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Naše kulturno bogastvoOur cultural wealth

Vrednotenje nesnovne kulturne dediščineCultural Capital Counts

Center za razvoj LitijaDevelopment Centre Litija

Projekt je podprt v okviru programa Srednja Evropa, ki ga sofinancira

Evropski sklad za regionalni razvoj.

SRCESLOVENIJE

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Projekt je podprt v okviru programa Srednja Evropa, ki ga sofinancira Evropski sklad za regionalni razvoj.The project is implemented through the Central Europe programme co-financed by the ERDF funds.

Naslov/Title: Naše kulturno bogastvo/Our cultural wealthIzdal/Published by: Center za razvoj Litija, Kidričeva 1, 1270 Litija Zbrala in uredila/Collected and edited by: Tina Mučič in Vito Hazler Avtorji besedil/Written by: Tina Mučič, Mija Bokal, Marko Gorenc, Mojca Ramovš, Ida Dolšek in Zorka Požar Pregled besedila/Proof-read by: Lidija Jurman Prevod/Translated by: Mojca MercPregled angleškega besedila/English text proof-read by: Peter WallerOblikovanje/Designed by: Matej Zupančič, MEDIANOVA Tisk/Printed by: Tiskarna ParaFotografije/Photographs by: Matej Povše, Primož Hieng, Mojca Žnidaršič (Dolenjski list), KUD Fran Maslej Podlimbarski, Mojca Ramovš, Andraž Gregorič, arhiv Centra za razvoj LitijaNaklada/Number of copies printed: 2000

CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana

39(497.4)(082)

NAŠE kulturno bogastvo : vrednotenje nesnovne kulturne dediščine = Our cultural wealth : cultural capital counts / [avtorji besedil Tina Mučič ... [et al.] ; zbrala in uredila Tina Mučič in Vito Hazler ; prevod Mojca Merc ; fotografije Matej Povše ... et al.]. - Litija : Center za razvoj, 2012

ISBN 978-961-92295-2-1 1. Vzp. stv. nasl. 2. Mučič, Tina 261575936

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VSEBINA/Contents

4 Nesnovna dediščina Slovenije/Intangible heritage of Slovenia (Vito Hazler)

6 Živa dediščina je vse okoli nas/Living heritage is all around us (Aleksandra Gradišek)

7 Živost nesnovne kulturne dediščine/ Vividness of intangible cultural heritage (Adela Pukl)

9 Predstavitev nesnovne dediščine v Srcu Slovenije/Presentation of intangible heritage in the Heart of Slovenia

10 Ustna izročila in izrazi, vključno z jezikom/Oral lore and expressions including the language

12 Zgodbe in bajke o rudniku Sitarjevcu pri Litiji/Stories and fairy tales about the Sitarjevec Mine near Litija 14 Zgodbe o ajdih in ajdovskih deklicah/Fairy tales about giants (becoming pagans later on in history) and giant’s girls

16 Uprizoritvene umetnosti/Performing arts

18 Lutkovna igra Mejaši/Puppet show entitled Mejaši 20 Tamburaški orkester Šmartno pri Litiji/Tamburitza Orchestra Šmartno near Litija

22 Družbene prakse, rituali in praznovanja/Social practices, rituals and festivities

24 Špinerbal, litijski ples predilcev/Špinerbal, the ball of spinning mill workers of Litija 26 Šege ob poroki, postavljanje mlajev in šrange/Manners and customs on wedding days, erecting maypoles and šrange 28 »Freh« pred godovanjem/“Freh” on the eve of a name’s day celebration 30 Pritrkavanje/Chiming 32 Priprava velikonočnih oblatov/Preparation of Easter wafers 34 Štručke s pregreto smetano na pušelšankih/Rolls with warmed cream at “pušelšank” 36 Peka kruha v krušni peči/Making bread in a brick oven 38 Mengeški bizgec/Bizgec of Mengeš 40 Sir »trnič« iz Velike in Male planine/“Trnič” cheese from Velika and Mala planina

42 Znanje in prakse o naravi in svetu/Knowledge and practices relating to nature and the world

44 Oglarjenje/Charcoal production 46 Zeliščarstvo/Herbalism

48 Tradicionalne obrtne in gospodarske veščine/Traditional craftsmanship and commercial skills

50 Pečarstvo/Stove-maker trade 52 Pletarstvo/Plaiting 54 Pletenje slamnatih kit/Plaiting of straw braids 56 Rezbarjenje lesenih jaslic/Carving of wooden Christmas cribs 58 Skodlarstvo/Shingle making craft 60 Tesarstvo/Carpentry

62 Viri in literatura/Resources and literature

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Nesnovna dediščina SlovenijeLeta 2003 je UNESCO sprejel Kon-vencijo o varstvu nesnovne de-diščine, ki je pomemben korak k razumevanju in sprejemanju vseh pojavnih oblik in značilnosti de-diščine. V svojih ciljih konvencija poudarja pomen dediščine na lo-kalni in nacionalni ravni ter nujnost spoznavanja kulturnih identitet v mednarodnem okolju. Njen osnovni namen je ohraniti različnost identi-tet narodov in etničnih skupnosti v najširšem materialnem, družbenem in duhovnem obsegu, ki so ogrože-ne zaradi globalizacijskih procesov na področju gospodarstva, komu-nikacij, jezikov, narečij in kulture nasploh.

Podobno kot druge države sveta tudi Slovenija vse več pozornosti namenja ohranjanju nesnovne kulturne dediščine, kar se je še posebej izpostavilo po sprejetju novega Zakona o kulturni dedi-ščini (Uradni list RS, št. 16/2008). Zakon to vrsto dediščine posebej obravnava kot novo varovano kategorijo. Zato je Ministrst vo za kulturo RS v skladu z določili zakona poiskalo usposobljenega koordinatorja za zbiranje podat-kov in uvrščanje v register ne-snovne kulturne dediščine. Sprva je bil izbran Inštitut za slovensko narodopisje ZRC SAZU, leta 2011 pa je te naloge prevzel Slovenski etnografski muzej.

Novi koordinator za nesnovno dediščino že dobro leto intenzivno pridobiva številne nove predloge za vpis v register. Predloge pošiljajo zainteresirani posamezniki, različna društva in združenja, javni zavodi, muzejske ustanove in v nekaj pri-merih celo nosilci in organizatorji kulturnih prireditev. To vse kaže na

veliko pozitivno odzivnost javnosti na obravnavo in zaščito številnih oblik in pojavov nesnovne dedišči-ne, ki pa seveda vedno in povsod deluje v navezavi na mnogo bolj poznani in dlje časa varovani podro-čji snovne premične in nepremične dediščine, ki v naši varstveni praksi praviloma sodita pod varstveno pristojnost nacionalnih, pokrajinskih in lokalnih muzejev, arhivov in knjiž- nic ter zavoda za varstvo kulturne dediščine in njegovih sedmih ob-močnih enot.

Dediščino je treba vedno razu-mevati celovito (kompleksno) in celostno (kompletno), saj jo le v teh razsežnostih spoznavamo in razu-memo v njenih najbolj sporočilnih pomenih. Delitev po raznih zvrsteh je v varstveni praksi sicer pogosta in tudi potrebna, vendar, ko je treba kulturne pojave spoznati in oceniti z vseh možnih zornih kotov ter jih ustrezno umestiti v kontekst razvoja nacionalnih, regionalnih in lokalnih kultur, potem je dediš- čino treba presojati celovito. In celovitost ne bi bila mogoča, če ne bi enakovredno snovni dediščini obravnavali tudi vse oblike in poja-ve nesnovne dediščine. Šele takrat namreč mnogo bolje razumemo vzroke in posledice posegov v pro-stor, ravnanja etničnih skupnosti ter poklicnih in družbenih skupin in seveda ravnanja posameznikov. Zato se vsestranski pomen ne-snovne kulturne dediščine najbolj izkaže v postopkih obnove kultur-nih spomenikov, ki jih je nemogoče ustrezno vzdrževati in obnavljati, ne da bi poznali stoletne tehno-logije gradnje, znanje in veščine obdelave gradiv ter predvsem izkušnje starih mojstrov obrti, ki so že v preteklosti znali kakovostno usmerjati delovne postopke svojih delovnih skupin. Prav o takšnih spregovori naša knjiga, ko govori o skupinah izvrstnih tesarjev na območju Mirenske doline.

