in zgodnji antiki. Njihovi temelji so dali podlago rimski Celei, danes največjemu mestu v tem delu, Celju, skozi katero si je utirala pot glavna rimska

cesta proti Panoniji in obdonavski meji. Iz podeželskega zaledja Celee (v današnjem Šempetru) je do danes preživelo pomembno rimsko grobišče z grobnicami celejskih dostojanstvenikov in premožnežev, ki so na ogled v muzeju Rimske nekropole. Zato ni presenetljiv duh legend, ki vejejo iz zidov ohranjenih gradov in poslopij, ujetih v preplet nižinskih in hribovitih savinjskih pokrajin.

Saunije (po Savinjski dolini), od leta 1173 pa so Žovneški gospodje (po gradu Žovnek, kjer so sprva prebivali). Njegovi obnovljeni zidovi rišejo sence na Žovneškem jezeru, ki se med gozdovi naslanja na kmečke domačije in napolnjuje še zrak skritih vasi, kot so Braslovče, ki se samo nekaj vdihljajev stran ponujajo z Braslovškim jezerom, spuščenim za krajevnim trgom ob spremstvu cerkve in spustu drevoreda.

Pretakanje vode pomembno zaznamuje Savinjsko dolino, saj ji daje ime glavna reka Savinjskih Alp, imenovana Savinja; to je hkrati najdaljša reka, ki teče izključno po ozemlju Slovenije. Njeno rečje poteka večinoma po Zgornji in Spodnji Savinjski dolini, vstopa v Celjsko kotlino, se sprosti skozi mesti Celje in Laško ter pri Zidanem Mostu izteče v Savo. Na njenih spodnjih obronkih jo spremljajo pridne roke savinjskih hmeljarjev, pridelovalcev »zelenega zlata«, zaščitnega pečata doline, znane po najboljšem hmelju tako v Evropi (za varjenje so ga začeli uporabljati v 8. stoletju) kakor v svetu.

Podoba Veronike Deseniške iz 15. stoletja in njenega moža, celjskega grofa Friderika drugega, piše najbolj mistično in žalo-stno ljubezensko zgodbo o njuni poroki, močno nasprotovani s strani Friderikovega vplivnega očeta Hermana. Ker Veronika

na sodišču ni bila spoznana za krivo, da je s čarovnijo zapeljala svojega izbranca, jo je dal Herman utopiti, sina pa zapreti v stolp, danes znan kot Friderikov stolp. Domačini zelene doline obiskovalcem z veseljem prišepnejo zgodbe o drugačni usodi nesrečnega dekleta. Ena izmed njih je ostala pripeta na prepadne skale gore Krvavice, iz koder bi naj bila pahnjena v prepad. Ob mesečnih nočeh naj bi še vedno prihajala gret skalovje Krvaviške gore, ki bi naj dobila »rdeče« ime ravno zaradi dekle-tove usode.

Celjski grofje skupaj z legendo, ujeto v spomin časa vse do danes, predstavljajo najbolj znano in najpomembnejšo plemiško in vladarsko rodbino, ki je imela svojo matično posest na območju današnje Slovenije. Njihovo ime se prvič omenja okoli leta 1130: gospodje iz

Savinjskadolina – dolina »zelenega zlata«

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{ Hmelj }

Prvi nasad hmelja se omenja leta 1854 v okolici Žalca, medtem ko se celotna pokrajina ponaša z dobrimi tremi četrtinami vseh slovenskih hmeljišč. Zeleni simbol, ki so ga kot pomembno zdravilno rastlino poznali že starodavni arabski zdravniki in je v manjšem deležu tudi danes uporabljen pri izdelavi zdravil, se večinoma vzgaja za namene pivovarstva kot dodatek pri proizvodnji piva, saj da ravno hmelj pivu tisti nenadomestljivi, prijetno grenki okus. Tako kot keltske stopinje zgodovine do rimske Celee je s posebnim duhom tudi hmelj vpet v ohranjanje. Poleg postavljanja hmeljevk, pohoda po hmeljski poti in hmeljskega likofa se že 45 let ohranja izbor hmeljarskega starešine in princese, ki kot predstavnika slovenskih hmeljarjev simbolizirata hmelj. Starešina predstavlja hmeljevo rastlino, princesa pa njen plod, hmeljevo kobulo. Hmeljarski običaji prepletajo široko ravnino ob Savinji in njenih pritokih med Sotesko in Celjem. Skupaj z legendami dajejo krajem poln občutek ambienta ter vabijo k obisku in sprostitvi s čudovitimi jesenskimi sprehodi v naravi.

The Savinja Valley, the Valley of Green GoldText: Glorjana Veber Photography: Joco Žnidaršič

The Savinja area still breathes the rich history fed by the spirit of the Celtic kingdom of Noricum, which reached into the land of “green gold” in the late Iron Age and early Antiq-uity. Their foundations provided the basis for Roman Celeia,

today’s Celje, the largest city in the region, through which ran the main Roman road towards Pannonia and the Danube border. From the rural hinterland of Celeia (in present-day Šempeter), an important Roman burial site containing the graves of dignitaries and other wealthy citi-zens of Celeia can still be seen today, in the museum of the Roman ne-cropolis. Perhaps unsurprisingly, there is a spirit of legend in the valleys and hills of the Savinja region, rising from the walls of castles and other ancient buildings.

The 15th-century image of Veronica of Desinić and her husband Count Frederick II of Celje tells the mysterious and sorrowful story of their marriage, strongly opposed by Frederick’s influential father Herman.

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{ Hop }

After a court had found Veronica not guilty of using witchcraft to se-duce the object of her affection, Herman had her drowned and locked his son up in the tower that is today known as Frederick’s Tower. The inhabitants of the green valley whisper other versions of the story, in which the unfortunate girl suffers a different fate. One such version cleaves to the precipitous rocks of Mount Krvavica, from which Veronica is said to have been thrown. It is said that on moonlit nights she still comes to warm the rocks of Krvavica, which is supposed to have got its gory name (krvav means bloody or bloodstained) from the girl’s fate.

The Counts of Celje, together with the legend that is still tied up with their memory today, represent the most famous and most important noble ruling family to have had their seat in the area of present-day Slovenia. They first appear in around 1130 as the Lords of Saunia (after the Savinja Valley). After 1173 they are known as the Lords of Sanneck or Žovnek, after Žovnek Castle, which was their original home. Its rebuilt walls cast shadows on Lake Žovnek, in the midst of forests and sur-rounded by farms, which fill the air of hidden villages like Braslovče, itself just a few breaths away, with Lake Braslovče, below the village square, by the church and the slope of a tree-lined avenue.

The flow of water is an important characteristic of the Savinja Valley, which takes its name from the Savinja, the principal river of the Savinja Alps and at the same time the longest river to rise and end within the territory of Slovenia. For the most part the river system flows through the Upper and Lower Savinja Valley. The river enters the Celje Basin, passes through the cities of Celje and Laško, and flows into the Sava at Zidani Most. Along its lower course, it is accompanied by the industri-ous hands of the Savinja hop-growers, the producers of “green gold”, the trademark of a valley known for the finest hops in Europe (first used to brew beer in the 8th century), and indeed the world. The first hop planta-tion, outside the town of Žalec, dates from 1854. The region as a whole accounts for over three quarters of all hop production in Slovenia. This green symbol, which ancient Arab physicians knew as an important medicinal plant and which is still used today in herbal medicine, is pri-marily grown for the needs of the brewing industry in the production of beer, since it is hops that give beer its unique, pleasantly bitter flavour. Like the Celtic footsteps of history leading to Roman Celeia, hops are part of the preservation of a special spirit. Along with the placing of hop poles, the hop trail and the hop-growers’ banquet, a tradition preserved for 45 years is the election of a hop elder and a hop princess as symbolic representatives of Slovenia’s hop-growers. The elder represents the hop plant and the princess its fruit, the hop itself. Hop-growers’ customs and traditions are to be found throughout the broad plain by the Sav-inja and its tributaries between Soteska and Celje. Together with the legends, they contribute to the area’s special atmosphere and attract visitors seeking relaxation and strolls in the wonderful autumn coun-tryside. A

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Kolesarjenje

Besedilo: Anja Rebolj Fotografije: Boštjan Pucelj

Dirka po cvičkovih klancihBrentaa! ... Brenta! odmeva odločen ženski glas. Kliče nosača, ki

se je v zidanici zadržal v pogovoru z gospodarjem vinograda.

Trgatev je v pogonu. Iz kleti zidanice se sliši vztrajen ritem

mlina. Ptičje petje mu dela družbo, medtem ko klopotec še miruje. Ura

je 10 zjutraj in v dolini vlada megla. Tolsti vrh je že v oktobrskih žarkih, ki

so pregnali roso s tal. V prvi prestavi in s težkim dihom sestopiva s koles.

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{ Kolesarjenje }

V Brusnicah sva se umestila na Podgorjansko vinsko cesto. Ta se vije po vinorodni dolenjski pokrajini in vodi od Dolenjskih Toplic pa vse do Krškega. Prisojna stran je pokrita z mozaično

preprogo malih vinogradov. Različne sorte grozdnih jagod ustvarijo različne sorte vina. Lokalci so najbolj ponosni na svoj cviček. To je rdeče suho vino, pridelano iz rdečih in belih sort. Vsebuje žametno črnino, modro frankinjo in kraljevino, od belih sort pa laški rizling, zeleni silvanec in rumeni plavec. Ima nizko stopnjo alkohola in prijetno kislino. To zelo pitno vino se odlično prilega k vsakovrstnim jedem. Kot vsem rdečim vinom pa mu pripisujejo tudi zdravilen pomen. Na Dolenjskem je cviček tisto vino, ki spremlja vesele in žalostne trenutke.

Brentač se napoti k trgačem in ugleda upehani postavi ob robu ceste. Po-kliče gospodarja, naj prinese dva kozarca in potico. Povabi naju k zidanici, ponudi klop, da umiriva tresoče noge. In najina dirka po vinskih gričih se razpne med trpljenje in uživanje. Brentač Vid krepko stisne obema roko in pravi, da delo kliče, in pomežikne. Z brento na hrbtu odide v dolino proti glasu, ki ga je klical pred nekaj minutami. Trgalska zasedba je pisana. Že avtomobili z ljubljanskimi registrskimi tablicami ob cesti so napovedovali ubežnike iz velemesta. Poleg božiča je le še trgatev eden od dogodkov, ki se jih obvezno udeležijo na Dolenjskem. Odrasli s škarjicami odrežejo grozd, mu odstranijo morebitne slabe jagode in ga položijo v posodo. Otro-ci pobirajo po tleh po nesreči izgubljene jagode. Žvižgati se nihče ne trudi. Ves čas zobajo grozdje in se pomenkujejo, kako je bilo poleti na morju. Tr-gatev je prijetna ceremonija, ki že skoraj spominja na praznik.

Gospodar Matija je brentačev stric. Zaželi nama dobrodošlico. Ob klepe-tu izveva podatke o lanskoletni beri in napoved letošnje sladkobe in količi-ne. Pridelujejo samo zase. Za svoje veselje in zdravje, čeprav s tem misli na pitje. Sode so pomivali prejšnjo soboto. Matija se nasmeje, skomigne z ra-meni in pravi, da so se priprave zavlekle še na nedeljo. Luštno je bilo in se jim ni mudilo domov. Kmalu se znajde pred nama pladenj domače kuhane šunke in hrena. Kruh je še topel. Diši. Tatjana, njegova žena, ne neha nositi jedače. Včeraj popoldne je zasedla kuhinjo, da trgači ne bi bili lačni. Pozno v noč je čakala na zvonjenje pečice in poskrbela za potico. Danes zjutraj je vstala ob 5h in spekla še nekaj hlebcev kruha. Očitno že dolgo sediva, saj se trgači v gumijastih škornjih in s polnimi vedri vzpenjajo proti zidanici na prvo malico.

In najina dirka po vinskih gričih se razpne med trpljenje in uživanje.( 74 )

Prebrcati morava še slabih 40 kilometrov, zato strateško odmeriva grižljaje. Mimo Šentjerneja, Vinjega vrha, Šmarjete, Otočca, Trške gore in nazaj v Novo mesto. Začutiva novo moč v udih, se zahvaliva za sprejem in se zavihtiva na najina vranca. Asfaltna pot je nadvse hvaležna za najini kolesi brez amortizerjev. Vzponi preizkušajo najino trmo. Sem in tja se za-sliši zvok harmonike in vriskanja. Pogled na zelene Gorjance, lično urejena naselja, pravljični Otočec in mirno Krko odmakne misel na utrujenost. Na Trški gori sestopim in rinem. Ne gre več. Še do cerkve Marijinega rojstva greva, potem pa v dolino, do Novega mesta.

Tour ofthe Cviček SlopesText: Anja Rebolj Photography: Boštjan Pucelj

Baaasket! ... Basket! Thunders a determined female voice. She is calling for a porter who is stuck in conversation with the vineyard owner in the wine house. The grape harvest is in full

swing. The persistent rhythm of the press can be heard from the cellar of the cottage. This is joined by birdsong, while the wind rattle remains still. It is 10 in the morning, and fog hugs the valley. The hill of Tolsti vrh is already lit up by the October sun, which has driven off the dew. In first gear, breathing heavily, we get off our bikes.