Nesnovna dediščina slovenskega, evropskega in obče svetovnega kulturnega okolja je nedvomno zelo obsežna in bogata. V tradicio-nalnih in sodobnih oblikah življenja se je ohranila vrsta spominov ter tudi znanja in veščin na nekdanje dejavnosti, šege in navade ter teh-nologije obdelave gradiv, ki nikakor ne smejo zaiti v pozabo. Namen pričujoče publikacije je prav to: ohranimo spomin na preteklost, da bomo lažje živeli v sodobnosti in še bolje v prihodnosti, saj se prav iz dediščine lahko veliko naučimo. Vsak še tako moderen industrijski ali obrtniški izdelek namreč temelji na dediščini preteklega znanja. Številno znanje in mnogotere izkušnje so sicer zapisani, bodisi v učbenikih, zakonih, pravilnikih, standardih in podobnih dokumentih. A mnogi še čakajo na zapis, ker so se številne kulturne prvine praviloma prena-šale od ust do ust, od generacije do generacije. To pravilo delovanja kulture je zelo značilno za družbe na nekoliko drugačnih razvojnih stopnjah, kot je naša – a zaradi tega nikakor niso siromašne. Morda so duhovno celo bogatejše in po znanju prvobitnejše. Samo primer: znanje o naravnem okolju Bušma-nov (Grmičarjev) v Južni Afriki danes pretresa farmacevtsko industrijo, saj ti ljudje poznajo učinkovine številnih rastlin, ki lahko dobesedno rešijo sodobni svet.

Tudi pri nas še vedno obstaja znan- je o številnih kulturnih prvinah naravnega okolja, o skrbi za vodo, zrak , zemljo in zdravo življenje. Tudi mi smo imeli izvrstne (ljudske) zdravilce, ki so znali na sonaraven način iz narave pridobivati zdravilna in zaščitna sredstva. Žal smo se njihove moči in znanja zavedeli šele pred nedavnim, žal prepogosto šele po vzporednih vzgibih iz tujine, kjer so (žal) to znanje skomercializirali do povsem globaliziranih oblik. Takega ravnanja z našo nesnovno dedi-

ščino nikakor ne smemo dopus- titi. Ne smemo je folklorizirati niti pretvarjati v nove moderne oblike, ker potem ni več to, kar je bila v svoji prvini pojavnosti. Vsekakor pa je treba nesnovno dediščino vpeti v sodobno in bodoče življenje in tega prilagoditi dediščinskim prvinam, če želimo še naprej živeti v skladu z naravo in spoštovati vse prevečkrat prekršena načela sonaravnosti in trajnostnega razvoja.

Zato podpiram prizadevanja Centra za razvoj Litija, da se je usmeril v izvedbo mednarodnega projekta Vrednotenje nesnovne kulturne de-diščine (Cultural Capital Counts) na območju, za katerega skrbi v skladu s svojimi pristojnostmi in koncesija-mi. V knjigi je zbranih enaindvajset različnih primerov znanja in vedenja o dediščini. Prepričan sem, da bo ta seznam z leti še bogatejši. Vsekakor pa so obravnavani primeri izvrstna podlaga za pripravo podrobnejših besedil za vpis v register nesnovne kulturne dediščine Slovenije. izr. prof. dr. Vito Hazler, etnolog konservator

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Intangible heritage of Slovenia In 2003, UNESCO adopted the Conven-tion for the Safeguarding of Intangible Cultural Heritage which was an im-portant step towards understanding and accepting all occurring forms and characteristics of heritage. The objectives of the Convention empha-size the meaning of heritage at the local and national level as well as the imperativeness of getting to know cultural identities in an international environment. Its basic goal is to pre-serve the diversity of the identities of nations and ethnic groups in the broadest material, social and spiritual range: they are, namely, endangered owing to globalization processes in the field of economy, communica-tions, languages, dialects and culture in general.

Similarly to other countries of the world, Slovenia also pays more atten-tion to the preservation of intangible heritage, which was particularly em-phasized after the new Cultural Herit-age Protection Act (Official Gazette of the Republic of Slovenia, No. 16/2008). The Act treats this type of heritage as a new protected category. Consequent-ly, in compliance with the provision of the Act, the Ministry for Culture of the Republic of Slovenia found a qualified coordinator to collect information and make relevant entries in the reg-ister of intangible heritage. At first, the Institute of Slovenian Ethnology was chosen. In 2011, these tasks were taken over by the Ethnographic Museum of Slovenia.

The new coordinator for intangible heritage has been intensely collecting numerous new proposals for register entries. The proposals have been sent by interested individuals, various societies and associations, public institutes, museums and in some cases even the bearers and organizers

of cultural events. All of this shows a strong positive public responsive-ness to dealing with and protecting numerous forms and occurrences of intangible heritage which, of course, always and everywhere works in rela-tion to much better known and much longer protected areas of material movable and immovable heritage; in our protection-related practices as a rule the latter belong under the protection competency of national, regional and local museums, archives and libraries as well as under the Institute for the Protection of Cultural Heritage of Slovenia and its seven area units.

The heritage needs to be considered in view of its complexity and in view of its integrity as it is only in these dimensions that we get to know and comprehend it in its most message-conveying function. Its classification into various types is quite frequent and also necessary in protection practice; however, when it is necessary to get to know cultural occurrences and evalu-ate it from every possible angle and put them in place within the context of the developmental of national, regional and local cultures, heritage needs to be considered in view of its complexity. And the complexity would not be possible if all the forms and oc-currences of intangible heritage were not dealt with equally as material her-itage. Only then we understand much better the causes and consequences of activities affecting the environ-ment, actions by ethnic communities and professional and social groups and, last but not least, actions of indi-viduals. Consequently, the multilateral meaning of intangible heritage is best demonstrated through the processes of renovation of cultural monuments which cannot be adequately main-tained and renovated without being familiar with hundred-year old tech-nologies of building, knowledge and skills of material processing and most of all the experience of old masters of

craftsmanship who knew so many years ago to direct working processes of their work groups towards quality. These are the very masters our booklet is about when it speaks about groups of excellent carpenters in the area of the Valley of Miren.

The intangible heritage of Slovene and European cultural environment and that of the world in general is by no means very vast and rich. In traditional and modern forms of life a series of memories of former activi-ties has been preserved as well as the knowledge and skills relating to them, the manners and customs and the technologies of material processing: they must not be forgotten. This is ex-actly what the goal of this publication is, namely, to preserve the memory of the past in order to live more easily in the present and even better in the future as we can learn so much from our heritage. Every modern industrial or artisan article, as small as it may be, is based on the heritage of a past knowledge. The knowledge and mul-tiple experiences have been written down in students' books, laws, rules, standards and similar documents. Yet, many are still waiting to be writ-ten down since numerous cultural elements have been transferred by word of mouth from generation to generation. This rule of the operation of culture is very characteristic of societies at somewhat different stages of development from ours – they are, however, by no means poorer. Spiritu-ally speaking, they may even be richer and their knowledge more primeval. Let us take a look at an example: the knowledge Bushmen in South Africa have of their natural environment is shocking the pharmaceutical industry today since these people know the ingredients of numerous plants which can literally save the modern world. We also have the knowledge on nu-merous cultural elements of natural environment, on the concern for

water, air, soil and a healthy life. We also had first-class (folk) healers who knew how to extract medicinal and protective substances from nature in a sustainable manner. Unfortunately we have only become aware of their power and knowledge recently, too often following parallel motives from abroad where this knowledge has been commercialized to the extent of a completely globalized form. Under no circumstance can we allow our in-tangible heritage to be treated in such a manner. We must neither folklorize it nor transform it in new modern forms because if we do, it is no longer what it was in its original state. Intangible heritage needs by all means to be in-terlaced in the modern and future life and adjust the latter to the elements of the heritage if we want to continue living in accordance with nature and respect the all too frequently breached principles of sustainability and sus-tainable development. Therefore I strongly support the en-deavours of the Development Centre Litija and its focus on carrying out the international project Cultural Capital Counts in the area it takes care of in compliance with its competencies and concessions. The booklet provides a collection of twenty-one different examples of knowledge and aware-ness of the heritage. I am convinced that this list will become longer with the passing of time. At any rate, the examples dealt with are an excellent basis to prepare more detailed texts for the register of intangible cultural heritage of Slovenia. associate professor Vito Hazler, pH. D.,ethnologist conservator

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Živa dediščina je vse okoli nasCenter za razvoj Litija na območju Srce Slovenije že vrsto let sodeluje z občinami, ki z različnimi aktiv-nostmi in projekti podpirajo razvoj podeželja . Med pomembnimi prizadevanji sta tudi ohranjanje bogate lokalne in regionalne de-diščine ter njeno vključevanje v podjetniški in turistični razvoj. Na območju je ogromno nepremične dediščine, kot so domačije, gospo-darska poslopja, cerkve, kapelice, mlini in kozolci. Veliko pa je tudi nesnovne ali žive dediščine, ki ji vsi skupaj ponavadi namenjamo pre-malo pozornosti. Tudi zato, ker se ne zavedamo, da jo imamo. Nema-lokrat nanjo postanemo ponosni šele takrat, ko nas nanjo opomni obiskovalec naših krajev.

Predstavljanje, zapisovanje in ohran- janje žive dediščine so izredno pomembna, predvsem za nosilce in drugo lokalno prebivalstvo, ki se nemalokrat poistovetijo s tovrstno dediščino kraja. Šege in navade, verovanja, ustno izročilo, plesna dediščina, znanje o naravi, posebno tehnično in obrtniško znanje so to-rej kulturni kapital, ki se ga moramo bolj zavedati in ga ceniti. Zapisati in prenesti ga moramo na prihodnje generacije.

Pri izvajanju različnih projektov na temo dediščine se na terenu več-krat srečujemo z nosilci dediščine, predvsem obrtniki in rokodelci. Želijo si, da bi bilo njihovo delo bolj cenjeno in spoštovano. Opozarjajo, da je zaradi našega odnosa cena za njihove izdelke glede na vloženo delo in kakovost na trgu nemalo-krat prenizka. Tudi zato se zelo malo mladih ljudi odloča za obrtniški poklic. Z aktualnim projektom že-limo nosilcem dediščine pomagati

pri sistematičnem trženju izdelkov, prepoznavanju podjetniške prilož- nosti in vključitvi v turistični razvoj. Verjamemo, da nam bo uspelo sku-paj z vami, ki se zavedate vrednosti tovrstne dediščine.

Sicer pa smo veseli, da imamo v Srcu Slovenije zelo aktivna različna društva, ki si prizadevajo ohranjati in prenašati rokodelsko znanje oziroma predstavljati dediščino. Ne-malo je zelo angažiranih posamez- nikov, ki ves svoj prosti čas vložijo v organizacijo rokodelskih delavnic, pripovedovanje ljudskega izročila, postavljanje razstav in zbiranje gra-diva o dediščini. Hvala vam.

Skupaj s koordinatorji občin, nosilci dediščine in strokovnjaki etnologi smo pripravili knjižico o le nekaterih od mnogih enot nesnovne dediš- čine v Srcu Slovenije. Toliko, da na glas povemo, za kakšno dediščino gre, in vas spodbudimo k razmišlja-nju. Prepričani smo, da se boste ob prebiranju spomnili še na mnogo druge dediščine in ob tem nanjo postali še ponosnejši!

Živa dediščina je v naših srcih in vse okoli nas. Prisluhnimo ji!

aleksandra Gradišek, direktorica centra za razvoj litija

Living heritage is all around us For several years, the Development Centre Litija in the area of the Heart of Slovenia has been cooperating with the municipalities who with various activities and projects support rural development. Among important endeavours are the preservation of the rich local and regional heritage and its inclusion in entrepreneurial activities and tourist development. The area abounds in immovable her-itage such as farms, estate buildings, churches, wayside shrines, mills and hayracks. There are plenty of intangi-ble or living heritages which we, all of us, usually do not pay much attention to. One of the reasons for the latter is that we are not aware of having it. More often than not we begin taking pride in it only when a visitor to our parts calls our attention to it.

Presentation, writing down and pres-ervation of living heritage are very im-portant particularly for the bearers of heritage and the rest of the local pop-ulation who often identify themselves with this type of heritage of the area. Manners and customs, beliefs, oral lore, dance-related heritage, knowl-edge relating to nature, particularly technical and craftsmen's knowledge are therefore a cultural capital we have to become more aware of and appreciate it more. We have to write it down and transfer the knowledge on to future generations.

In carrying out various projects with the theme of heritage in the field we often meet the bearers of heritage, mostly craftsmen and artisans. They wish their work was more appreci-ated and respected. They call our attention to the fact that owing to our attitude, the price of their work in view of the work required and quality in the market is quite often too low.

This is also one of the reasons why so few young people decide to take up craftsmanship. The present project is supposed to help the bearers of heritage in the systematic marketing of their articles, identifying entrepre-neurial opportunities and inclusion in tourism development. We believe that together with you who are aware of the value of this type of heritage we will be successful.

However, we are glad that in the Heart of Slovenia there are various very active societies who undertake a sustained effort to preserve and transfer artisan knowledge, to wit, represent the heritage. There are quite a few engaging individuals who spend all their free time organizing artisan workshops, spreading folk tradition, setting up exhibitions and collecting material relevant to herit-age. Thank you all.

Hand in hand with coordinators of the municipalities, bearers of heritage and expert ethnologists we have pre-pared this booklet dealing with only some of the numerous units of intan-gible heritage in the Heart of Slovenia. We want to say out loud what type of heritage it is about and encourage you to reflect. We are certain that when reading this booklet you will remember all the other types of herit-age and become even prouder of it!

Living heritage is in our hearts and all around us. Let's lend it our ears!

aleksanDra GraDišek, Development centre litija manager

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Živost nesnovne kulturne dediščineNematerialna, neopredmetena, živa, nesnovna ..., vse to so termini, ki po Unescovi Konvenciji o varo-vanju nesnovne kulturne dediščine pomenijo prakse, predstavitve, izraze, znanje, veščine in z njimi povezana orodja, predmete, izdelke in kulturne prostore, ki jih skupnosti, skupine in včasih tudi posamezniki prepoznavajo kot del svoje kulturne dediščine. Nesnovna dediščina je v primerjavi s snovno ravno zaradi živosti, ki jo potrjuje tudi terminolo-gija, izjemna. Ves čas se spreminja, je odziv na svoje okolje, naravo in zgodovino, se prepleta z drugimi sestavinami in se razvija.

V Sloveniji od leta 2008 vodimo nacionalni register t. i. žive kultur-ne dediščine, kamor so po presoji strokovne komisije koordinatorja varstva žive kulturne dediščine (od leta 2011 je to Slovenski etnografski muzej) vpisane enote dediščine, ki ustrezajo merilom veljavnih doku-mentov, kot sta Unescova Konven-cija o varovanju nesnovne kulturne dediščine in slovenski Zakon o varstvu kulturne dediščine. Želimo si, da bi čim več enot nesnovne kulturne dediščine iz območja Srce Slovenije dobilo svoje mesto tudi v registru, ki je eno od središč priza-devanj za ohranjanje in varovanje dediščine. Ko govorimo in pišemo o nesnovni kulturni dediščini, pa ne smemo pozabiti na njeno neločljivo povezanost s premično in nepre-mično kulturno dediščino. Kajti le celovita obravnava dediščine nam omogoča celosten pogled na njen razvoj, trenutno stanje in morebitni potencial za prihodnost. Ne gre spregledati dejstva, da so sestavine nesnovne kulturne dediščine lahko bogat vir za razvoj lokalnih, regio-nalnih in nacionalnih identitet.

Ohranjanje nesnovne kulturne dediščine je vrednota, ki nas bo-gati in spodbuja k odgovornemu ravnanju z dediščino. Pri tem imajo pomembno vlogo nosilci dediščine, pa naj bodo to skupine, skupnosti ali posamezniki, ki skrbijo, da zna-nje in veščine, potrebne za njeno delovanje in ohranitev, posredujejo naslednjim generacijam. Naloga strokovnjakov je predvsem sprem- ljati in dokumentirati nesnovno kul-turno dediščino, ki s svojo živostjo povečuje že tako bogato kulturno raznolikost.

adela pukl, slovenski etnografski muzej

Vividness of intangible cultural heritage Non-material, intangible, living… are technical terms which according to the UNESCO Convention for the Safeguarding of Intangible Cultural Heritage represent practices, presen-tations, expressions, knowledge, skills and related tools, objects, articles and cultural premises which communities, groups and sometimes individuals identify as part of their cultural her-itage. Compared to the material heritage, non-material heritage is ex-ceptional for its very vividness which is also confirmed by the terminology. It is changing and developing all the time, it is a reaction to its environment, nature and history, it is intertwined with other components

Since 2008, we have had in Slovenia a national register of the so-called living cultural heritage. The register contains the units of heritage which, according to the assessment of the professional commission of the coordinator of the protection of living cultural heritage (since 2011, this role has been assumed by the Ethnographic Museum of Slo-venia), correspond with the criteria of operative documents such as the UN-ESCO Convention for the Safeguard-ing of Intangible Cultural Heritage and the Slovenian Cultural Heritage Protection Act. We wish as many units of cultural heritage as possible from the area of the Heart of Slovenia get their place in the register which is one of the centres of the endeavours for the preservation and protection of the heritage. When we speak and write about non-material cultural heritage we must not forget that it is inseparably linked with movable and immovable cultural heritage. Since only the heritage being dealt with in its complexity enables us a complex view of its development, current situ-ation and eventual potential for the

future. We must not overlook the fact that the components of non-material heritage may be a rich resource for the development of local, regional and national identities

The preservation of intangible her-itage is a valuable feature which makes us rich and encourages us to treat our heritage with responsibility. In doing so, a critical role is played by the bearers of heritage, i.e. com-munities, groups or individuals who see to it that knowledge and skills necessary for its functioning and pres-ervation are transferred to the next generations. The task of the experts is primarily to monitor and document intangible heritage which – through its vividness – increases the already rich cultural diversity.. aDela pukl, ethnographic museum of slovenia

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O brošuri

Pričujoča knjižica je eden od prvih vidnejših rezultatov projekta Vred- notenje nesnovne kulturne dedišči-ne (angl. Cultural Capital Counts), katerega aktivnosti so usmerjene v ustvarjanje pogojev za prepozna-vanje nesnovnih kulturnih virov in uporabo le-teh v podjetništvu. S tem projektom se odpira razmero-ma nova tema, saj večina evropskih regij ne pozna in se ne zaveda mož- nosti nesnovne kulturne dediščine, tako v ekonomskem pogledu kot tudi v smeri izboljšanja kakovosti življenja.