{ Dolenjska }

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{ Cycling }

We had joined the Podgorjanska Wine Road at Brusnice. This road winds through the wine-growing landscape of Dolenjska, leading from Dolenjske Toplice all the way to Krško. The sunny side is covered in a patchwork carpet of little vineyards. Varied varieties of grapes go to make different varieties of wine. The locals are proudest of their cviček. This is a dry red wine, made from red and white varieties: Black Velvet, Mo-dra Frankinja (Blaufränkisch) and Kraljevina among the reds, and Laški Rizling, Green Sylvaner and Rumeni Plavec (Yellow-Blue) among the whites. It has a low alcohol content and pleasant acidity, making for a highly drinkable wine that goes superbly with all kinds of food. And like all red wines, therapeutic importance is ascribed to it. In the Dolenjska region, cviček is the wine that accompanies both joyful and sad moments.

The porter heads off to the pickers and spies the exhausted shapes by the side of the road. He calls out to the boss to bring two glasses and some potica cake. He invites us to the wine house, and offers a bench for us to rest our shaking legs. And our race around the wine hills extends from suffering to enjoyment. The porter, Vid, shakes our hands vigor-ously, saying work beckons, then winks. With his basket on his back, he heads down the hill towards the voice that had called him a few min-

utes earlier. The harvesting team is a motley bunch. Cars with Ljubljana number plates parked along the road gave us warning of fugitives from the big city. Apart from Christmas, the grape harvest is one of the few events where participation still seems obligatory in Dolenjska. Adults use pruning shears to cut off the bunches, remove any bad grapes and place them in the tub. Meanwhile, the children gather up any grapes lost on the ground. No one makes any effort to whistle. The whole time, they are tasting the grapes and chatting about how the summer was by the sea. The picking is a pleasant ceremony reminiscent of a festival.

The owner, Matija, is the porter’s uncle. He bids us welcome. As we chat, information seeps out about last year’s picking and the forecast for this year’s sweetness and yield. He grows only for himself. For his happiness and health, albeit through drink. They cleaned the barrels the

previous Saturday. Matija laughs, shrugs his shoulders and says the prep-arations dragged on into the Sunday. It was lovely and they were in no hurry to get home. Soon a platter appears in front of us with home-made cooked ham and horseradish. The bread is still warm. Aromatic. Tatjana, his wife, never stops bringing us treats. The previous afternoon she had set up camp in the kitchen, to be sure the pickers would not go hungry. Late into the night she waited for the oven timer to ring, making sure the potica was good. This morning she awoke at 5 am and baked a few more loaves of bread. We have clearly been sitting here for a while now, since

the pickers in their rubber boots and with full buckets are trudging back up to the cottage for their first food break.

We still need to cover nearly 40 km by pedal power, so we strategi-cally ration our snacks. Past Šentjernej, Vinji vrh, Šmarjeta, Otočec, Trška gora and back to Novo mesto. We sense a new power in our limbs, thank our hosts and sweep off again on our trusty steeds. The asphalt road is a thankful bonus on our shock-absorberless bikes. But the uphills test our perseverance. Here and there we hear the sounds of accordions and shouting. The view of the green Gorjanci mountains, the pretty villages, the fairy-tale island of Otočec and the tranquil River Krka drive away any thoughts of fatigue. At Trška gora I get off and push. I can’t cycle any fur-ther. We continue on to the Church of the Virgin Mary’s Birth, then down into the valley, to Novo mesto. A

And our race around the wine hills extends from suffering to enjoyment.

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{ Dolenjska }

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{ Kolesarjenje/Cycling }

DolenjskaTolsti vrhTolsti vrh je tipičen dolenjski hrib, ki je na gosto

posejan z majhnimi vinogradi in zidanicami.

Ceste v klanec so vijugaste, ozke in strme.

Tolsti vrh is a typical Dolenjska hill, densely

sown with little vineyards and wine cottages.

The roads up the slope are winding, narrow and

steep.

Gracarjev turnGracarjev turn je graščina pod vznožjem

Gorjancev. Edinstvenost graščine

predstavljajo velika lesena vrata, ki so izdelana

samo s sekiro iz enega samega kosa lesa.

Gracarjev turn is a castle by the foothills of the

Gorjanci mountains. A unique feature of the

castle is its wooden gate, hewn from a single

piece of wood with just an axe.

PleterjeKartuzijanski samostan Pleterje je dom

kartuzijanov, najstrožjega moškega reda

rimskokatoliške cerkve. Pleterski kartuzijani

so zelo dobri pridelovalci vin in izvrstni kletarji.

Čeprav je njihovo osnovno vino cviček, so znani

po mašnem vinu. Gre za suho vino, pridelano iz

sort chardonnay, sivi pinot, kerner in laški rizling.

The Carthusian Monastery, or Charterhouse, of

Pleterje is home to Carthusian monks, members

of the strictest monastic order in the Catholic

Church. They are excellent winemakers and

outstanding cellarmen. Although their main wine

is the local Cviček, they are famous for their

communion wine. This is a dry wine made from

the varieties Chardonnay, Pinot Gris, Kerner and

Laški Rizling.

OtočecGrad Otočec obdaja reka Krka, ki ima na

tem delu plitvi tok, polno majhnih otočkov

in lehnjakovih pragov. Prvotno je bil grad lociran

ob desnem bregu, vendar so zaradi boljše

obrambe vkopali dodaten kanal, ki je povezal

mrtvi rokav reke, in tako je nastal otoški grad.

Otočec Castle is surrounded by the River Krka,

which flows shallow in this section, and is full

of small islets and tufa shelves. Originally it was

located on the right bank, but for better defence

an additional channel was dug, linking up with

a blind eddy of the river and creating the island

castle.

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Tako zelo( 80 )

Nika Zupanc

moj

Kako zelo pomemben je štedilnik za resne kuharje, potr-juje tudi anekdota o Tonyju Curtisu. Na neki prireditvi so ga namreč ponudili kot glavno nagrado. Gospa, ki je zmagala, se zvezdnika iz filma Nekateri so za vroče ni niti malo razveselila.

Upala je, da se bo domov odpravila z drugo nagrado – štedilnikom. Pravzaprav čudi, da smo jih Evropejci dobili šele v 18. stoletju (pred tem

so naši predniki kuhali na odprtem ognju), medtem ko so Kitajci že leta 221 pr. n. št. uporabljali glinene kuhalnike, Japonci pa so nekaj podobne-ga (kamado) izumili v 3. stoletju n. št.

Za prvi evropski štedilnik (rekli so mu castrolova peč) je odgovoren francoski arhitekt François Cuvilliés. Na prelomu 19. stoletja ga je nasledil nekoliko bolj dodelan izum – rumford, ki ga je njegov avtor, Benjamin Thompson, ustvaril iz litega železa, oblikoval pa tako, da je kuhalna plošča vključevala več odprtin. A žal je bil rumford prevelik za družinsko kuharijo, zato so ga morali najprej prilagoditi domači rabi, kar je trajalo trideset let, v tem času pa so ga že začeli izpodrivati štedilniki na plin. Slednji so doživeli premiero leta 1851 na sejmu v Londonu, bolj masovna proizvodnja se je pričela šele nekaj desetletij zatem. V začetku dvajsetega stoletja so se na trgu znašli emaj-lirani štedilniki, ki so bili precej lažji za vzdrževanje,

Besedilo: Lora Power Fotografije: arhiv podjetja Gorenje

Ako želite med »domačicami« ali ljubiteljskimi kuharji zanetiti hrupno debato, le omenite štedilnik. Koj se

bodo razdelili v tri tabore: na tiste, ki prisegajo na plinskega, one, ki se jim toži po »šporhajtih« na drva, in tretje, ki zatrjujejo, da je najboljši kuhinjski element indukcijska kuhalna plošča.

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Ora-Ïto

Karim Rashid

{ Gorenje }

medtem ko so električni postali priljubljeni v tridesetih letih prejšnjega stoletja.

Zatem je prišla na vrsto mini revolucija; skupaj z oblikovalskimi do-mislicami dvajsetih let se je začelo preoblikovati tudi življenjsko okolje. Vse glasneje se je razpravljalo o spremenjeni vlogi žensk, o novem načinu življenja, predrugačeni družinski celici, sodobni hrani in potrošništvu.

In če so se v svetu uveljavljala raznolika podjetja, ki so skušala s ka-kovostjo in lepo obliko nagovarjati takšne in drugačne potrošnike, je na domačih kuhinjah pustilo pečat predvsem eno podjetje – Gorenje.

V velenjski tovarni so prvi patent registrirali leta 1956, prve mednaro-dne nagrade so sledile v sedemdesetih, prve načrte za izdelavo dizajnsko poenotene linije gospodinjskih aparatov pa so oblikovali leta 1990.

In če vprašate strokovnjake s področja oblikovanja, bodo danes ob omembi Gorenja izstrelili priznana oblikovalska imena: Ora-Ïta, Paola Pininfarino, KarimaRashida in predstavnico mlajše generacije, Niko Zu-panc.

Mladi Francoz je pri oblikovanju Gorenjeve linije »oklestil vse, česar ne potrebujemo, ostalo je le bistvo izdelka«; izkušeni Italijan se je zavezal srebrni in črni ter dodal nekaj posebnega – funkcijo Slider touch control, s pomočjo katere se temperatura štedilnika uravnava le z dotikom prsta, medtem ko je naša Nika zapeljala s čarobnim feminizmom. Njen mini kuhalnik Miss Dalloway, ki je bil zasnovan posebej za Gorenje leta 2009, je elegantno nabrit, literarno navdihnjen, »usodno preprost« kos. Ko bi le bil tako zelo, zelo moj!

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Paolo Pininfarina

VeryMineIf you want to start a noisy debate among housewives or

amateur chefs, just mention stoves. They will immediately split into three camps: those who swear by gas, those who are nostalgic for the old wood-burning kitchen range, and those who insist that nothing

beats the induction cooker. Just how important the stove is to the serious cook is confirmed by an

anecdote told by Tony Curtis about the time he was offered as first prize in a competition. The lady who won was apparently disappointed with her prize of a weekend in the company of the star of Some Like It Hot. She had been hoping to take home the second prize – a new stove.

Surprisingly, we Europeans did not start using stoves until the 18th century (before this, our ancestors cooked on open fires). The Chinese, meanwhile, were using clay cookers in as early as 221 BC, and the Japanese invented something similar (the kamado) in the third century AD.

The first European stove (called the Castrol stove) was invented by the French architect François Cuvilliés. At the turn of the 19th century, this was succeeded by a slightly more sophisticated device, the cast-iron Rum-ford stove invented by Benjamin Thompson, the top of which featured several apertures. Unfortunately, the Rumford was too big for a family kitchen, so it first had to be adapted for domestic use. This process took 30 years, and in the meantime gas ovens began to supersede it. The lat-ter were presented for the first time at the Great Exhibition in London in 1851 and began to be produced on a mass scale just a few decades later. In the early 20th century, enamel stoves appeared on the market. These were much easier to maintain. Electric stoves became popular in the 1930s.

After this came a mini revolution. Along with the design ideas of the 1920s, the living environment also began to transform. Discussions raged

about the changed role of women, the new lifestyle, the transformation of the family unit, modern eating and consumerism.

And if various companies around the world were attempting to address this or that group of consumers with quality and good design, there was one company in particular that left its mark in the kitchens of Slovenia: Gorenje.

The Velenje-based company registered its first patent in 1956. The first international awards followed in the 1970s and the first plans for designer ranges of household appliances appeared in 1990.

Mention Gorenje to design experts and they will almost certainly reply with the following names: Ora-Ïto, Paolo Pininfarina, Karim Rashid and, representing the latest generation of designers, Nika Zupanc.

In designing his Gorenje collection, the young French designer Ora-Ïto “pruned away” everything unnecessary so that all that was left was the essence of the product; the experienced Italian designer Pininfarina com-bined silver and black and added something special – an innovative slider touch control system operated at the touch of a finger; Slovene designer Nika Zupanc seduces with magical feminism. Her Mrs Dalloway hot plate, specially designed for Gorenje in 2009, is an elegantly artful, literarily in-spired, “fatefully simple” piece. If only it were mine! A

Text: Lora Power Photography: Gorenje archives( 83 )

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Polkav slovenskem

slogu: ameriškazabavna glasba

Slovenci so morda le majhna skupnost v se-vernoameriškem talilnem loncu, vendar so znani vsaj po eni stvari – po slovenski polki.

Pred kakšnega stoletja se je v slovenskih soseskah v Clevelandu, v državi Ohio, pojavil nov žanr plesne glasbe, v katerem so se melodije starega sveta meša-le z vplivi iz novega, ki so izvirali iz džeza, z glasbe-nih odrov in country okolja. Poln zvok harmonike, poskočen ritem bendža in nežni valčki slovenskih orkestrov so pritegnili plesalce in glasbenike vseh narodnosti, ne le Slovencev. Privlačen slovenski slog, ki gre zlahka v uho, znan tudi kot »cleveland-ski slog«, je postal v desetletjih po 2. svetovni vojni nacionalna senzacija in je priljubljen še zdaj. Edin-stvenemu darilu, ki so ga Slovenci podarili ameriški kulturi, je posvečen celo muzej.

Besedilo: Joseph Valencic

N A pesmi in hvalnice, ki so jih s seboj prinesli izse-ljenci. Prve organizirane glasbene skupine so bili pevski in cerkveni zbori. Posamezni glasbeniki so čez Atlantik pri-

nesli s seboj tudi harmonike, mandoline ali citre. V osemdesetih letih je bila harmonika že zelo zaželena na porokah, plesih in piknikih. Hkrati so začela slovenska društva ustanavljati pihalne godbe, ki so spomi-njale na plehmuziko, priljubljeno v stari domovini. S svojimi bleščečimi glasbili in dobro ukrojenimi uniformami so bili ti glasbeniki ponos vsa-ke parade v slovenskih okoliših. Cerkveni organist Ivan Zorman st. je od leta 1897 ustanavljal pihalne orkestre v Ohiu, Michiganu, Minnesoti in Koloradu. V odziv na navdušenje nad mandolino, ki je Američane zajelo ob prelomu stoletja, so začeli Slovenci ustanavljati tamburaške klube in družinske glasbene skupine.