V letu 2011 so partnerji iz sodelujo-čih regij izvedli vrsto intervjujev z regionalnimi interesnimi skupinami, društvi, nosilci dediščine, etnologi, zgodovinarji in posamezniki, ki ima-jo bogato znanje o svojem okolju. Z njimi so želeli ugotoviti najpo-membnejše elemente nesnovne kulturne dediščine.

Izmenjave s strokovnjaki iz drugih regij in primerjave s tujimi praksami so omogočile odkritje posebnih elementov nesnovne dediščine v okolju. Mnogokrat šele zunanji pog- led na zbrano gradivo in dediščino razkrije prezrte »skrite zaklade«.

Regionalna nesnovna kulturna dediščina predstavlja eno od nepre-cenljivih bogastev naših regij, saj gre nemalokrat za posebne identitete, ki lahko povečujejo privlačnost okolja tako za prebivalce kot obiskovalce in omogočajo trajnostni razvoj.

Želimo, da bi se ljudje z našega območja zavedali, da so lahko po-nosni na svoj izvor, posebne šege in navade, spretnosti in znanje, zaradi katerih je vsaka regija edinstvena.

Tradicija je prihodnost.

O projektu Cultural Capital Counts

Cultural Capital Counts je triletni projekt (2011–2014), ki ga sofinancira Evropski sklad za regionalni razvoj (ESRR) v okviru programa Srednja Evropa. Vključuje deset regij iz šestih evropskih držav s skupnim ciljem iz-koriščati kulturne vire za konkurenč-nejša mesta in regije s poudarkom na nesnovni dediščini, kot so tradici-ja, spretnosti, navade in znanje.

S projektom ne želimo ovrednotiti materialnega bogastva in dediščine, ampak ljudi, njihovo znanje in kul-turo oziroma področje, ki je danes pogosto zanemarjeno.

Nesnovna kulturna dediščina je duša regije.

za Več informacij o projektu obiščite spletno stran: www.culturalcapitalcounts.eu ali www.razVoj.si

About the brochureThis booklet is one of the first results of the project Cultural Capital Counts, the activities of which have been fo-cused on creating conditions for rec-ognizing intangible cultural resources and the use of these in entrepreneur-ship. This project is opening a relative-ly recent theme since the majority of European regions does not appreciate and is not aware of the opportunities of intangible cultural heritage either in the field of economy or in the area of improving the quality of life.

In 2011, the partners from the regions taking part in the project carried out a series of interviews with regional interest groups, societies, bearers of heritage, ethnologists, historians and individuals who have vast knowledge of their environment. In so doing the partners wanted to find out what the most important elements of intangi-ble cultural heritage were.

The exchanges with experts from other regions and comparisons with foreign practices have enabled us to discover special elements of intangi-ble heritage in the environment. More often than not it is the last look at the material and heritage that discloses the overlooked “hidden treasures”.

Regional intangible cultural heritage represents one of the priceless riches of our regions as it has often to do with special identities which may add to the attractiveness of the environ-ment not only for the inhabitants but for visitors as well, at the same time enabling sustainable development.

We wish that people in our region would become aware of the fact that they can be proud of the origins, special manners and customs, skills and knowledge which make every region unique.

Tradition is future.

On the project Cultural Capital CountsCultural Capital Counts is a three-year project (2011-2014) co-funded by the European Regional Development Fund (ERDF) within the framework of the programme Central Europe. It in-cludes ten regions from six European countries and its common goal is to exploit cultural resources to raise the competitiveness of towns and regions with an emphasis on intangible herit-age such as tradition, skills, customs and knowledge.

The goal of the project is not to evalu-ate material riches and heritage but the people, their knowledge and cul-ture, to wit, the area that is frequently neglected nowadays.

Intangible cultural heritage is the soul of a region.

for more information on tHe project see website: www.culturalcapitalcounts.eu or www.razVoj.si

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Predstavitev nesnovne dediščine v srcu slovenijePri projektu in nastajanju brošure sodelujejo občine Dol pri Ljubljani, Ivančna Gorica, Mengeš, Lukovica, Šentrupert, Kamnik, Litija in Šmart- no pri Litiji, povezane v Razvojno partnerstvo središča Slovenije. Kot svojo skupno identiteto občine prepoznavajo znamko Srce Slove-nije, ki združuje območje v obliki srca z geometričnim središčem Slovenije GEOSS kot središčno točko. V brošuri predstavljamo nekaj izbranih enot žive dediščine iz omenjenih občin.

Klasifikacijo enot smo povzeli po Unescovi Konvenciji o varstvu nes- novne kulturne dediščine iz leta 2003. Čeprav je težko smiselno uvr-stiti raznolike enote žive dediščine v tovrstnih pet sklopov, pa smo skušali slediti tej klasifikaciji, saj jo uporablja-jo tudi ostali projektni partnerji.

Ustno izročilo in izrazi, vključno z jezikom, so razna ljudska verovanja, bajeslovje, pripovedništvo, pesni-štvo, kratke prozne oblike, bralne navade in posebni narečni govori.

Uprizoritvene umetnosti pred-stavljajo različne ljudske gledališke predstave, pasijoni, plesne uprizorit- ve in lutkarstvo.

Družbene prakse, rituali in pra-znovanja vključujejo življenjske in koledarske šege ter navade, kulina-rične parke, prosti čas in zabavo.

Znanje in prakse o naravi in sve-tu zajema področje naravnega okolja, zdravilstva, rastlinskega in živalskega sveta, znanja o vremenu in pojavih, vedenja o življenjskem prostoru, zgodovinske zavesti in geografskega obzorja.

Tradicionalne obrtne in gospo-darske veščine vključujejo različno tehnično znanje, ki se nanaša na obrti in gospodarske panoge.

Presentation of intangible heritage in the Heart of SloveniaThe following are the municipalities taking part in the project Develop-mental Partnership of Central Slo-venia and in the preparation of this brochure: Dol near Ljubljana, Ivančna Gorica, Mengeš, Lukovica, Šentrupert, Kamnik, Litija and Šmartno near Litija. The municipalities consider the brand The Heart of Slovenia their common identity; this brand unites the heart-shaped area with the geometrical centre of Slovenia GEOSS as its central point. This brochure presents some of the selected units/areas of living heritage from the above-mentioned municipalities. The classification of the units has been made according to the UNESCO Convention for the Safeguarding of Intangible Cultural Heritage from 2003. Although it is difficult to classify diversified units of living heritage into five chapters we have tried to stick to the classification since it is also used by our other project partners.

Oral lore and expressions includ-ing the language include various

folk beliefs, mythology, story telling, poetry, short prose forms, reading habits and special dialect languages.

Performing arts represent various folk theatre performances, passion plays, dance performances and pup-petry. Social practices, rituals and festiv-ities include life- and calendar-related manners/traditions and customs, cu-linary practices, leisure time activities and entertainment. Social practices, rituals and fes-tivities comprise the areas of natural environment, healing, fauna and flora, knowledge of the weather and weather phenomena, knowledge of the habitat and historical and geo-graphical awareness. Knowledge and practices relating to nature and the world comprise a variet y of technical knowledge which applies to craftsmanship and economy-related lines of business.

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Ustno izročilo in izrazi, vključno z jezikomOral lore and expressions, including the language

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Zgodovina srednjeveškega rudnika Sitarjevec, kjer so do leta 1965 ko-pali svinec, živo srebro, barit in cink v rovih istoimenskega hriba (448 m) na desnem bregu Save, je zelo bogata in raznovrstna. Čeprav rud- nik ne deluje že skoraj pol stoletja, se je med domačini globoko usidral v pripovednem izročilu, kar najbolj potrjujejo različne zgodbe in bajke, ki rudnik v bajeslovnem pomenu ohranjajo v spominu ljudi. Žal ga zadnja leta domačini spoznavajo tudi kot »ekološko bombo«, ker se iz njegovih opuščenih rovov pogo-sto izliva onesnažena voda.

Sitarjevec sodi med najstarejše rudnike na Slovenskem, ponaša pa se še z več kot 40 km rovov in prehodov. Ljudje so na širšem območju Litije iskali rudo že v zgodnji železni dobi. Najpogostejši rudnini sta bili železova in bakrena ruda, kar med drugim odseva tudi v več kot tisočletni zgodovini rudarjenja in pridelave ter obdelave kovin v okoli-ci Vač in Litije. Pred 2000 leti so v rudni-ku Sitarjevec svinčevo rudo izkopavali že Rimljani. Rudarjenje se je obdržalo do leta 1965, z njim pa tudi številne zgodbe o življenju in težaškem delu, ki jih med drugimi ohranja še nekaj živih rudarjev iz Litije in Šmartnega pri Litiji.

Na pomembnost rudarjenja opozarja tudi nagrobni kamen z napisom: »Bog blagoslovi plemenito rudarstvo« iz leta 1537, ki je posvečen rudarskemu mojstru Christofu Brukherschmidu in stoji v šmarski cerkvi. V preteklosti naj bi bilo Šmartno pri Litiji povezano z rudiščem na Maljeku s štiri kilometre dolgim rovom, ki so ga končali leta 1648 in je prišel na dan pri kapelici Kristusovega trpljenja na Pungartu. Pri kopanju rova je rudarje zasulo in to je bil povod za legendo o nastanku šmarske cerkve, ki jo znajo povedati skoraj vsi domačini, stari in mladi:

»V Sitarjevcu je bil rudnik in rudarji so kopali pa jih je nekega dne zasulo. Potem so kopali in kopali in kopali, da bi se rešili. Medtem so se zaobljubili, da kjer bodo prišli na plan, bodo cerkvico sezidali. Prišli so tu, v Šmartnem ven in potem so res zgradili cerkvico. Dan, ko

so se rešili, je bil godovni dan sv. Mar-tina, zato so tudi cerkvico njemu po-svetili. Mišljena pa je še prejšnja cerkev iz 16. stoletja. To je šmarska legenda.«

Rudarji iz Sitarjevca dobro poznajo škrata Berkmandeljca (tudi Perkman-deljc, Pergmandelc, Birkmandeljc, Perkmandelj), ki je bil sicer varuh rudar-jev, vendar pa je v ljudskih verovanjih v jamah povzročal tudi nesreče. Ignac Slapničar, ki se je rodil leta 1932 in je bil svoj čas rudar v Sitarjevcu, se spo-minja, da so imeli tega škrata za bolj hudobnega, podobno, kot je na pri-mer parkelj v Miklavževem sprevodu. Delovodje so sicer starejšim rudarjem prepovedali, da bi novince v rudniku strašili z zgodbicami o škratu, vendar so jih kljub temu znali prestrašiti. Navidezni škrat, ki so ga v bistvu po- osebljali starejši rudarji, je neizkušenim novincem rad izmaknil kos malice ali jim skril svetilko. Zato je bil zgolj škrat Berkmandeljc kriv tudi za vse druge nevšečnosti in nevarnosti, ki so sprem- ljale in pretile rudarje. A pogosto se je izkazalo, da je bil škrat odrešitelj vseh tegob rudarjev. Nemalokrat jih je rešil nevarnosti prav v trenutku, ko so ga za-sledovali po rovih, in se je na njihovem delovišču zgodila nesreča, se je usulo kamenje, je prišlo do eksplozije ali se je rov zapolnil s plinom. Zato so rudarji trdili, da jim je nagajivi Berkmandeljc rešil življenje in jih na svoj igrivi način speljal daleč stran od kraja nesreče.

Rudnik Sitarjevec je danes zaprt, a če bo del rovov odprt v turistične namene, bodo v prikaz dela v rudniku vključene številne zgodbe in legende.

Zgodbe in bajke o rudniku Sitarjevcu pri Litiji

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Stories and myths about the Sitarjevec mine near Litija

The history of the medieval Sitar-jevec mine, where until 1965 lead, me rcur y, bar y te and zinc we re mined in the galleries of Sitarjevec (448 m) on the right bank of the Sava River, is very rich and fascinat-ing. Although it has been almost fif-ty years since the mine became dis-used it is deeply rooted among the locals in the form of oral lore, which is best substantiated by various sto-ries and myths that keep the mine, mythology-wise, in the memory of the people. Unfortunately, locals have recently identified the mine as “ecological bomb” since polluted water is frequently discharged from its disused galleries.

Sitarjevec is among one of the oldest mines in Slovenia and boasts more than 40 km of galleries and passages. In the broader area of Litija people prospected for ore already in the early Iron Age. The most frequent minerals were copper and iron ores, this fact is, among other things, reflected in the over-thousand-year history of mining, production and processing of metals in the surroundings of Vače and Litija. Two thousand years ago the Romans used the Sitarjevec mine to obtain lead ore. Mining has been present in the area up to 1965 and with this numerous stories about life and hard work have arisen. These stories have been preserved by a few miners still living in Litija and Šmartno near Litija.

We are also reminded how important mining was by a tombstone, where it was written in 1537: “God bless noble mining”. The tombstone is dedicated to the master miner Christof Brukher-schmid and is located in the church of Šmarje. In the past, Šmartno near Litija was supposedly linked by means of a four-kilometre long gallery with the ore deposit at Maljek. The gallery was finished in 1648 and came to the sur-face at the wayside shrine of the Christ's Suffering at Pungart. While digging the gallery, miners were buried beneath the ground and this gave occasion for the legend on how the church of Šmartno came into existence. Almost every lo-cal, be they young or old, is capable of telling it:

“There was a mine in Sitarjevec and the miners were digging and one day they were buried beneath the ground. Then they kept on digging and digging and digging to save themselves. While doing so they made a vow to build a church after they had reached the surface. They came out here in Šmartno and built a church. The day they were saved was St. Martin's name's day so the church was consecrated to him. The church in ques-tion is the previous one from the 16th century. This is the legend of Šmarje.”

Miners from Sitarjevec know well the goblin Berkmandeljc (also Perkman-deljc, Pergmandelc, Birkmandeljc, Perk-mandelj) who was a guardian of the miners, yet in folk beliefs it was Brkman-deljc who made accidents happen in the caves. Ignac Slapničar who was born in 1932 and used to be a miner in Sitarjevec remembers that they consid-ered this goblin to be more evil, in the same way as the devil is, for instance, in the procession of Saint Nikolaus. Foremen forbade the older miners to frighten newcomers to the mine with stories about the goblin but they knew nevertheless how to scare them. An apparent goblin that was personified by the older miners enjoyed stealing a piece of bread or hiding a lamp. This is why the goblin Berkmandeljc was guilty of all the other inconveniences and dan-gers which accompanied and threat-ened the miners. Frequently it turned out that the goblin saved the miners from every possible trouble. The goblin saved them from danger at the very moment when they were following him through the galleries and an accident happened at their workplace, stones started pouring down, an explosion happened and a gallery was filled with gas. Consequently, the miners claimed that the teasing goblin Berkmandeljc saved lives and in his own playful man-ner took them away from the places where bad things happened.

The Sitarjevec Mine is closed today; but if a part of the galleries are opened for tourists, the presentation of working in the mine will include numerous stories and legends.

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Beseda ajd označuje velikana, ki ima ponavadi pozitivno vlogo v ljudskih legendah in velja za naj-starejšega mitičnega prebivalca zemlje. Ajdovska deklica je njegova hči in ima lastnosti čarobnega bitja. Vlogo v verovanju o starem ljud-stvu velikanov je igrala domišljija, ki je bila plod strahu in religiozne-ga verovanja o nadnaravnem.

Značilnost različnih zgodb o ajdih in ajdovskih deklicah je, da označujejo staroselce, ki so v naših krajih živeli pred Slovani, pripovedni spomin o ajdih pa je ohranjen vse do danes. Poleg tega, da ajd označuje velikana, se je v zgodovini skupaj s selitvami in bitkami pojavil tudi ajd, ki označuje pogana. Ajdi so velikokrat pomagali graditi cerkve, premikali so skale, živeli so v jamah, z nogama so stali na dveh bregovih in prali perilo, deklice so v predpasnikih nosile kamenje ali zlato itd. Skoraj vsak kraj ima še danes svojo različico legende in »resničnih srečanj«. Starejši ljudje pomnijo veliko zgodb, medtem ko mlajši vedno manj.