Druga generacija Slovencev je cenila tako komercialno glasbo kot tudi zvoke svoje domače kulture. Harmonikarjem so se pridružili še igralci na bendžo in baskitaro in tako so se okrog leta 1920 že pojavili prvi slo-venski plesni orkestri. Gostilne in novozgrajene kulturne dvorane so se za tisoče slovenskih priseljencev iz nekdanje Avstro-Ogrske spremenile v zabavišča. Anton Mervar in John Mikuš iz Clevelanda sta ustanovila tovarno harmonik in svoja glasbila pošiljala po vsej državi. Slovenski glasbeniki so poživljali družabna srečanja vse od rudarskih naselij v Wyomingu do kmetij v Minnesoti in tovarniških mest v Pensilvaniji.

Gramofon in radio sta popeljala slovenske pesmi v vsak dom ter ustvarila povpraševanje po posnetkih in izvajalcih. Založbi Victor in Columbia sta izdajali slovenske plošče, ki so se prodajale po glasbenih trgovinah, prodajalnah pohištva in draguljarnah. Ljubljanski igralki Au-gusta Danilova in Mila Polančeva sta naredili leta 1917 v New Yorku prve komercialne posnetke slovenskih ljudskih pesmi. Zgodnji uspešnici v izvedbi Antona Schubla sta bili »Mamica moja« in »Gor’ čez jezero«. Trio Matta Hoyerja iz Clevelanda je postal prvi slovenski ansambel, ki je pri-tegnil široke množice. Od leta 1919 do 1930 je skupina posnela najmanj sto pesmi. Hoyer je predelal stare polke, ljudske pesmi in koračnice ter jih posodobil s spremljavo na bendžu in harmoniki. Ta kombinacija je postala vzor za slovenske glasbene skupine in njihove izvedbe ločevala od poljskih, čeških ter nemških različic polke.

Leta 1930 so se prvi slovenski radijski programi že predvajali na teden-ski osnovi. Več producentov in napovedovalcev, kakršna sta bila Martin Antončič v Clevelandu in Mary Skerlong v Pittsburghu, je desetletja vodi-lo svoje oddaje. Oddaje v živo so vključevale tudi lokalne novice in plača-ne oglase, s katerimi so se ti programi financirali. Zelo priljubljen radijski izvajalec je bil pianist in skladatelj William Lausche, ki je »amerikaniziral« slovenske melodije s plesnimi orkestri in džezovskimi priredbami. Bil je pionir tistega sloga polke, ki so ga začeli pozneje povezovati s Clevelan-dom in Slovenci. Njegovi posnetki s sestro Josephine in Mary Udovich kot vokalistko so se prek Columbia Records v dvajsetih in tridesetih letih tržili tudi v Sloveniji ter vrteli na takrat še mladem Radiu Ljubljana.

Fantje, ki so odraščali ob ploščah, radiu in lokal-nih glasbenih skupinah, so začeli ustanavljati nove skupine. Frank Yankovic je bil že v najstniških letih harmonikar in vodja skupine v pretežno slovenski

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clevelandski soseski Collinwood. Njegovi zgodnji posnetki, ki jih je naredil kar sam, so bili hitro razprodani, leta 1946 pa so mu prinesli tudi pogodbo s Columbio. Plesalci so naklonjeno sprejeli Yankovičev pristop – mehke valčke in počasnejše polke, ki niso zveneli preveč tuje. Da bi pritegnil širši krog občinstva, je slovenska besedila in naslove prevedel v angleščino. Na odru se je zelo zabaval in svoje veselje delil z občudo-valci. Yankovic in njegovi »Yanksi« so se z dvema milijonoma prodanih uspešnic »Just Because« in »The Blue Skirt Waltz« v letih 1948 in 1949 povzpeli na vrh glasbenih lestvic. Med njegovimi slovenskimi pesmimi so bile »Vre, vre, vre«, »Židana marela« in »Ko psi zalajajo«. Pesem »Čez tri gore« so posneli tudi znani izvajalci, kot sta bila Tex Beneke in Rex Allen. Slovenske pesmi, izvajane z ameriškim žarom, si lahko slišal iz džuboksov in radijskih sprejemnikov od vzhodne do zahodne obale.

Yankovičev sveži slog se je pojavil ravno v času, ko je bila dežela pri-pravljena na zabavno glasbo. Po letih vojne in pomanjkanja so iskali Američani preproste, vedre melodije za ples in romantiko. Mnogi znani izvajalci so snemali uspešnice v ritmu polke. Yankovic je veliko hodil po turnejah, imel tudi do tristo nastopov letno in bil leta 1948 uradno okronan za »ameriškega kralja polke«. Ko je nastopal po klubih v Holly-woodu, so na njegove slovenske polke plesale tudi velike filmske zvez-de, kakršna sta bila Bob Hope in Rosalind Russell. Leta 1949 se je v »bitki bendov« soočil celo z Dukom Ellingtonom – in zmagal.

Tudi drugi slovenski polka ansambli so sklepali pomembne snemalne pogodbe. Harmonikar Johnny Pecon je zapustil Yankovičev orkester, da bi ustanovil svojo uspešno skupino, in ta je po mnenju mnogih še doda-tno izboljšala slovenski slog. Johnny Vadnal je v polko vnesel ritem svin-ga in vodil oddajo na radiu. Televizija je slovenske izvajalce, kot sta bila Louis Bashel in Eddie Habat, pripeljala v vsak dom. Vadnal je leta 1949 vodil prvo tedensko slovensko televizijsko oddajo, in to deset let, preden je Slovenija dobila svojo televizijo! Vstop slovenskih polk in valčkov v ameriško zabavno glasbo je odzrcalil večkulturno identiteto države.

Vzpon televizije in rokenrola je polko zasenčil, toda novi talenti so v šestdesetih letih pomagali oživiti glasbo v slovenskem slogu. Tony Pet-kovsek iz Clevelanda je začel leta 1961 voditi dnevno slovensko radijsko oddajo o polki in je kmalu postal pomembna osebnost pri oživljanju ter promociji slovensko-ameriške kulture. Posnetki dveh ansamblov iz Slovenije, Ansambel bratov Avsenik in Trio Lojzeta Slaka, so ameriškemu občinstvu, ki je imelo rado polko, ponudili nov ljudski zvok in nove me-lodije. Avsenikov živahni alpski slog je navdihnil podobne skupine v Cle-velandu in Torontu. Diatonična harmonika Lojzeta Slaka – glasbilo iz sta-rega sveta – je med slovenskimi Američani sprožila pravo harmonikarsko manijo. Karizmatični mladi izvajalci, npr. vodja ansambla Richie Vadnal, vokalistka Cilka Dolgan in Walter Ostanek, kanadski »kralj polke«, so bili všeč poslušalcem vseh starosti. Etnični ponos v Severni Ameriki se je krepil in množično obiskani dogodki so dobivali čedalje večjo veljavo. Petkovskov tridnevni festival slovenske polke privabi vsakega novembra že vse od leta 1963 v Cleveland 5.000 obiskovalcev. Na Slovenefestu, ki ga organizira Slovenska narodna podporna jednota, se v Pensilvaniji vsako poletje zbere na tisoče ljudi.

Polka je v slovenskih skupnostih v sedemdesetih letih pripeljala do rojstva pomembnih družabnih dogodkov. Potovalne agencije v slovenski

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lasti, na primer Kollander Travel v Clevelandu, so organizirale čarterske polete v Slovenijo, ki so jih vodili polka ansambli. Tisoči so odpotovali, da bi obiskali sorodnike in se seznanili z domovino svojih prednikov. Navdu-šeni nad severnoameriško turnejo Lojzeta Slaka, so Slovenci ustanavljali harmonikarske klube z novimi glasbili iz Slovenije ter s starimi harmo-nikami, ki so jih pobrali s podstrešij. Prvič so se moškim na odru pridru-žile tudi ženske in otroci. Prvo slovensko polka mašo so izvedli slovenski glasbeniki leta 1972, vanjo pa so bile vključene tradicionalne slovenske ljudske melodije z nabožnimi besedili. Ljubitelji polke vseh narodnosti so nov način izražanja svoje katoliške vere sprejeli zelo naklonjeno. Plošča »Polka maša« očeta Franka Perkovicha se je prodala v več kot 300.000 izvo-dih. Leta 1983 je s slovensko-ameriškimi glasbeniki to mašo spominsko izvedel pred papežem Janezom Pavlom II. v baziliki sv. Petra v Rimu.

Prvo nagrado Grammy za najboljši posnetek polke je leta 1985 prejel Frank Yankovic. Naslednje leto so slovenski glasbeniki in vodje skupno-sti dobili navdih, da bi ustanovili muzej in arhiv, kjer bi se ohranjala njihova glasbena dediščina. Ameriško-slovenski sklad za polko je odprl Spominsko dvorano polke v Euclidu, Ohio, ki je pretežno slovensko pred-mestje Clevelanda. Med razstavljenimi predmeti so redke fotografije in izvirna glasbila, kakršna je tudi Yankovičeva harmonika. Glasbena zbirka se lahko pohvali s tri tisoč slovenskimi posnetki. Vsako leto glasujejo člani iz Severne Amerike in Evrope za najboljše glasbenike, albume in ži-vljenjske dosežke. To je edini muzej na svetu, posvečen slovenski glasbi.

Danes vsaj 200 orkestrov v Združenih državah in Kanadi izvaja slo-vensko-ameriško glasbo. Harmonikarske klube najdemo vse od Floride do Aljaske. Veliko je tudi radijskih programov. Skoraj vse dejavnosti, ki jih dandanes načrtujejo slovenske organizacije, vključujejo glasbo. Glasba je pri ohranjanju kulturne identitete zamenjala slovenski jezik. Slovensko-ameriško glasbeno prizorišče je poleg tega poskrbelo za več pozitivne pozornosti do slovenske kulture in Slovenije kot katera koli druga izrazna oblika. Ker vstopajo na prizorišče novi, mladi orkestri, bo polka v slovenskem slogu še dolga leta navduševala svoje občudovalce.

Slovenske pesmi, izvajane z ameriškim žarom, si lahko slišal iz džuboksov in radijskih sprejemnikov od vzhodne do zahodne obale.

Slovenian songs, reinterpreted with an American verve, could be heard from jukeboxes and radios from coast to coast.

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The Slovenian-Style

Polka:America’s Good-

Time Music

Text: Joseph Valencic

S N A melt-ing pot, but there is at least one thing for which they’re known – Slovenian-style polka music. A century ago, a new genre of dance music emerged from the Slovenian neighbourhoods of Cleveland,

Ohio, merging Old World melodies with New World influences from jazz, the musical stage and country stylings. The full accordion sound, bouncy banjo beat, and smooth waltzes of Slovenian-led orchestras appealed to dancers and music lovers of all backgrounds, not just Slovenians. The catchy Slovenian Style, also known as the Cleveland Style, became a na-tional sensation in the decade following World War II and is still enjoyed today. There is even a museum dedicated to the Slovenians’ unique gift to American culture.

The earliest Slovenian music in America was the folk songs and hymns brought by emigrants. Choruses and church choirs were the first organised musical groups. Individual musicians brought accordions, mandolins or zithers with them across the Atlantic Ocean. By the 1890s, accordionists were in demand for weddings, dances and picnics. At the same time, Slov-enian societies formed marching brass bands, reminiscent of the plehmuz-ika or “tin music” enjoyed in the homeland. With shiny instruments and well-tailored uniforms, these musicians were the pride of every Slovenian neighbourhood parade. Church organist Ivan Zorman Sr. started brass bands in Ohio, Michigan, Minnesota and Colorado beginning in 1897. In response to the mandolin craze that captivated Americans around the turn of the century, Slovenians created tamburitza clubs and family bands.

Second-generation Slovenians appreciated commercial music as well as their own culture’s sounds. Accordionists added a banjo player and a bass guitarist and by 1920 the first Slovenian dance orchestras appeared. Taverns and newly-built cultural halls became entertainment centers for the thousands of Slovenian immigrants arriving from the former Austria-Hungary. Anton Mervar and John Mikuš of Cleveland opened accordion factories and sent their instruments around the country. Slovenian music-makers enlivened socials from coal-mining settlements in Wyoming to Minnesota farms to factory towns in Pennsylvania.

The phonograph and radio brought Slovenian songs into every home and created a demand for recordings and artists. The Victor and Columbia labels issued Slovenian music series, distributed by music shops, furni-ture stores and jewellers. Ljubljana actresses Augusta Danilova and Mila Polančeva made the first commercial recordings of Slovenian folk songs in

New York City in 1917. Anton Schubel’s renditions of “Mamica moja” and “Gor’ čez jezero” were early hits. The Matt Hoyer Trio from Cleveland be-came the first Slovenian ensemble to enjoy mass appeal. From 1919 to 1930, the group recorded at least 100 songs. Hoyer reworked old polkas, folk songs and marches and updated them with banjo accompaniment and a strong accordion line. The combination set the tone for Slovenian bands and set them apart from Polish, Czech and German polka variations.