V okolici Lukovice so ajdovske de-klice pomagale pri gradnji cerkve v Praprečah, saj so nosile kamenje iz Palovč. Neki kmet naj bi kričal na eno od njih, ki je prečkala njegovo polje, ta pa je odvrgla skalo iz predpasnika, ki še danes stoji pod Palovčami. Druga zgodba pravi, da je ajdovska deklica prinesla predpasnik zlata za zvonik na Golčaju, ki se še danes sliši najlepše v Prilesju. Ljudje znajo povedati, da je tod ajdovska deklica stala z eno nogo na Samrgli, z drugo na Dragi, v Radom- lji pa je prala plenice.

V Mengšu so ajdovske deklice v pred-pasnikih nosile kamenje in skale za gradnjo mengeške cerkve. Plenice so prale v Pšati pri Topolah, medtem ko so z eno nogo stale na Grintovcu in z drugo na Šmarni gori. V Dolu pri Ljubljani pa je ajdovska deklica prala plenice v Savi.

Zanimive zgodbe, ki jih je zbrala Ida Dolšek v svoji knjigi z naslovom Kaku se kej narod rihta, prihajajo tudi iz okolice Polšnika, razložene vasi pri

Litiji. Olga Majcen (roj. 1925) je znala povedati zgodbe, ki jih je slišala od mame, rojene 1892. leta: »Na Torijevmu grunti pod Ostrežom so živeli ajdi, aj-dovci. So bili dobri ljudje. Zelo veliki in močni. So prišli gor na Preveg, kjer so sedaj domačije Pri Koširju, Grabnarju, Hiršelnu in so tem kmetom kar čez noč delo končali. So bili zelo močni. Plug, če se je ustavil, ga je kar sam zagrabil in prestavil. Če so sredi njive ostali kmetje, ki so delali, so jim ponoči ajdi priskočili na pomoč. Drugi dan je bilo delo končano. Ajdi so bili bolj nevidni, niso se radi kazali. So kar izginili, ko so se navadni ljudje naseljevali. So živel nad Prevegom, kjer je ena jama, ki se ji še sedaj reče ajdovska jama. Še dol v Pasjek je bila ena jama, ne vem točno. Pa pod eno skalo, malo naprej, naj bi jih tudi ene štiri, pet notri živelo«

Ivan Kralj (roj. 1927) iz Prevega se je spominjal, da je v Ajdovski jami tudi kamnita postelja, dolga dva metra in pol. Ta naj bi bila še vedno na istem mestu. Pripovedoval je, da so bili ajdi na tem območju naseljeni že pred Slovani, pojedli pa so sedemkrat toliko kot navadni ljudje.

Bajna bitja so po predstavah ljudi živela v naravnem okolju, v katerem se je moral človek za sožitje z njimi znajti in večkrat poslušati njihove nasvete, če je hotel preživeti. V naravi je zato najti največ skrivnostnih bitij, z njimi pove-zanih zgodb in spominov.

Zgodbe o ajdih in ajdovskih deklicah

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Stories about giants and giants’ girls

The word “ajd” means a giant which usually plays a positive role in folk legends and is considered to be the oldest mythical inhabitant of the earth. The giants’ girl is his daugh-ter and has the characteristics of a magical being. Imagination played a role in the beliefs about an old race of giants: it was the fruit of fear and religious beliefs in the super-natural.

A characteristic of the stories about gi-ants and giants’ girls is that they apply to aborigines who lived here before the Slavs and the memory of which has been preserved through story telling to this day. In addition of an “ajd” describ-ing a giant, the word also stands for a pagan who appeared through history with migrations and battles. The giants often helped build churches, moved rocks, lived in caves, stood above rivers, a leg on each bank, doing the laundry, the giants’ girls carried stones or gold in their aprons and the like. Almost every place has preserved its alternative and “real encounters” until this day. Older people remember many stories while the young much less.

In the surroundings of Lukovica the gi-ants’ girls helped to build the church in Prapreče carrying stones from Palovče. A farmer is supposed to have yelled at one of them while she was crossing his field and the girl threw a rock from her apron and the rock is still there below Palovče. Another story says that a giants’ girl brought an apron of gold for the church tower at Golčaj and even today the sound of the bell is the nicest in Prilesje. People are known to tell that a giants’ girl stood on Samrgla with one leg and on Draga with the other while washing the nappies in Radomlja.

In Mengeš, giants’ girls carried stones and rocks in order to help build the church there. They washed nappies in Pšata at Topol standing on Grintovec with one leg and on Šmarna gora with the other. In Dol near Ljubljana a giants’ girl washed nappies in the Sava River.

Interesting stories, collected by Ida Dolšek in her book entitled Kaku se kej

narod rihta, come from the surround-ings of Polšnik, a dispersed village near Litija. Olga Majcen, born in 1925, is known to have told stories she had heard from her mother who was born in 1892: “At the large Tori estate below Ostrež, giants used to live. They were good people. Very big and strong. They came up to Preveg where the Košir, Grabnar and Hiršeln farms are located nowadays and the farmers there fin-ished their work overnight. They were very strong. If a plough stopped, a gi-ant took it with his hands and moved it on. If farmers working in a field did not manage to finish their work, giants gave them a helping hand. Next day the work was completed. The giants kept to themselves, they did not like to be seen. With ordinary people settling they simply disappeared. They lived above Preveg where there is a cave and it has been called Giants’ Cave to this day. There was another cave down in Pasjek, I do not remember it well. And a bit farther on, there were four or five of them living inside under a rock.”

Ivan Kralj, born in 1927, from Preveg, remembered that there was also a stone bed in Giants’ Cave: it was two and half metres in length. It is still supposed to be there. He used to say that the giants settled in this area before the Slavs and they ate seven times as much as ordi-nary people.

According to the beliefs, mythological beings lived in natural environments where a man, wanting to live in har-mony with them, often had fend for himself and listen to their advice if he wanted to survive. This is why the largest number of mysterious beings are found in the countryside, and the stories and memories having to do with them are countless.

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Uprizoritvene umetnostiPerforming arts

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Mejaši so stara ljudska lutkovna igra, ki so jo navadno igrali na po-rokah. Je zelo svojevrstna in ji ni moč najti podobne v evropskem lutkarstvu, zato govorimo o tipično slovensko-kajkavski lutkarski obli-ki. Pogosto so jo uprizarjali tudi na območju Šmartnega pri Litiji, danes le še ob posebnih dogodkih.

Prvi strokovni zapisi o igri v Sloveniji so se pojavili leta 1941, opisujejo pa lutkovni prizor »Pravda za mejo« na Dravskem polju. Starejši ljudje so že takrat pripovedovali, da je to zelo »star špas« na svatbah. Po pripovedih očeta Ide Dolšek, Gregorja Pivca (roj. 1928), ki je igro večkrat igral, so se lutke v Javor-ju nad Bogenšperkom pojavile prva leta po drugi svetovni vojni. Lutkam se reče mejaši, pogovorno v okolici Javor-ja tudi »mlatiči«, ker se igralci prepirajo zaradi meje.

Igro so na poročnih svatbah igrali ljud-ski godci, ponavadi mlajši moški. Za igro potrebujemo klop, dve odeji, dve leseni palici (oblečeni v dva suknjiča) in klobuk. Na začetku se ena odeja položi na tla, nanjo pa klop, pod katero se uleže moški igralec. Z drugo odejo se klop pokrije z vrha. Nato se igralec oprime klopi z obema rokama in nogama. Dva moška prekrijeta klop s spodnjo odejo in jo prineseta na prizo-rišče. Delno razgrneta odejo in igralec se s hrbtom spusti na tla. Njegovi roki (lutki) počivata na klopi, nogi pa spod-vije pod zgornjo odejo. Vse razen lutk je skrito. Lutki oživita, vsaka ima svoje ime, npr. Jože in Miha. »Kaj boš kaj da-nes delal?« »Sem mislil, da bi mlatil. Mi boš kaj pomagal?« »Veš, da ti bom, saj si moj sosed.« »No, pa začniva.«

Začneta mlatiti, sliši se pi-ka, po-ka. Ne-kaj časa lepo teče, nato pade »cepec« po sosedu. Ta se začne pritoževati, za-kaj ga je udaril. Prvi se izgovarja, da ni nič hudega mislil, naj še mlatita. Tepež se po mlatenju ponovno ponovi še v hujši obliki. Pristopi tretja oseba ali raz-sodnik: »Kaj se vidva tepeta?« Razložita mu, kako se je začelo, in izkaže se, da sta že dalj časa v sporu zaradi mejnika, ki naj bi stal »na tej strani«, in Jože potolče z desnico po klopi. Vsak kaže

svojo stran meje. Razsodnik razsodi, kje naj bi stal mejnik, nato se pobotata in mlatita naprej. Ko se ponovno uda-rita, se izkaže, da so posredi ženske, Miha naj bi rad pogledal za Jožetovo. Po veliko besedah se dogovorijo, da bo Miha pustil žensko pri miru, Jože pa bo popustil pri mejniku. Tako se zopet pobotata, sežeta v roke in igra se kon-ča. Igralec se oprime klopi in nosača ga odneseta.