By 1930, the first Slovenian radio programmes were broadcasting weekly. Several producer-announcers, such as Martin Antončič in Cleve-land and Mary Skerlong in Pittsburgh, hosted shows for decades. Live broadcasts included community news and paid advertisements that maintained each programmes. Pianist and composer William Lausche was a popular radio performer. Lausche Americanised Slovenian melo-dies with dance-band and jazz arrangements, and pioneered the polka style that would become associated with Cleveland and Slovenians. His recordings with his sister Josephine and Mary Udovich as vocalists were even distributed in Slovenia through Columbia Records in the 1920s and 1930s, and were heard on the fledgling Radio Ljubljana.

Boys growing up with records, radio and neighbourhood musicians formed new bands. Frank Yankovic was an accordionist and bandleader while still a teenager in Cleveland’s heavily Slovenian Collinwood neigh-bourhood. His early self-produced recordings sold rapidly and earned him a contract with Columbia in 1946. Dancers welcomed Yankovic’s approach – fluid waltzes and slower polkas that did not sound foreign. To attract a wider audience, he translated Slovenian lyrics and titles into English. He had a fun time on the bandstand and shared that joy with his fans. Yankovic and his Yanks topped the music charts in 1948 and 1949 with two million-selling arrangements, “Just Because” and “The Blue Skirt Waltz.” His Slovenian-based melodies included “Dance, Dance, Dance” (“Vre, vre, vre”), “Silk Umbrella” (“Židana marela”) and “The Barking Dog Polka” (“Ko psi zalajajo”). “Over Three Hills” (“Cez tri gore”) was recorded by well-known performers such as Tex Beneke and Rex Allen. Slovenian songs, reinterpreted with an American verve, could be heard from juke boxes and radios from coast to coast.

Yankovic’s fresh style arrived just when the country was right for good-time music. After years of war and austerity, Americans sought simple, upbeat tunes for dancing and romancing. Major artists scored polka hits. Yankovic toured extensively, with as many as 300 performances a year, and was officially crowned “America’s Polka King” in 1948. When he appeared at nightclubs in Hollywood, movie stars like Bob Hope and Rosalind Rus-sell hopped to his Slovenian polkas. He evened faced off with Duke Elling-ton in a 1949 “battle of the bands” – and won.

Other Slovenian polka bands also signed major recording contracts. Accordionist Johnny Pecon left Yankovic’s orchestra to form his own successful band, which many consider to have perfected the Slovenian style. Johnny Vadnal brought a swing tempo to polkas and led a radio network broadcast. Television brought Slovenian entertainers like Louis Bashel and Eddie Habat into every home. Vadnal hosted the first weekly Slovenian TV show in 1949 – ten years before Slovenia had television. The absorption of Slovenian polkas and waltzes into American popular music reflected the nation’s multicultural identity.

The rise of television and rock-and-roll eclipsed polka music, but new tal-ents helped revive the Slovenian style in the 1960s. Clevelander Tony Petko-vsek began a daily Slovenian polka radio show in 1961 and soon became an important figure in the revitalisation and promotion of Slovene-American culture. The recordings of two ensembles from Slovenia, the Avsenik Broth-ers and the Lojze Slak Trio, introduced a fresh folk sound and new melodies to the American polka public. The Avsenik’s slick Alpine style inspired similar bands in Cleveland and Toronto. Lojze Slak’s Old World diatonic accordion touched off a “button box” mania among Slovenian-Americans. Charismatic young entertainers, like bandleader Richie Vadnal, vocalist Cil-ka Dolgan, and Walter Ostanek, Canada’s Polka King, appealed to all ages. Ethnic pride was growing in North America and large-scale events grew in importance. Petkovsek’s three-day Slovenian polka festival still attracts 5,000 to Cleveland, as each November since 1963. Slovenefest, presented by the Slovene National Benefit Society (Slovenska narodna podporna jed-nota) brings thousands to Pennsylvania every summer.

Polka music brought about sociological events in Slovenian communi-ties in the 1970s. Slovenian-owned travel agencies, like Kollander Travel in Cleveland, scheduled chartered flights to Slovenia led by polka bands. Thousands returned to visit relatives and acquaint themselves with their families’ homeland. Enthused by Lojze Slak’s North American tours, Slov-enians organised button-accordion clubs with new instruments from Slov-enia and old squeezeboxes retrieved from attics. For the first time, women and children joined men in making music on stage. The first Polka Mass was performed by Slovenian musicians in 1972. The service incorporated traditional Slovenian folk melodies with lyrics from the liturgy. Polka-lov-ers of all nationalities welcomed the new expression of their Catholic faith. Father Frank Perkovich’s Polka Mass album has sold more than 300,000 copies. In 1983, he celebrated the Polka Mass with Slovenian-American mu-sicians before Pope John Paul II in St. Peter’s Basilica in Rome.

The first Grammy Award for best polka recording was presented in 1985 and the prize went to Frank Yankovic. The following year, Slovenian musicians and community leaders were inspired to create a museum and archives to preserve their musical heritage. The American Slovenian Polka Foundation opened the Polka Hall of Fame in Euclid, Ohio, a largely Slov-enian suburb of Cleveland. Audio exhibits include vintage photographs and original instruments, like Yankovic’s accordion. The music collection boasts 3,000 Slovenian recordings. Each year, members across North Amer-ica and Europe vote for top musicians, albums and lifetime achievers. It is the only museum in the world dedicated to Slovenian music.

Today, at least 200 orchestras in the United States and Canada perform Slovenian-American music. Accordion clubs can be found from Florida to Alaska. Radio programmes abound. Nearly every activity planned by today’s Slovenian organisations involves music. Music has replaced the Slovenian language in perpetuating a cultural identity. The Slovenian-American musical scene has also generated more positive attention to Slovenian culture and Slovenia than any other form of expression. With new, young orchestras entering the spotlight, the Slovenian-style polka will continue to delight audiences for years to come. A

ents helped revive the Slovenian style in the 1960s. Clevelander Tony Petko-vsek began a daily Slovenian polka radio show in 1961 and soon became an important figure in the revitalisation and promotion of Slovene-American culture. The recordings of two ensembles from Slovenia, the Avsenik Broth-ers and the Lojze Slak Trio, introduced a fresh folk sound and new melodies to the American polka public. The Avsenik’s slick Alpine style inspired similar bands in Cleveland and Toronto. Lojze Slak’s Old World diatonic accordion touched off a “button box” mania among Slovenian-Americans. Charismatic young entertainers, like bandleader Richie Vadnal, vocalist Cil-ka Dolgan, and Walter Ostanek, Canada’s Polka King, appealed to all ages. ka Dolgan, and Walter Ostanek, Canada’s Polka King, appealed to all ages. Ethnic pride was growing in North America and large-scale events grew in importance. Petkovsek’s three-day Slovenian polka festival still attracts 5,000 to Cleveland, as each November since 1963. Slovenefest, presented by the Slovene National Benefit Society (Slovenska narodna podporna jed-nota) brings thousands to Pennsylvania every summer.

ties in the 1970s. Slovenian-owned travel agencies, like Kollander Travel in Cleveland, scheduled chartered flights to Slovenia led by polka bands. Thousands returned to visit relatives and acquaint themselves with their families’ homeland. Enthused by Lojze Slak’s North American tours, Slov-enians organised button-accordion clubs with new instruments from Slov-enia and old squeezeboxes retrieved from attics. For the first time, women and children joined men in making music on stage. The first Polka Mass was performed by Slovenian musicians in 1972. The service incorporated traditional Slovenian folk melodies with lyrics from the liturgy. Polka-lov-

ers and the Lojze Slak Trio, introduced a fresh folk sound and new melodies to the American polka public. The Avsenik’s slick Alpine style inspired similar bands in Cleveland and Toronto. Lojze Slak’s Old World diatonic accordion touched off a “button box” mania among Slovenian-Americans. Charismatic young entertainers, like bandleader Richie Vadnal, vocalist Cil-ka Dolgan, and Walter Ostanek, Canada’s Polka King, appealed to all ages.

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Tista pravljična vas. Tista kakavna vas.( 90 )

Venezuela

Besedilo: Maruša Krese Fotografije: Meta Krese

Zadnje dni me veliko zebe. Nekam prehitro je prišel konec poletja. Zavijam se v plet, natikam volnene nogavice, gledam skozi okno v daljavo in sanjam. V glavnem gledam spomine. Tiste tople spomine. Spomine, ko sediš zgodaj

zjutraj ob reki, ki teče skozi vas Chuao tam blizu Karibskega morja v Venezueli, oddaljeni kakih pet ur po strmi in hriboviti vožnji od Caracasa; spomine, ko poslušaš petje vseh vrst ptic in lajanje psov, ki prebujajo vas, spomine, ko čakaš na zrele mangove sadeže, ki padajo naravnost v reko in jih tako nabereš za zajtrk.

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{ Venezuela }

Vonj kave zjutraj na terasi »posade«, kjer smo spali, in prepevanje lastnice Jolande ob »glasnem« čiščenju vrta. Spomin na sončno pot skozi vas do peka, ki je pred nekaj leti zašel sem iz Kolumbije, na pot mimo dvorišča cerkve,

kamor vaščani že navsezgodaj nosijo v košarah kakavova semena, da jih bodo razprostrli po dvorišču in jih sušili na vročem soncu. Stojim ob cerkvi in gledam prelepa semena kakavovca, otroke, ki tečejo v uniformah vseh barv nasmejani v šolo, ribiče, ki se utrujeni vračajo z nočnega ribolova, ter delavce in delavke z mačetami v rokah, ki se odpravljajo na veliko kakavno plantažo; vlada jim jo je podarila leta 1976 in je tako še zdaj vaška skupna lastnina. Na vrata zadruge, ki stoji nasproti cerkve, so zadružniki s ponosom napisali: Bienvenidos A La Tierra del Mejor CACAO del Mundo – Empresa Campesina Chuao.

V vas Chuao smo zašli slučajno. Lansko zimo. Utrujeni od evropske zime in morda še bolj od vročih ulic Caracasa smo se z avtobusom od-pravili do Karibskega morja. Nismo imeli sreče. Vsi obmorski kraji so bili polni domačih turistov, saj so bile še vedno božične počitnice. In ko smo tako izgubljeni sedeli na skalah ob morju v turističnem kraju Cho-roni, nas nagovori mimoidoči ribič in pravi: »Pojdite v Chuao. S čolnom vas zapeljem. Samo po morju se pride tja.«

In res. Čez kakšne pol ure vožnje po visokih valovih pristanemo precej premočeni, mi in prtljaga, v majhnem zalivu, polnem ribiških čolnov, kokosovih palm in majhnih kolib iz palmovih vej. Majhen tovornjak, ki so ga v vas prav tako kot vse ostalo pripeljali z ribiškimi čolni, nas popelje skozi prelep gozd kakih pet kilometrov v hrib. Pozneje smo se po tej poti radi odpravili kar peš, peš v senci visokih kruhovcev, tamarind, mangovcev in nižjih bananovcev ter kakavovcev. In na koncu gozda smo zagledali prelepo vas s sveže pobarvanimi pročelji, z rožami na oknih, gručami temnopoltih starejših ljudi, ki so na velikem cerkvenem dvo-rišču premlevali dogodke dneva, in otroke, ki še ne bi šli spat. In mi? Takoj smo se počutili kot doma.

V naslednjih dneh smo marsikaj izvedeli, predvsem od vaškega učitelja. Njegov oče je bil še suženj. V vasi živi okrog 2500 ljudi, ki so vsi potomci sužnjev iz Afrike iz začetka 18. stoletja. V glavnem iz Gane, Nigerije in sam bog ve, iz katerih dežel še. Ko so prišli prvi kolonialisti in zagledali ogro-mne nasade kakavovcev, so začeli takoj izkoriščati Indijance, ki so morali

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delati noč in dan. »Tudi eden ni preživel,« je povedal učitelj Vincente, »in tako so potem pripeljali naše prednike. In sedaj smo mi gospodarji vasi.«

Chuao. Skoraj bi lahko rekla »vas srečnih ljudi.« Vladni socialni pro-gram jih je potegnil iz temne preteklosti in nevednosti. Po vsej državi in prav tako tu so leta 2003 ustanovili institucije »misijone«, ki skrbijo za opismenjevanje prebivalcev, pridobivanje višje in visoke izobrazbe ter za zdravstvo in trgovine s subvencioniranimi živili. Prebivalci so ponosni na svojo vas, na svoje življenje, na svoj kakav, ki ga izvažajo v Italijo, v majhno toskansko firmo Amedei, ki zna spoštovati njihovo tradicionalno obdelavo kakava. In prebivalci so ponosni celo na svoj vonj. »Po kakavu dišimo, po čokoladi dišimo,« pravijo. Marsikdo izmed njih pa celo: »Mi smo kakav.«

Nekaj mesecev pozneje smo se vrnili v vas Chuao. Malo v strahu, kajti velikokrat se ti lahko zgodi, da ko se vrneš v kraj, ki ti je bil enkrat tako zelo všeč, postaneš razočaran. Nismo bili. Čakale so nas nove zgodbe, hodili smo z delavkami na plantaže, ki so se nam seveda smejale, ker so nas v hipu pogrizli komarji, obiskali smo šolo, šli k ponosni Edis na kakav in čokoladni kolač, pomagali preganjati »hudiče« iz vasi. Hodili smo skozi gozd do zaliva, opazovali ribiče pri njihovem tradicionalnem ribolovu in vedno bolj postajali del vasi.

In spet nazaj v Evropo. Mraz, meglena jutra. In ko razmišljam, kaj bi zjutraj oblekla, da me ne bo zeblo, pomislim, da bi se bilo pravzaprav še najenostavnejše vrniti v tisto »skoraj pravljično vas, tisto kakavno vas.« V Chuao.