Za igro sta potrebna dva igralca, en igra oba soseda in drugi razsodnika. Glavni igralec za vloge izmenjuje različne glasove in občinstvo ne ve, ali je pod klopjo en igralec ali dva. Igra je tako še bolj smešna. Imena igralcev so si ponavadi izposodili od bližnjih sose-dov, ki sta bila zares v sporu.

Ida Dolšek, umetniška vodja KUD Folk- lorna skupina Javorje, je igro večkrat vi-dela kot otrok, nato jo je obudila s fol-klornimi skupinami. Z igro so nastopili na mednarodnem srečanju lutkarjev v Ljubljani leta 1992. Igra je bila namreč zelo posebna, saj je ni bilo moč videti kjer koli drugje. Danes društvo uprizori igro na nekaterih nastopih, sicer pa si želijo, da bi se tehnike igranja priučila mladina.

Lutkovna igra Mejaši

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Puppet show entitled Mejaši (persons whose real estate properties border on each other; translator’s note)

Mejaši is an old puppet show which was usually played at weddings. It is quite unique and its equal is not to be found among European puppetry. This is why we speak of a typical Slovenian-Kajkavian puppet form. It was also often staged in the area of Šmartno near Litija, today it is only put on stage on special occasions.

The first professsional notes on pup-petry in Slovenia appeared in 1941: they describe a puppet scene entitled “Lawsuit for the borderline” at Dravsko polje. Even as early as that time older people told that that was an “old prank” at weddings. According to the stories told by Ida Delšek’s father Gregor Pivec, born in 1928, who had seen the play several times, puppets appeared in Ja-vorje above Bogenšperk during the first years following World War I. Puppets are called mejaši and in the surroundings of Javorje they are also called “mlatiči” (threshers) since the players quarrel over the borderline between their properties.

The play was performed at wedding celebrations by folk musicians who were usually younger men. The following are the stage props required for the play: a bench, two blankets, two wooden sticks (dressed in two jackets) and a hat. At the beginning one blanket is laid down and the bench is placed on the blanket; un-der the bench, a male actor lies down. The second blanket is used to cover the bench from the top. Then the actor holds the bench with both hands and legs. Two men cover the bench with the lower blanket and bring the bench on the stage. They partly unfold the blanket and the actor descends down onto the floor. Their hands (puppets) rest on the bench while he hides the legs under the upper blanket. Everything but the puppets is hidden. The puppets come to life; each has a name, for instance Jože and Miha. “What are you going to do today?” “I thought I would thresh. Will you help me do some?” “You know I will, you are my neighbour, aren’t you? “All right, let’s start.”

They start threshing, the strokes can be heard: pi-ka po-ka. For a while everything

goes smoothly and then a flail falls down hard on the neighbour. The latter begins to complain about having been hit. The first offers a pretext that he meant no harm and asks the neighbour that they continue working. After they have been threshing for some time the fight starts again, only this time it gets much worse. A third person comes up to them, the so-called arbitrator: “What are you fighting about?” They explain to him how the fight started and it turns out that they have had this dispute for quite some time over a boundary stone which is supposed to be “on this side”, and Jože pounds the bench with his right hand. Each shows his own side of the border. The arbitrator gives judgement as to where the border stone should be, and then they make up and keep on threshing. When they take up the fight again it turns out that it is all about the women: Miha is supposed to cast glances at Jože’s wife from time to time. Big words followed and in the end they agree that Miha will leave Jože’s wife alone while Jože will give in with respect to the border stone. Thus they make up again, shake hands and the play is over. The actor holds tight to the bench and the two men carry him off the stage.

One actor plays two roles (two neigh-bours) and another is an arbitrator. First uses different voices for the roles and the audience does not know how many actors there are under the bench. This makes the play even funnier. The names of the characters were usually borrowed from nearby neighbours who have actually had a dispute.

Ida Dolšek, artistic director of the Cul-tural and Arts Society Folklore Group Javorje, saw the play several times when she was a child and then brought it back to life by means of folklore groups. They gave a performance at the in-ternational meeting of puppeteers in Ljubljana in 1992. The play is very special since it cannot be seen anywhere else. Nowadays the Society stage the play when they give a performance as a guest theatre; however, they do wish that the technique of playing would be learned by the young.

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Šmartno pri Litiji se ponaša z bo-gatim kulturnim življenjem, o ka-terem pričajo kulturno-umetniška društva z večdesetletno tradicijo. Med njimi je tudi Tamburaški or-kester Šmartno pri Litiji, katerega zgodovina sega v leto 1892 in velja za najstarejšo tamburaško skupino v Sloveniji.

Ohranjeni blagajniški dnevnik priča o ustanovni veselici zbora na začetku 20. stoletja. Šmarski tamburaški zbor, kot se je sprva imenoval, je najprej vodil Šmarčan Ivan Bartl. Poznejših pisnih virov in fotografij o delovanju orkestra je malo. Pobudo za ponovno oživitev tamburaške skupine je leta 1983 dala umetniška vodja domače folklorne skupine KUD Folklorna skupina Ja-vorje, Ida Dolšek. Vodenje skupine je takrat prevzela Urška Meglič, nato pa še Marjan Janežič ml. in Janko Slimšek. Šmarsko tamburaško skupino, ki se je razširila v orkester, je leta 2002 prevzela umetniška in dirigentska vodja Helena Vidic, diplomiranka kompozicije in dirigiranja na Akademiji za glasbo v Ljubljani. Pod njenim vodstvom se je skupina razvila v enega najboljših slovenskih orkestrov, kar potrjujejo dosežki na domačih in mednarodnih tekmovanjih. Januarja 2010 se je dru-štvo odcepilo od Kulturno-umetniške-ga društva Javorje in danes deluje z imenom Kulturno društvo Tamburaški orkester Šmartno. V zadnjih letih je tamburaštvo v Šmartnem namreč preraslo okvire sekcije, zato so se od-ločili za preoblikovanje v samostojno društvo.

Trenutno v orkestru aktivno sodeluje 36 tamburašev, kar jih uvršča med naj-večje tamburaške sestave s Sloveniji. Prevladujejo mladi, saj več kot polovica članov šteje manj kot 30 let. Najmlajši tamburaš šteje 11 let, najstarejši pa 71. Šmarske tamburaše sestavljajo tri sekcije: tamburaški orkester, skupina Trzalica in mladinska sekcija.

Člani orkestra igrajo na vseh pet instru-mentov iz družine tamburic: bisernico, brač, tamburaško čelo, bugarijo in berdo. Vaje potekajo vse leto, dvakrat tedensko v šmarski osnovni šoli. V

zadnjih letih izvedejo okoli 35 nasto-pov na leto. Kadar orkester nastopa samostojno, se člani oblečejo v enotna oblačila, za katere poskrbijo sami.

Njihov repertoar je zelo raznovrsten in obsega več kakor sto skladb. Največ je priredb slovenske ljudske glasbe in priredb tujih pesmi. V zadnjih letih so s pomočjo Helene Vidic razširil repertoar s priredbami klasične glasbe, ciganske glasbe, narodnozabavnih viž in tudi z izvirnimi deli.

V orkestru je zelo pomembna glasbe-na plat, poleg tega pa orkester obstaja kot posebna družbena skupina. V njem je prisoten splet različnih odno-sov, navad in nenapisanih pravil, ki so pogojeni z generacijsko in poklicno strukturo ter priložnostmi, kjer se or-kester pojavlja. Stiki med tamburaši se mnogokrat nadaljujejo tudi po vajah in nastopih, predvsem kadar kdo praz- nuje rojstni dan. Včasih pa tamburaši presenetijo kakšnega svojega člana tudi s podoknico za god.

Tamburaški orkester Šmartno pri litiji

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Tamburitza orchestra Šmartno pri litiji

Šmartno near Litija boasts a rich cultural life which is witnessed by the Cultural and Arts Societies with a decades-long tradition, among them the Tamburitza Orchestra Šmartno near Litija. Their history goes back to 1892 and is considered the oldest tamburitza group in Slovenia.