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Chuao. Skoraj bi lahko rekla »vas srečnih ljudi.«

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That Fairy-tale Village. That Cocoa Village.Text: Maruša Krese Photography: Meta Krese

Lately I’ve felt really cold. The end of summer seemed to come too quickly. I wrap my shawl around me, put on woolly socks, gaze out of the window and dream. For the most part I see memories.

Those warm memories. Memories of sitting in the early morning by the river that runs through the village of Chuao, close to the Caribbean Sea in Venezuela, around five hours from Caracas on steep mountain roads, memories of listening to the singing of all kinds of birds, and the barking of the dogs that wake the village, memories of waiting for ripe mangoes to fall straight into the river and gathering them up for breakfast.

The smell of coffee in the morning on the terrace of the posada where we slept, and the singing of owner Jolanda as she “vocally” cleaned the garden. The memory of the sunny path through the village to the baker, who had come here a few years before from Colombia, of the path past the church square where at the crack of dawn villagers bring cocoa seeds to spread around the plaza and dry in the hot sun. I am standing by the church and looking at the gorgeous cocoa seeds, at the children running laughing to school in uniforms of all colours, at the fishermen return-ing tired from their night’s fishing, and workers with machetes in hand heading off to the big cocoa plantation donated to them by the govern-ment in 1976, and which today remains common village property. On the door of the cooperative that stands opposite the church, the cooperative farmers have written proudly: Bienvenidos A La Tierra del Mejor CACAO del Mundo - Empresa Campesina Chuao.

We found ourselves in the village of Chuao quite by chance. Last winter. Tired of the European winter, and perhaps even more of the hot streets of Caracas, we took a bus to the Caribbean. But as luck would have it, all the seaside towns were full of local tourists, because it was still the Christmas holiday. So there we were, marooned, sitting on the rocks by the sea in the tourist resort of Choroni, when a passing fishermen struck up a conversation and said: “Go to Chuao. I can take you by boat. You can only get there by sea.”

And he did. After about half an hour riding over the high waves, quite soaked – both us and our bags – we landed in a small bay full of fishing boats, coconut palms and little huts made of palm branches. A little truck, which like everything else had been brought to the village by fish-ing boat, took us about five kilometres into the hills through a beautiful forest. Later we liked to go along this road on foot, walking in the shade

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of high breadfruit trees, tamarinds, mangos and the lower-standing bananas and cocoa trees. When we came out of the forest we spied an ex-quisite village with freshly painted facades, flowers on the windowsills, huddles of older, dark-skinned people chewing over the events of the day in the big church courtyard, and children who didn’t want to go to sleep yet. And us? We felt right at home.

Over the next few days we learned quite a lot, mainly from the village teacher. His father had still been a slave. There are around 2,500 people living in the village, all descendants of slaves brought from Africa at the beginning of the 18th century. Mainly from Ghana, Nigeria and God knows what countries. When the first colonialists arrived and saw the vast cocoa plantations, they immediately started exploiting the Indians, who had to work day and night. “Not a single one survived,” the teacher Vincente told us, “so then they brought in our ancestors. And now we are masters of the village.”

Chuao. I would almost rather say “village of happy people.” The govern-ment social programme pulled them out of their dark past and ignorance. In 2003, throughout the country, and in this village too, institutions called “missions” were set up to provide the population with literacy, college and higher-level education, healthcare and shops selling subsidised food-stuffs. The local residents are proud of their village, of their life and their cocoa, which they export to Italy, to supply the small Tuscan firm Amedei,

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which makes a point of respecting their traditional cocoa processing. And the locals are even proud of their smell. “We smell of cocoa, we smell of chocolate,” they say. Many of them even say: “We are cocoa.”

A few months later we returned to the village of Chuao. A little fearful, since it often happens that when you go back to a place that you once re-ally liked, you are disappointed. But we weren’t. We were met with new stories, we walked with the working women to the plantations, and they laughed because we were instantly eaten alive by mosquitoes, we visited the school, went to proud Edis for a cocoa and chocolate cake and helped drive out “devils” from the village. We walked through the forest to the bay, watched the fishermen at their traditional fishing and became in-creasingly part of the village.

And then back again to Europe. Cold, foggy mornings. And when I think about what I’m going to wear in the morning to keep warm, I think it would just be simpler all round to head back to that “almost fairy-tale village, that cocoa village.” To Chuao. A

Chuao. I would almost rather say “village of happy people.”

Nekaj osnovnih podatkovpovršina (v km2) 20 273gozdovi 10 124travniki 5 593polja in vrtovi 2 471sadovnjaki 363vinogradi 216

dolžina meje (v km) s Hrvaško 546z Avstijo 324z Italijo 235z Madžarsko 102obala (v km) 46,6

najvišja točka

Triglav 2864 m

gostota naseljenosti (prebivalcev/km) 98

prebivalstvo 2 milijona

glavno mesto Ljubljana

večja mesta: Maribor, Celje, Kranj, Velenje

podnebje: alpsko, celinsko, sredozemsko

jezik: Uradni jezik je slovenščina, na območjih z mešanim prebival-stvom pa madžarščina in italijanščina. Pri stiku s tujci Slovenci upo-rabljajo angleščino, nemščino, italijanščino in francoščino.

denarna valuta: Denarna valuta je evro (EUR). Tuje valute lahko zamenjate na mejnih prehodih, v bankah, menjalnicah in hotelih.

prazniki

1. in 2. januar novo leto8. februar Prešernov dan, slovenski kulturni praznik8. april velika noč27. april dan upora proti okupatorju (druga svetovna vojna)1. in 2. maj praznik dela25. junij dan državnosti15. avgust Marijino vnebovzetje31. oktober dan reformacije1. november dan spomina na mrtve25. december božič26. december dan samostojnosti

S L O V E N I J AA few factsterritory area (in sq. km) 20 273forests 10 124grassland 5 593fields and gardens 2 471orchards 363vineyards 216

border length (in km) with Croatia 546with Austria 324with Italy 235with Hungary 102coastline (in km) 46.6

highest point

Triglav 2864 m

population density (inhabitants/km) 98

population 2 million

capital Ljubljana

major towns: Maribor, Celje, Kranj, Velenje

climate: Alpine, Continental, Mediterranean

language: The official language is Slovene, as well as Hungarian and Italian in areas of mixed population. In contact with foreigners, Slo venes use English, German, Italian and French.

currency: The currency is the euro (EUR). Foreign currency may be exchanged at border crossings, in banks, exchange offices and hotels.

holidays

January 1 & 2 New Year’s HolidayFebruary 8 Prešeren Day,

Slovene Day of CultureApril 8 Easter Sunday and MondayApril 27 Day of Uprising Against the Occupation

(WW2) May 1 & 2 Labour Day PentecostJune 25 Statehood DayAugust 15 Assumption DayOctober 31 Reformation DayNovember 1 All Saints’ DayDecember 25 Christmas DayDecember 26 Independence Day

BanjalukaMarseille

Adria Airways has used the map of Europe exclusively as an illustration of its flight connections and without any political or other implications.

EU ROPEEV ROPA

Redni poleti / Scheduled FlightsZimski in poletni vozni red

Iz/from Ljubljana/Brnik Nm/km Čas poleta/Flight time

(A320/CRJ)

Amsterdam 606/1122 1.35 h

Athens 761/1409 2.05 h

Banjaluka 157/291 0.45 h

Barcelona 686/1270 1.46 h

Belgrade 267/494 0.65 h

Brussels 559/1035 1.26 h

Copenhagen 641/1187 1.39 h

Dublin 1026/1900 2.38 h

Frankfurt 420/778 1.07 h

Istanbul 781/1446 1.53 h

Kiev 730/1352 2.05 h

London (Gatwick) 757/1402 1.56 h

Madrid 929*1722 2.35 h

Manchester 868/1608 2.11 h

Marseille 510/945 1.40 h

Moscow (Sheremetyevo) 1120/2074 2.35 h

Munich 224/415 0.41 h

Paris (C. de Gaulle) 616/1141 1.36 h

Pristina 622/1150 1.50 h

Podgorica 365/676 1.25 h

Sarajevo 222/411 0.41 h

Skopje 413/765 1.07 h

Stockholm 910/1685 2.35 h

Tirana 474/878 1.14 h

Vienna 153/283 0.30 h

Zürich 334/619 0.56 h

Warsaw 463/859 1.35 h

Vienna - Frankfurt 358/663 1.10 h

Čarterski poleti / Charter FlightsWinter and summer timetables

Iz/from Ljubljana/Brnik Nm/km Čas poleta/Flight time

(A320/CRJ)

Antalya 966/1789 2.35 h

Aqaba 1454/2692 3.18 h

Cairo 1276/2363 3.25 h

Chios 738/1367 2.10 h

Constanca 654/1211 1.55 h

Djerba 796/1474 2.20 h

Dubrovnik 292/541 1.05 h

Heraklion 832/1540 2.15 h

Hurghada 1533/2839 3.45 h

Ibiza 799/1480 2.20 h

Karpathos 996/1844 2.35 h

Kefalonija 585/1083 1.45 h

Kerkira (Corfu) 523/968 1.35 h

Kos 873/1616 2.20 h

Larnaca 1197/2216 3.00 h

Lefkas (Preveza) 567/1050 1.40 h

Lesbos (Mitiline) 746/1381 2.10 h

Malta 670/1241 2.00 h

Menorca 646/1196 1.55 h

Mykonos 793/1468 1.56 h

Palma de Mallorca 723/1339 2.10 h

Rhodos 947/1753 2.30 h

Samos 823/1524 2.10 h

Santorini 836/1548 2.15 h

Sharm el Sheikh 1505/2787 3.45 h

Skiatos 632/1170 1.50 h

Split 207/383 0.50 h

Thassos (Kavala) 563/1043 1.45 h

Tel Aviv 1286/2382 2.57 h

Thessaloniki 571/1057 1.24 h

Zakinthos 632/1170 1.50h

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Airbus A319

Število/Total 2

Dolžina/Length 33.84 m

Višina/Height 11.76 m

Razpon kril/Wingspan 34.10 m

Hitrost/Cruising speed 900 km/h

Višina poleta/Max. altitude 11 700 m

Dolet/Range 6 650 km

Št. potnikov/Passenger capacity 135

Canadair Regional Jet 900

Število/Total 4

Dolžina/Length 32.50 m

Višina/Height 7.57 m

Razpon kril/Wingspan 23.20 m

Hitrost/Cruising speed 882 km/h

Višina poleta/Max. altitude 12 496 m

Dolet/Range 3 600 km

Št. potnikov/Passenger capacity 86

Canadair Regional Jet 100/200 LR

Število/Total 7

Dolžina/Length 26.77 m

Višina/Height 6.22 m

Razpon kril/Wingspan 21.21 m

Hitrost/Cruising speed 860 km/h

Višina poleta/Max. altitude 12 496 m

Dolet/Range 3 285 km

Št. potnikov/Passenger capacity 48/50

Flota/Fleet

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Ekonomski in poslovni razredNa večini Adrijinih prog izmenično letijo letala tipa Airbus A-319, Canadair Regional Jet CRJ-100/200LR in CRJ-900.

Vozovnica za potovanje v poslovnem razredu je izdana po veljavni tarifi za poslovni razred in velja eno leto z možnostjo rezervacije, plačila in prevzema kadarkoli, omogoča pa tudi druge ugodnosti, kot so: sprememba datumov potovanja brez doplačila, večja količina brezplačne prtljage, uporaba poslov-nih salonov na letališčih idr.

V ekonomskem razredu potujejo potniki z vozovnicami po ekonomskih tarifah, ki so nižje in vsebujejo določene omejitve.

Nakup vozovnice prek spleta

Letalsko vozovnico lahko najceneje in hitro rezervirate in kupite na Adrijinih spletnih straneh www.adria-airways.com. To velja le za polete na Adrijinih letih. Nakup prek interneta je zaščiten z varnostnim certifikatom. Elektronske vozovnice prejme potnik po elektronski pošti.

V primeru, da potrebujete letalsko vozovnico, kjer bodo vključeni tudi drugi prevozniki, vas prosimo, da pokličete naš Klicni center za rezervacije in prodajo letalskih vozovnic na telefonski številki: 386 1 369 10 10 ali 080 13 00.

Potujte z elektronsko vozovnicoNa vseh rednih poletih slovenskega letalskega prevoznika je možno leteti z elektronsko vozovnico.

Potnik dobi ob nakupu potniški kupon, ki velja kot račun, in načrt poti (itinerar) v ovitku Adrie Airways. Dokument lahko prejme tudi na svoj ele-ktronski naslov in ga natisne sam. To dokumentacijo mora imeti s seboj ves čas potovanja. Pri okencu za prijavo na let se identificira s potnim listom ali osebno izkaznico. Uslužbenec izda potniku vstopni kupon za let, s katerim ta vstopi v letalo. Elektronski način dokumentiranja prodaje zagotavlja sproten vpogled v dogajanje z vozovico, hiter prenos podatkov in manjše možnosti zlorab. Najpomembnejše pri tem pa je, da so potnikovi kuponi za let shranje-ni v elektronski obliki in tako varni pred izgubo.

Web Check-inV Adrii Airways se zavedamo, da je pri potovanju pogosto dragocena vsaka minuta. Še posebej takrat, kadar nas na poti na letališče ovira gost promet. Web check-in je naša novost, s katero boste prihranili čas pri okencu za prija-vo na let, saj se nanj lahko prijavite že od doma, z delovnega mesta oziroma povsod, kjer je vzpostavljena internetna povezava. Svoj planirani let lahko prijavite največ 24 ur in najmanj 60 minut pred poletom. Storitev web check-in je trenutno možna le za določene lete Adrie Airways. V prihodnjih mesecih bomo obstoječim destinacijam postopoma dodajali še nove.

Omejitve pri vnosu živil v EUPotnikom svetujemo, da pred potovanjem preverijo seznam artiklov, ki jih je mogoče vnesti na območje Evropske skupnosti. Strog nadzor nad uvozom mesa, mleka, rib, lupinarjev ter njihovih izdelkov je nujen za zaščito ljudi in živali pred boleznimi, ki se s temi živili lahko prenašajo.

V primeru, da carinska služba pri rutinskem pregledu osebne prtljage ugo-tovi prisotnost nedovoljenih živil živalskega izvora, le-ta zaseže. Informativni letak “Kaj prinesti domov?” vam je na voljo na naši spletni strani.

Več informacij lahko dobite na Glavnem uradu VURS-a ali na njihovi sple-tni strani www.vurs.gov.si pod poglavjem Javne objave/Uvoz živil za osebno rabo.

Ročna prtljagaZaradi vaše varnosti in udobja vas vljudno prosimo, da upoštevate medna-rodna pravila, ki potniku dovoljujejo imeti pri sebi en kos ročne prtljage v velikosti 55 x 40 x 20 cm in z največjo težo osem kilogramov.

Ročno prtljago namestite v za to namenjeni predal nad sedežem, težje kose pa, če je le mogoče, shranite pod sedež pred sabo. Priporočamo vam, da predal s prtljago pazljivo odpirate, saj se lahko med poletom predmeti v njem premaknejo.

Na letalih CRJ oddajte večjo ročno prtljago pred letalom. Tam jo takoj po izstopu iz letala tudi prevzemite.

Varnostna pravilaEvropska unija (EU) je v letu 2006 sprejela nova varnostna pravila. Ta omejuje-jo količino tekočin, ki jo lahko vzamete s seboj na letalo.

V svoji ročni prtljagi lahko prenašate samo majhne količine tekočin, ki morajo biti shranjene v posamičnih posodah z največjo prostornino 100 mililitrov. Te posode morate zapakirati v prozorno plastično vrečko, ki jo je mogoče znova zatesniti; prostornina vrečke posameznega potnika ne sme biti večja od enega litra. Med tekočine spadajo: voda in druge pijače; juhe in sirupi; kreme, losjoni in olja; parfumi; razpršilci; geli, vključno z geli za lase in tuširanje; posode z vsebinami pod pritiskom, vključno s peno za britje ter drugimi penami in dezodoranti; kreme, vključno z zobno kremo; mešanice tekočih in trdnih snovi; črtalo za veke in tuš za trepalnice; ter katerekoli druge snovi s podobno vsebnostjo.

Še vedno lahko tekočine prenašate v oddani prtljagi – nova pravila se nana-šajo samo na ročno prtljago. V svoji ročni prtljagi lahko prenašate:• zdravila in nujno potrebna živila, (vključno z otroško hrano), ki jih boste

uporabljali med potovanjem; morda boste morali dokazati, da jih nujno potrebujete;

• tekočine, kot so pijače in parfumi, (kupite jih lahko bodisi v prodajalni na letališču EU, ki je za točko, na kateri pokažete svoj vstopni kupon, ali pa na letalu, ki ga upravlja prevoznik EU).

Dobrodošli v letalu Adrie Airways

Spoštovani potniki, vaše zadovoljstvo je naš uspeh. Da bi bilo potovanje z nami čim bolj prijetno, nam dovolite, da vas opozorimo na nekaj napotkov, ki so pomembni za vaše udobje in varnost pred letom, med poletom in po pristanku.

Pred letom

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Napotki za varnostZ najpomembnejšimi varnostnimi napotki vas bo pred poletom seznanilo naše kabinsko osebje, poleg tega pa boste v žepu sedeža pred sabo našli navo-dila za postopke v sili. Ker se glede na tip letala ta navodila razlikujejo, vas prosimo, da jih pred vsakim poletom pazljivo preučite.

Med vzletanjem in pristajanjem si morate pripeti varnostni pas, zaradi var-nosti in udobja pa vam priporočamo, da ostanete pripeti tudi med poletom.

Po pristanku počakajte na svojem sedežu, dokler se letalo popolnoma ne ustavi oziroma dokler ne ugasne znak za obvezno uporabo varnostnih pasov.

Kapitan letala lahko podeli potniku, ki se v letalu neprimerno vede, tako-imenovani RDEČI KARTON. Ta je namenjen vsem, ki s svojim vedenjem ovi-rajo delo kabinskega osebja, ne spoštujejo varnostnih pravil ali pa ogrožajo varnost in udobje sopotnikov. Napad na varnost zračnega prometa je kaznivo dejanje po 330. členu Kazenskega zakonika RS (KZ-1), ki za tovrstna dejanja predpisuje zaporno kazen.

Uporaba elektronskih napravV letalu ni dovoljeno uporabljati prenosnih telefonov (biti morajo popolnoma izključeni!), radijskih in televizijskih sprejemnikov, videoiger z daljinskim upravljanjem, računalniških tiskalnikov in drugih naprav, ki bi z elektroma-gnetnimi valovi lahko motile delovanje občutljivih letalskih instrumentov.

Druge elektronske naprave, kot so prenosni računalniki, CD in DVD pred-vajalniki ter žepni kalkulatorji, je dovoljeno uporabljati le med poletom (če ne povzročajo motenj), med vzletanjem in pristajanjem pa ne. Prosimo vas, da se pred uporabo elektronskih naprav posvetujete s kabinskim osebjem in dosle-dno upoštevate njihove napotke.

Nevarni predmetiPo mednarodnih varnostnih predpisih potnikom v letalu ni dovoljeno imeti (ne pri sebi ne v prtljagi) orožja in drugih nevarnih predmetov, kot so: vnetlji-ve tekočine, pločevinke s stisnjenim ali utekočinjenim plinom, lahko vnetlji-ve snovi, vžigalice, ki niso označene kot varne, in podobno.

Počutje in zdravjeVašemu dobremu počutju sta namenjena ventil za uravnavanje dotoka zraka in lučka za branje, ki sta nameščena nad sedežem. Tam je tudi pozivni gumb, s katerim lahko po potrebi pokličete stevardeso.

V letalu je na voljo priročna lekarna, opremljena s sredstvi za nudenje prve pomoči. Med poletom lahko včasih v ušesih občutite neprijeten pritisk, do kate-rega prihaja zaradi sprememb višine in zračnega pritiska v letalu; težavo boste zlahka odpravili s poudarjenim požiranjem sline ali z nakazanim zehanjem.

Da bi se izognili težavam z ožiljem, ko gre za dolg polet, vam svetujemo, da se večkrat sprehodite po potniški kabini, med sedenjem pa delate vaje za raztezanje celega telesa.

Alkohol na letaluV letalu ni dovoljeno uživanje alkoholnih pijač, ki jih prinesete s sabo. Kabinsko osebje ne sme streči alkoholnih pijač osebam, ki kažejo znake vinjenosti, in osebam, mlajšim od 18 let. Dobronamerno vas opozarjamo, da alkohol zaradi nekoliko nižjega zračnega pritiska med poletom deluje na telo hitreje in bolj intenzivno kot na tleh.

Zamujena, izgubljena ali poškodovana prtljagaČe bi med vašim potovanjem prišlo do nepravilnega ravnanja z vašo regi-strirano prtljago (velja tudi za prtljago, oddano pred letalom), zadevo takoj po prihodu prijavite na letališču pri ustrezni službi (Izgubljeno/Najdeno, Lost&Found, Arrival Service). Telefonska številka + 386 (0 ) 25 94 339.

Center za stike s potnikiV Adrijinem Centru za stike s potniki lahko dobite vse informacije o naši ponudbi in novostih, pa tudi pomoč ali nasvet.

Sem lahko potniki posredujete pritožbo ali odškodninski zahtevek, veseli pa bomo tudi pohvale. Na naš center se lahko obrnete osebno, pisno, po elektron-ski pošti prc@adria.si ali po telefonu na brezplačno številko 080 13 03 za klice znotraj Slovenije oziroma kot doslej na telefonsko številko +386 (0)1 369 11 33.

Najemi avtomobilov in hoteliNa Adrijini spletni strani smo pred kratkim dodali zavihka Rent-a-car in Hoteli, ki vam omogočata najugodnejše najeme vozil in rezervacije hotelskih namestitev. Zelo enostavno: obiščite www.adria.si in poiščite željeni zavihek. Na voljo je nekaj deset tisoč hotelskih objektov na vseh kontinentih, od tistih z eno zvezdico do prestižnih mednarodnih verig ter najemi vozil na več kot 3.400 lokacijah v 128 državah po celem svetu.

Med letom

Po pristanku

Če ste jih kupili zapakirane v posebni zatesnjeni vrečki, te vrečke pred pre-gledom ne odpirajte, sicer lahko varnostno osebje na kontrolni točki njeno vsebino zaseže. (Če na letališču EU presedate na drug let, vrečke ne odpiraj-te pred varnostnim pregledom na transfernem letališču ali na zadnjem letali-šču, če presedate več kot enkrat.)

Če imate kakršnekoli dvome ali vprašanja, se pred potovanjem obrnite na svojega letalskega prevoznika ali potovalno agencijo.

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{ Adria Airways }Adria Airways Welcomes You Aboard

Economy and business classThe majority of Adria routes are served by the following aircraft: Airbus A319, Canadair Regional Jet CRJ-100/200LR and CRJ-900.

A business class ticket is issued according to the current business class tariff and is valid for one year. The ticket can be booked, paid for and picked up at any time and includes other advantages such as changing the date of travel without additional charge, a larger free luggage allowance, the use of business lounges at airports, etc.

Economy class is for passengers with economy class tickets, which are cheaper and carry certain restrictions.

Online ticketingThe cheapest and quickest way to book a flight and buy a ticket is to visit Adria's website at www.adria-airways.com. This only applies to flights operated by Adria. Online purchases are protected by a security certificate. Passengers receive their electronic tickets via e-mail.

If you require a ticket that will also include other carriers, please contact our Call Centre for Reservations and Ticket Sales on: 386 1 369 10 10 or 080 13 00.

Travel with an electronic ticketYou can travel with an electronic ticket on all Adria Airways scheduled flights.

On purchasing a ticket, passengers receive a passenger coupon and itiner-ary in an Adria Airways cover. You can also receive the document via e-mail and print it yourself. You must keep this document with you throughout the journey. At the check-in, present your passport or identity card. The check-in personnel will issue you with your boarding pass. Electronic documentation of the ticket sale means that the ticket status can be verified at any time. It also facilitates rapid transfer of data and reduces the chance of abuse. Most importantly, there is no danger of losing the boarding pass, since it is stored in electronic form.

Web Check-inAt Adria we are aware that every minute is precious when you are travelling. Especially when heavy traffic holds you up on the way to the airport. The web check-in service is a new service that lets you save time at the check-in desk: because you can check in from home or office – or anywhere with an Internet connection. You can check in as early as 24 hours and up to 60 minutes before your scheduled departure time. Web check-in is currently only available on selected Adria flights. In the coming months new destinations will gradually be added.

Restrictions on bringing food into the EUWe advise passengers to check the list of articles that may be brought into the EU before travelling. Strict controls of the import of meat, milk, fish, shellfish and products derived from them is necessary to protect people and animals from the diseases that they can transmit.

If customs officials discover prohibited foodstuffs of animal origin dur-ing routine luggage checks, they will be confiscated. The informative leaflet “What to bring home” is available on our website.

More information is available from the Veterinary Administration of the

Republic of Slovenia or on its website http://www.vurs.gov.si/ under the sec-tion Public Announcements/Import of Foodstuffs for Personal Use.

Carry-on luggageFor your safety and comfort, we ask you to observe international rules that permit passengers to have one piece of carry-on luggage of a maximum size of 55 x 40 x 20 cm and a maximum weight of 8 kg.

Carry-on luggage should be placed in the overhead bins. Heavier items may be stored under the seat in front of you if possible.

We recommend that you take care when opening the overhead bins as items may have moved during the flight and may fall out.

If your flight is on a CRJ aircraft, larger items of carry-on luggage must be surrendered on boarding. They will be returned to you when you leave the aircraft.

EU airport security rules

In 2006 the European Union adopted new security rules that restrict the amount of liquids that passengers can take aboard aircraft.

You are only allowed to take small quantities of liquids in your hand lug-gage. These liquids must be in individual containers with a maximum capac-ity of 100 millilitres each. These containers must be packed in one transpar-ent re-sealable plastic bag of not more than one litre capacity per passenger. Liquids include: water and other drinks, soups, syrups; creams, lotions and oils; perfumes; sprays; gels, including hair and shower gels; contents of pres-surised containers, including shaving foam, other foams and deodorants; pastes, including toothpaste; liquid-solid mixtures; mascara; any other item of similar consistency.

You can still: • pack liquids in bags that you check in – the new rules only affect hand lug-

gage;• carry in your hand luggage medicines and dietary requirements, including

baby foods, for use during the trip. You may be asked for proof that they are needed;

• buy liquids such as drinks and perfumes in an EU airport shop when located beyond the point where you show your boarding pass or on board an aircraft operated by an EU airline. If they are sold in a special sealed bag, do not open it before you are screened – otherwise the contents may be

Dear passengers, your satisfaction is our success. In order to ensure that your Adria flight is as pleasant as possible, allow us to draw your attention to certain points that are important for your comfort and safety before take-off, during the flight and after landing.

Before take-off

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{ Adria Airways }

Safety informationOur cabin crew will give you important safety information before take-off. You will find instructions for emergency procedures in the pocket of the seat in front of you. Since these procedures differ depending on the type of air-craft, we ask you to read the instructions carefully before every flight.

During take-off and landing you must fasten your seatbelt. For your own safety and comfort we also recommend that you leave it fastened during the flight. After landing, wait in your seat until the aircraft comes to a complete stop or until the seatbelt sign is switched off.

The captain can issue a passenger who acts inappropriately on the air-craft with what is called a RED CARD. The red card is intended for anyone whose behaviour obstructs the work of the cabin crew, who does not observe safety instructions or who threatens the safety and comfort of passengers. Unacceptable behaviour on board an aircraft is a violation of the law. Placing air traffic in jeopardy is a criminal offence in accordance with Article 330 of the Criminal Code of the Republic of Slovenia (KZ-1), carrying with it the pen-alty of imprisonment.

Use of electronic devicesUse of the following devices is not permitted aboard the aircraft: mobile phones (they must be switched off!), radios and televisions, video games with remote control, computer printers and other devices emitting electro-magnetic waves which could interfere with sensitive aircraft systems.

Other electronic devices such as portable computers, CD and DVD players and pocket calculators may only be used during the flight (if they do not cause a disturbance). They may not be used during take-off and landing. Please check with the cabin crew before using electronic devices and be sure to follow their instructions.

Hazardous itemsUnder international safety regulations air passengers may not transport, either on their person or in their luggage, weapons and other hazardous

items such as flammable liquids, compressed or liquefied gas cylinders, high-ly inflammable materials, matches (except safety matches), and so on.

Comfort and healthFor your comfort, an adjustable air vent and a reading light are located above your seat. There is also a button which you can use to call a member of the cabin crew if necessary.

The aircraft is equipped with a first aid kit. During the flight you may feel an uncomfortable pressure in your ears. This is caused by changes in altitude and the air pressure in the aircraft; swallowing or yawning will help relieve the discomfort.

In order to avoid vein problems associated with long flights, we advise you to take frequent walks up and down the cabin and to do stretching exercises for the whole body while seated.

Alcohol on boardConsuming alcoholic beverages that you have brought on board the aircraft yourself is not permitted. The cabin crew is not allowed to serve alcohol to passengers who show signs of intoxication or to passengers under 18 years old. Please bear in mind that because of the lower air pressure during flight, alcohol has a faster and stronger effect than on the ground.

Delayed, lost and damaged luggageIf problems occur with your checked luggage during your journey (also appli-es to luggage surrendered on boarding), contact the appropriate service as soon as you arrive at the airport (Lost & Found, Arrival Service, etc.)

Passenger Relations CentreAdria's Passenger Relations Centre provides you with news and information about our services and can also offer assistance and advice.

Passengers can submit complaints or compensation claims, and praise is always welcome. You can contact the Centre in person, in writing, by e-mail to prc@adria.si, by phoning the free telephone number 080 13 03 if calling from Slovenia, +386 1 369 11 33 if calling from outside Slovenia.

Rent-a-cars and hotelsWe have recently added two tabs to Adria's website that enables you to book a rent-a-car or hotel accomodation throughout the world at favourable rates. Simply visit www.adria-airways.com, click on the desired tab. Choose from among tens of thousands of hotels on every continent, ranging from one-star hotels to prestigious international hotel chains.

Budget Rent-a-Car Slovenia offers Adria Airways customers the best deals on car rental in more than 3,400 destinations in 128 countries!

During the flight

After landing

confiscated at the checkpoint. (If you transfer at an EU airport, do not open the bag before screening at your airport of transfer, or at the last one if you transfer more than once).

If you have any doubts, please ask your airline or travel agent in advance of travel.

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Ostale storitve/Other services

Prevoz tovoraBlagovna služba Adrie Airways odpremi vse pošiljke hitro in kakovostno do vseh letališč po svetu. V sodelovanju z drugimi prevozniki in s pomočjo raču-nalniško podprtega rezervacijskega sistema spremljamo vsako pošiljko od sprejema do predaje naslovniku.

Naša blagovna služba in prodajna zastopništva v tujini vam bodo z vese-ljem pomagala odpremiti oz. dostaviti blago po najhitrejši in cenovno naju-godnejši poti.

ADRIA CARGO, Letališče Jožeta Pučnika Ljubljana – Prevoz tovora,telefon: 04 259 43 40, faks: 04 202 30 30,e-pošta: jp.cargo@adria.si

CargoThe Adria Airways cargo service provides fast, high quality goods transport to every airport in the world. In conjunction with other carriers, and with the help of a computerised booking system, we monitor every item from recep-tion to delivery.

Our goods service and sales offices abroad will be happy to help you dis-patch or deliver goods by the fastest and most competitively priced route.

ADRIA CARGO, Ljubljana Jože Pučnik Airport – Cargo Transport,Telephone: + 386 (04) 259 43 40, Fax: + 386 (04) 202 30 30,e-mail: jp.cargo@adria.si

Zaposlene v družbi Adria Tehnika odlikuje vrhunsko tehnično znanje, ki temelji na več kot 40-letnih izkušnjah vzdrževanja letal proizvajalcev McDonnel Douglas, Airbus in Bombardier.

Več informacij na spletni strani www.adriatehnika.com.

Adria Tehnika maintenance staff have superlative technical know-how deri-ving from more than 40 years' experience in maintaining McDonnell Douglas, Airbus and Bombardier aircraft.

For more information visit www.adriatehnika.com.

Čarterski prevoziAdria Airways ponuja potnikom, agencijam, podjetjem in drugim letalskim prevoznikom poleg svojih rednih linij tudi čarterske polete iz Ljubljane in z vseh drugih (predvsem evropskih) letališč. Z vstopom v Evropsko unijo ponu-jamo agencijam, podjetjem in drugim letalskim prevoznikom tudi polete z vseh drugih evropskih letališč.

Odlikujejo nas zlasti prilagodljivost, ažurnost, visoka kakovost in točnost poletov.

E-pošta: charter@adria.si

ChartersIn addition to its scheduled services, Adria Airways offers charter flights from Ljubljana and other (mainly European) airports to passengers, agen-cies, companies and other carriers. Now that Slovenia is part of the European Union, we can also offer flights from all other European airports to agencies, companies and other carriers.

Adria charters offer flexibility, up-to-the-minute services, high quality and punctuality.

E-mail: charter@adria.si

Adria Airways

Avio taxi - Panoramski letiZ letalom Piper Turbo Arrow PA-28R-201T s tremi sedeži za potnike lahko poletite do vseh večjih mest s špotnimi letališči v Sloveniji in do bližnjih leta-lišč sosednjih držav.

Za lete se lahko naročite po telefonu: 04 23 63 460 (Adria Airways Aviotaxi)ali 041 636 420 (tel. pilota).

Aviotaxi – Panoramic flightsOur Piper Turbo Arrow PA-28R-201T, with its three passenger seats, can fly you to all major towns with sports airfields in Slovenia and to nearby air-ports in neighbouring countries.

To book flights, call us on: 04 23 63 460 (Adria Airways Aviotaxi)or 041 636 420 (pilot)

Uradni prevoznik dogodkovKot sodobna družba razumemo potrebe poslovnega vsakdanjika, ki se vse pogo-steje odvija v globalnem prostoru. Zato stopamo naproti tistim, ki organizirajo konference, kongrese, sejme ali druge mednarodne dogodke tako, da postanemo njihov uradni ekskluzivni prevoznik, udeležencem ter organizatorju pa nudimo posebne ugodnosti. Preprosto, učinkovito in prilagojeno potrebam svojih upo-rabnikov poskrbimo za to, da dogodek poteka uspešno, udeleženci pa prispejo na cilj pravočasno, varno in zanesljivo. Kot članica združenja Star Alliancea lahko za večje mednarodne kongrese zagotovimo produkt »Conventions Plus™«, v sklopu

katerega postane več članov združenja uradni prevoznik dogodka. Za vse nadalj-nje informacije smo dosegljivi po elektronski pošti: events@adria.si.

Official events carrierAs a modern company we understand the needs of modern business, which increasingly takes place in the global arena. For this reason we are ideally positioned to work with organisers of conferences, congresses, fairs and other international events by becoming their official exclusive carrier and offering discounted fares and other advantages to participants and organi-sers. With a simple, efficient approach adapted to the needs of our customers, we make sure that the event runs smoothly, with participants arriving at their destination on time, safely and reliably. As a Star Alliance member we offer the Conventions Plus service for major international conferences, which effectively makes all Star Alliance members the official carrier for the event. For more information write to us at: events@adria.si.

Spoznajte letenje v virtualnem svetu z našimi odličnimi inštruktorji.V simulatorju letenja – v 30 minutah za samo 49 EUR (ddv ni vključen v ceno) – boste spoznali osnove letenja.

Za rezervacijo termina in dodatne informacije o obisku simulatorja pošljite email na naslov: dare.jarc@adria.si. Letenje je možno po plačilu vnaprej in predhodni rezervaciji termina.

Več o ponudbi preberite na spletni strani www.adrialetalskasola.si.

Flight SchoolLearn to fly in a virtual world with our excellent instructors.In our flight simulator you can learn the basics of flying in just 30 minutes for a mere 49 euros (plus VAT).

To book a session and for more information about a visit to the simulator, e-mail us at the following address: dare.jarc@adria.si. Booking essential. Payment in advance.

For more information visit www.adrialetalskasola.si.

...nov način življenja....A NEW WAY OF LIVING.

T. 00385 51 710 444info@liburnia.hr • www.liburnia.hr

Odkrijte...DISCOVER...

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Adria Airways

Partnerska kartica Diners Club-AdriaPotniki s stalnim prebivališčem v Republiki Sloveniji se lahko odločite za skupno plačilno kartico Diners Cluba in Adrie Airways. Z uporabo partnerske plačilne kartice Diners Club-Adria lahko zbirate milje in koristite nagradne vozovnice in druge ugodnosti v programu Miles & More. Vsak porabljen evro vam bo prinesel 1 miljo. Dogovor, sklenjen med Adrio in klubom Miles & More, prinaša imetnikom par-tnerske kartice pomembno dodatno ugodnost: milje, zbrane z nakupi s plačilno kartico Diners Club-Adria, ne zapadejo, če ste vsaj tri mesece član, opravite z njo vsak mesec vsaj en nakup in račune poravnavate v roku. Kartica pa vam odpira vrata in nudi brezplačne storitve tudi v več kot 130 letaliških salonih po vsem svetu, kjer boste lahko v miru počakali na odhod svojega letala, brez-plačno prelistali časopis, se osvežili z napitki, telefonirali ali poslali faks.

Informacije: telefon 080 13 45, www.dinersclub.si, info@dinersclub.si

Star Alliance partnerstvoAdria Airways je letalski prevoznik z več kot 49-letnimi izkušnjami v čar-terskem in rednem prometu. Uspešno sodeluje v evropskih integracijskih tokovih in se partnersko povezuje z drugimi letalskimi prevozniki. Decembra 2004 se je Adria kot regionalna članica pridružila največjemu globalnemu združenju letalskih prevoznikov Star Allianceu, z januarjem 2010 pa je napre-dovala v polnopravno članico združenja.

Potnikom tako zagotavljamo vse prednosti, ki jih prinaša izboljšan dostop do svetovnega omrežja prevoznikov, združenih v Star Allianceu. V povezavi s partnerji vam omogočamo dostop do svetovne mreže poletov 28 letalskih prevoznikov, ki z več kot 21.200 leti dnevno povezujejo 1172 destinacij v 181 državah.

Poleg tega so vam na voljo ugodnosti, ki jih ponujajo prevozniki člani Star Alliancea, kot so: prijava na let do končne destinacije, priznavanje statusa, vstop v letališke salone ter zbiranje in uveljavljanje točk ali milj v okviru pro-gramov za pogoste potnike. Za številne destinacije po svetu so vam na voljo potovanja po ugodnejših cenah in posebna ponudba Star Alliancea Round the World – potovanje okoli sveta. Za več informacij smo vam na voljo na naših prodajnih mestih.

Diners Club-Adria Partner CardPassengers with permanent residence in Slovenia can obtain the joint Diners Club and Adria Airways charge card. By using the Diners Club – Adria Airways charge card, you can collect miles and enjoy bonus tickets and other

privileges in the Miles & More programme. Every euro spent will give you one mile. The agreement between Adria and Miles & More brings partner card holders an important additional benefit: miles collected through purchases using the Diners Club-Adria payment card will not lapse if you have been a member for at least three months, you use the card for at least one purchase each month and you settle your account balance on time. At the same time, the card opens the door to free services in more

than 130 airport lounges around the world, where you can await your departure in tranquillity, browse through newspapers, enjoy a refreshing drink, make phone calls or send faxes.

Information: Telephone: 080 13 45, www.dinersclub.si, info@dinersclub.si

Star Alliance partnershipAdria Airways has more than 49 years of experience in operating both char-ter and scheduled flights. We are successfully participating in the process of European integration and have established partnership arrangements with other air carriers. In December 2004 Adria joined the Star Alliance, the world's largest airline alliance, as a regional member and she became a full member in January 2010.

Our customers now benefit from improved access to the world-wide Star Alliance network. In connection with our partners, we offer access to a global network of flights on 28 airlines, which offer more than 21,200 flights daily serving 1172 destinations in 181 countries.

Moreover, our passengers enjoy customer benefits offered by Star Alliance member carriers, such as through check-in, status recognition, lounge access, frequent flyer accrual and redemption. Reduced-price flights are available for numerous destinations throughout the world, along with the Star Alliance Round-the-World special offer. We will be glad to provide details at any Adria sales outlet.

Klubi zvestobe/Loyalty Clubs

Star Alliance

than 130 airport lounges around the world, where you can

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Dobrodošli v Miles & More Razlog več, da poletite z Adrio AirwaysAdria Airways nudi svojim pogostim potnikom program Miles & More in jim s tem omogoča pestrost zbiranja in uporabljanja milj v celotni mreži poletov članic Star Alliancea. Sem spadajo tudi vse redne proge Adrie Airways.

Prijava v klubV klub se lahko prijavite s prijavnico, ki jo dobite na vseh prodajnih mestih in v letalih Adrie Airways, ali pa to storite na naslovu www.adria-airways.com na naših spletnih straneh.

Zbiranje miljMilje lahko zbirate na celotni mreži poletov članic Star Alliancea. Dodatne milje lahko zbirate z bivanjem v hotelih, z najemom vozil, telefoniranjem, nakupi v določenih trgovinah in z uporabo kreditnih kartic.

Člani Miles & More v Sloveniji bodo milje pridobili tudi s plačilno kartico Diners Club-Adria. Vsak nakup v vrednosti 1 EUR vam bo prinesel eno miljo. Milje, zbrane z nakupi s plačilno kartico Diners Club - Adria, ne zapadejo, če ste vsaj tri mesece član, opravite z njo vsak mesec vsaj en nakup in račune poravnavate v roku.

Poleg zbiranja milj imajo člani Miles & More še dodatne ugodnosti, kot so prednost na čakalnih listah, prevoz večje količine prtljage idr.

Veljavnost zbranih milj je tri leta.

Koriščenje miljZbrane milje lahko uporabite za številne nagrade: brezplačne vozovnice na progah članic Star Alliancea, potovanje v višjem razredu, počitniška potovanja, nakup različnih artiklov.

Članske karticeZ včlanitvijo postanete član kluba in imetnik osnovne kartice. Doseženo število zahtevanih milj, zbranih v koledarskem letu, zagotavlja višje nivoje članstva, kot so: srebrni član ali Frequent Traveller, zlati član ali Senator in HON Circle Member. Višji nivo članstva vam prinese posebne ugodnosti.

Člansko kartico imejte vedno pri roki, potrebujete jo za beleženje milj, uveljavljanje ugodnosti in naročanje nagrad.

Dobrodošli na poletih Adrie Airways, članice združenja Star Alliance!

Informacije o zbranih miljah, novostih v klubu, naročila nagradnih vozovnic in drugih nagrad v klicnem centru Miles & More dobite na tel. št. (0)40 747 440 ali na naslovu www.adria-airways.com. Navesti morate člansko številko in PIN številko. V delovnem času od 8. do 18. ure vam bodo informacije na voljo v slovenskem jeziku, kasneje v angleškem ali nemškem.

Welcome to Miles & More One more reason for flying Adria AirwaysAdria Airways is offering its frequent flyers the Miles & More programme, which makes available a variety of ways to collect and use miles on the entire flight network of Star Alliance members. All Adria Airways scheduled routes are included in this network.

Club registrationYou can join the club by filling in the registration form available at all sales offices and on board Adria Airways aircraft, or by registering on-line at our website, www.adria-airways.com.

Collecting milesYou can collect miles within the entire Star Alliance network. You can also collect additional miles through hotel stays, car rental, telephone calls, purchases at selected shops and using your credit cards.

Miles & More members in Slovenia also receive miles when you use the Diners Club-Adria charge card. Every euro charged earns you 1 mile. Miles collected through purchases using the Diners Club-Adria payment card will not lapse if you have been a member for at least three months, you use the card for at least one purchase each month and you settle your account balance on time.

In addition to collecting miles, Miles & More members enjoy additional benefits such as priority on waiting lists, excess baggage allowance and so on.

Miles are valid for three years.

Using milesYou can use the miles you have accumulated for various benefits: free tickets on Star Alliance member routes, upgrades to business class, holiday travel and various purchases.

Membership cards You become a club member as soon as you join. Accumulating the required number of miles in a calendar year leads to higher levels of membership: silver member or Frequent Traveller, or gold member or Senator, or HON Circle Member. A higher level of membership offers you special benefits.

Always have your membership card on hand, because you’ll need it to register miles, claim benefits and request awards.

Welcome aboard Adria Airways, a Star Alliance member!

For information on miles, Club news, to order free tickets or other benefits, call the Miles & More call centre at +386 40 747 440 or visit our website at www.adria-airways.com. You’ll be asked for your membership number and PIN. We’ll be happy to take your calls in Slovene from 8 am to 6 pm, and service is also available in English and German outside these hours.

Prodaja vozovnic in rezervacije Ticket Offices and Booking

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www.adria - airways.com

Klicni center: telefon 00386 (0)1 36 91 010

Brezplačna številka v Sloveniji: 080 13 00

Adria AirwaysZgornji Brnik 130h4210 Brnik - AerodromTel.: +386 (0)1 36 91 010 E-mail: booking@adria.si

Poslovalnice / Sales offices:

LJUBLJANAGosposvetska 61000 LjubljanaKlicni center: 36 91 010, 080 13 00Tel.: +386 (0)1 23 91 910 Fax: +386 (0)1 23 21 668E-mail: adr.gosposvetska@adria.si

Letališče Jožeta Pučnika LJUBLJANALJUBLJANA Jože Pučnik AirportAdria Airways Sales OfficeKlicni center: 36 91 010, 080 13 00Tel.: +386 (0)4 25 94 245Fax: +386 (0)4 23 63 461E-mail: adr.prodaja@adria.si

AMSTERDAMAdria Airways, NetherlandsP.O. Box 756441118 ZR Schiphol TriportTel.: +31 20 625 11 22Fax: +32 2 753 23 37E-mail: adr.amstown@adria.si

Airport Ticketing Desk Amsterdam Schiphol AirportGlobeground Ticketing Desk Terminal 3, opposite check-in row 20 Tel.: +31 20 79 52 600 Fax: +31 20 79 52 601 E-mail: adr.amsariport@adria.si

ATHENSAdria Airways, General Sales AgentK.G. KOMPAS GREECE, 572 Vouliagmenis Ave & Karaiskaki, 164 52 Athina ArgiroupolisTel.: + 30 21 09 94 7263,Fax: + 30 21 09 94 7288,E-mail: adr.athens@adria.si

BANJALUKABosnia and HerzegovinaSKY SRPSKATel.: +397 (0)51 220 330Mobile: +387 (0)65 321 817E-mail: office@sky srpska.aero

BARCELONA Adria Airways, General Sales AgentKompas SpainC/ Paris, 162-164 Entlo 2a08036 Barcelona Tel.: + 34 93 246 67 77Fax: +34 93 245 41 88E-mail: adr.barcelona@adria.si

BELGRADEAdria Airways Representative Office OKI AIR INTERNATIONALAirport “Nikola Tesla”11180 Belgrade 59 Tel/Fax: +381 11 2286457,2286458, 2097457E-mail: okiairbeg@oki.me,adr.belgrade@adria.si

BRUSSELS Adria AirwaysBrussels Airport – Box 41930 ZaventemTel.: +32 (0)2 75 32 336Fax: +32 (0)2 75 32 337E-mail: adr.brussels@adria.siAdria Airways Ticket Desk Airport Zaventem / Brussels Tel.: +32 (0)2 75 32 337

COPENHAGENAdria AirwaysRepresentative and InformationAntello AB, Tings Gatan 2256 56 Helsingborg, SWEDENTel.: +46 (0)42 28 47 78Fax: +46 (0)42 14 47 78Mobil: +46 708 28 47 78 E-mail: adr.copenhagen@adria.si

Adria Airways Airport Ticket DeskCopenhagen AirportTerminal 2, Floor 2, Office 2302770 Kastrup, DenmarkTel. & Fax: +45 (0)32 51 59 59Mobil: +46 708 28 47 78E-mail: adr.copenhagen@adria.si

FRANKFURTAdria Airways Frankfurt Airport Terminal 1, Building 201 Room 201. 4043/4044P.O.Box 039, 60549 Frankfurt am MainTel.: +49 (0)69 269 56 720, 269 56 721 Fax: +49 (0)69 269 56 730E-mail: adr.frankfurt@adria.si

Adria Airways Airport Ticket DeskFrankfurt Airport, Terminal 1, Hall B Sales Desk 307P.O.Box 039, 60549 Frankfurt am Main Tel. +49 (0)69 269 56 722

ISTANBULAdria Airways General Sales AgentOrdu Cad No. 206/1 34470 Laleli, IstanbulTel.: +90 (0)212 51 24 232Fax: +90 (0)212 51 24 234, 51 25 436E-mail: adr.istanbul@adria.si

KIEVAdria Airways, General Sales AgentChervonoarmijska st. 9/2Office number 201004 Kiev, UkraineTel.: +38 044 287 07 47Fax: +38 044 490 65 04E-mail: jp.ukraine@aviareps.com

Adria AirwaysBorispol International AirportTicketing agent: Aquavita Tel.: +38 044 230 00 49, 230 00 50Fax: +38 044 230 00 48E-mail: adr.kievairport@adria.si

MADRIDProsimo obrnite se na predstavništvo v Barceloni.Please contact our GSA in Barcelona.Tel.: + 34 91 575 0628

MOSCOWAdria Airways Derbenevskaja 4113 114 MoscowTel.: +7 495 727 08 85 Fax: +7 495 727 08 88E-mail: adr.moscow@adria.si

Adria AirwaysSheremetyevo Airport6th Floor, Room Nr. 42 (6.42)Tel.: +7 495 578 80 24

PARISAdria Airways94 rue Saint Lazare75009 ParisStopnišče A, II. nadstropjeStaircase A, 2nd floor

Tel.: +33 (0)1 47 42 95 00 Fax: +33 (0)1 47 42 00 67 E-mail: adr.paris@adria.si

PODGORICAAdria Airways, General Sales AgentOki Air International Ivana Vujoševića 4681000 PodgoricaTel.: +382 (0) 20 201 201Tel. & Fax: +382 (0) 20 241 154Mobil: +382 (0)67 24 11 54E-mail: adr.podgorica@adria.si

Adria Airways Ticket Office Podgorica Airport OKI AIR INTERNATIONALTel. & Fax: +382 (0) 20 623 232Mobil: +382 (0)67 24 11 54E-mail: adr.podgorica@adria.si

PRISTINA Adria Airways, General Sales AgentAdria Airways Kosovo L. L. CQamil Hoxha Nr. 12, 38000 PristinaTel.: +381 (0)38 246 746Tel. & Fax: +381 (0)38 246 747Mobil: +377 44 16 50 84E-mail: adr.pristina@adria.si

Pristina Airport Ticket officeTel. & Fax 381 (0)38 54 84 37Mobil: + 377 44 50 12 41

SARAJEVOAdria AirwaysRepresentative and InformationFerhadija 2371000 SarajevoTel.: +387 (0)33 23 21 25, 23 21 26 Fax: +387 (0)33 23 36 92E-mail: adria@bih.net.ba

Adria Airways Airport Ticket DeskSarajevo International AirportTel. & Fax: +387 33 464 331E-mail: adr.sarajevo@adria.si

SKOPJEAdria AirwaysGeneral Sales Agent AAM dooelUlica Dame Gruev, Gradski Zid, blok 4/8 1000 SkopjeTel.: +389 (0)2 31 17 009, 32 29 975Fax: +389 (0)2 31 65 531E-mail: adr.skopje@adria.si

Adria Airways Airport Ticket Office Skopje AirportTel. +389 (0)2 25 50 133

STOCKHOLMAdria AirwaysRepresentative and InformationAntello AB, Tings Gatan 2256 56 Helsingborg, SwedenTel.: +46 (0)42 28 4778Fax: +46 0)42 14 4778Mobil.: +46 708 28 4778E-mail: adr.stockholm@adria.si

TEL AVIVAdria AirwaysMirus Services (1996) Ltd. General Sales Agent8 Mendele Str.Tel Aviv 63432Tel.: +972 (0)3 52 23 161Fax: +972 (0)3 52 40 895Adria Airways Ticket DeskBen Gurion AirportLaufer Aviation Ltd.Tel.: +972 (0)3 97 74 300Fax: +972 (0)3 97 12 022

TIRANAAdria Airways AlbaniaEuropian Trade CenterStreet bajram Curri No. 19Town OfficeTel.: +355 4 227 4666Tel. & Fax: +355 4 227 2666Mobil Off.: +355 6 94076614AirportTel. & Fax: +355 4 238 1911Mobil in Rinas Apt.: +355 6 94076611E-mail: adr.tirana@adria.si

VIENNAAdria Airways Airport Ticket Office1300 Vienna AirportTel.: +43 (0)1 70 07 36 913Fax: +43 (0)1 70 07 36 914E-mail: adr.vienna@adria.si

WARSAWAdria Airways, General Sales AgentGLOBAIR Polska Sp z o.o.Marszalkowska St. 28,office number 1U-35Warsaw 00-576Tel: +48 (022) 696 85 20Fax: +48 ( 022) 696 85 24Mobile: +48 696 49 14 77 E-mail: adr.warsaw@adria.siwww.globairgroup.com

ZAGREBAdria AirwaysPraška 910000 ZagrebTel.: +385 (0)1 48 10 011, 48 10 016Fax: +385 (0)1 48 10 008E-mail: adr.zagreb@adria.si

ZÜRICHAdria AirwaysLoewenstrasse 54/II.8001 ZürichTel.: +41 (0)44 212 63 93Fax: +41 (0)44 212 52 66E-mail: adr.zurich@adria.si

Adria Airways Airport Ticket Office Zürich AirportTerminal B-2-521Tel.: +41 (0)43 81 64 437