The preserved cash book is a docu-ment on the constitutional festivity of the choir at the beginning of the 20th century. The Tamburitza Choir of Šmartno near Litija, as it was originally called, was at first led by Ivan Bartl from Šmartno near Litija. There are only a few written sources and photographs on the orchestra of a later date. The initiative to revive the tamburitza group was given in 1983 by the artistic director of the folklore group of the Cultural-Arts Society Folklore Group Javorje, Ida Dolšek. At the time the group was led by Urška Meglič, and later on by Marjan Janežič Jr. and Janko Slimšek. In 2002, the Tamburitza Group of Šmartno near Litija which had already grown into an orchestra was taken over by the artistic director Helena Vidic who majored in Composition and Conducting at the Music Academy in Ljubljana. Under her leadership the group grew into one of the best Slovenian orchestras, which is evidenced by their achievements at na-tional and international competitions. In January 2010, the Society left the Cultural and Arts Society Javorje and is active today under the name of Cultural Society Tamburitza Orchestra Šmartno near Litija. During the last two years the activities of the tambouritza players in Šmartno outgrew the frameworks of the sections so they decided to become an independent society.

At the moment there are 36 active tamburitza players, which has earned them the right to be among the larg-est tamburitza groups in Slovenia. The members are mostly young since more than a half of them are under 30 years of age. The youngest tamburitza is 11 years old, while the oldest is 71. There are three sections of the tamburitza players of Šmartno near Litija: the Tamburitza

Orchestra, the Plectrum Group and the youth section.

The members of the Orchestra master all five instruments from the tamburitza family: bisernica, brač, tamburaško čelo, bugarija and berda belonging to the plucked string instrument group. They have rehearsals all the year round, twice a week in the Šmartno elementar y school. Over the recent years they have been participating in about 35 appear-ances annually. When the Orchestra performs independently, the members wear uniforms which they take care of themselves.

Their repertoire is very diverse and com-prises over one hundred compositions. Most of them are arrangements of Slo-venian folk music and arrangements of foreign songs. Over recent years Helena Vidic has been helping them to broaden their repertoire by including arrange-ments of classical music, gipsy music, folk melodies and original works.

Music is a very important element of the Orchestra; in addition, the Orchestra ex-ists as a special social group. Within the Orchestra, different relationships, habits and unwritten rules are intertwined and they all depend on the generation- and profession-related structure as well as on the occasions when the Orchestra performs. The members keep in contact also after rehearsals and performances, in particular when one of them has a birthday. Sometimes they surprise a member with a serenade on the occa-sion of their name’s day.

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Družbene prakse, rituali in praznovanjaSocial practices, rituals and festivities

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Špinerbal, ki so ga po letu 1945 preimenovali v ples predilcev, je spadal med elitnejše dogodke v mestu Litija. Njegovi začetki segajo v prvo četrtino 20. stoletja in so po-vezani s tovarno, Predilnico Litija, ki nemoteno deluje od leta 1886. Med najstarejšimi še živijo spomini na ta dogodek, ki je v mesto prinesel pravo vznemirjenje ter spravil na noge številne obrtnike, od šivilj do krojačev, krznarjev, čevljarjev in frizerjev.

Med obema vojnama je bil »špinerbal« razkošna prireditev, ki so se je udeležili zaposleni v predilnici, med njimi tudi delavci, litijska gospoda in povabljeni gostje partnerji iz drugih krajev. Da bi se delavci lahko kosali z gospodo, so se za ples še posebej uredili. Na plesu je bilo poskrbljeno za hrano in pijačo, glasbeni ansambel, okrašeno dvora-no, sprejem domačih in tujih gostov, garderobo, strežbo pri mizah, nagovor in otvoritveni ples ter vodenje plesa in spremljajočih iger. Špinerbal so prirejali vedno v zimskem času, navadno teden dni pred pustom. Če je bila sobota »pustna sobota«, so bile dobrodošle tudi maske.

Beseda »špinerbal« izvira iz nemškega jezika (spinnen – presti, Ball – v po-vezavi s prvo besedo pomeni ples, sicer pa žoga). Točen začetek prirejanja plesa ni znan, domnevajo pa, da se je začel okoli leta 1928, ko je predilnica dogradila dvorano Na Stavbah, kjer se je ples vedno odvijal. Dogodek je otvoril direktor, ki je za ples zaprosil najstarejšo predico, delavsko zaupnico ali uradnico. Vedno pa je bila plesalka slovenskega rodu (sicer je bil lastnik predilnice Mautner, tuji lastnik). Plesali so standardne plese, ki so v tem času prodirali iz Amerike v Evropo. Mladi so se na plesnih vajah naučili tudi novih plesov. V večeru so se zvrstile tudi razne igre, med drugim so plesali »cvetlični valček«, ko je plesalec poklo-nil plesalki nagelj ali šopek rožic in jo prosil za ples. Med prvimi plesi so izbi-rali tudi najlepšo plesalko, miss večera, ki je naslov nosila eno leto in bila v tem času nekoliko privilegirana. Ples je trajal

do jutranjih ur. Dobra volja, glasba in ples so opogumili še sramežljive in omehčali narejeno elitno držo. Proti koncu plesnega dogodka so dobri pevci še kakšno zapeli.

Še bolj kot sam ples so izstopale ples- ne toalete. Vse udeleženke so se pri-pravljale v strogi tajnosti in nekatere so varčevale precej dolgo, da so lahko dale narediti novo obleko po meri. Mlade delavke so se zgledovale po višjem sloju in ni se spodobilo v isti obleki na ples tudi naslednje leto. Zato špinerbal ni bil le plesni dogodek, pač pa tudi prava »modna revija«.

Predilnica Litija še vedno organizira letni dogodek za zaposlene, zadnje čase ob okroglih obletnicah, vedno pred novim letom – 26. decembra, poskrbi za vse: kulturni program, na-govor generalnega direktorja, večerjo, ansambel, vendar ne pod takšnim nazivom in v tolikšnem obsegu, kot je bil »špinerbal«. Kulturno-umetniško društvo Folklorna skupina Javorje iz Šmartna pri Litiji si prizadeva za oživitev te dediščine in se povezati s Predilnico Litija. V ta namen so v letih 2009–2011 izpeljali projekt Špinerbal – litijski ples predilcev, v okviru katerega so naredili raziskavo na terenu, izdelali večerne kostume, pripravili glasbene priredbe in koreografije plesov, ses- tavili primerno zasedbo ansambla in izdali promocijsko tiskano gradivo.

Špinerbal, litijski ples predilcev

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Špinerbal, the ball of the spinning mill workers of Litija

Špinerbal which after 1945 became the spinning mill workers’ ball was among the élite events in the town of Litija. Its beginnings go back to the first quarter of the 20th century and are linked to the factory, Spin-ning Mill Litija, which has been in operation without interruptions since 1886. Among the oldest in-habitants, the memories of the event are still very much alive: the event brought excitement to the town and made numerous crafts-men budge, from seamstresses to tailors, furriers, shoemakers and hairdressers.

Between the two wars “špinerbal” was a grand event with everybody working at the mill taking part, i.e. among others, the workers, the upper classes and the invited guests, and partners from other places. The workers took special care as far as their attires were concerned in order to be able to compete with those upper classes. It was understood that a “špinerbal” comprised drink and food, a music ensemble, a decorated hall, the reception of guests arriving from Litija and faraway places, a cloakroom, waiting at tables, a speech, an opening dance and accompanying games. The ball was always organized in winter, usually a week before Carnival. If it was on “Carnival Saturday” masks were welcome.

The word “špinerbal” has its origins in German (spinnen – spin, Ball – a dance/ball with respect to the first word, other-wise it means a ball as in sports). It is not known when exactly they started to or-ganize the ball but it is thought to have begun around 1928 when the spinning mill built the hall called Na Stavbah where the ball always took place. The event was opened by the director who asked the oldest lady spinner, a workers’ representative or a lady clerk. However, the female dancing partner was always of Slovenian origin (the owner of the spinning mill was Mautner, a foreigner). Standard dances which were coming from America to Europe at the time were danced. The young learnt new dances at dancing lessons. During the

evening of the ball several games were played, the “flower waltz” was danced, i.e. the male dancing partner gave his female partner a carnation or a bunch of flowers and asked her to dance with him. During the first dances the most beautiful lady dancer was chosen, Miss of the Evening, who had the title for a year and enjoyed certain privileges during this time. The ball lasted until the morning hours. The good mood, music and dancing encouraged even the shy individuals and softened the affected élite attitude. Towards the end of the ball good singers sang a song or two.

Even more than the ball itself, it was the dresses that stood out. All the lady participants prepared what they were going to wear that evening in secret and some of them had been saving money for quite a long time so that they could have a new dress made. Young female workers followed the example of the higher class and it was not becoming to wear the same dress the following year. Consequently, špinerbal was not only a dancing event but a “real fashion” show as well.

The Spinning Mill Litija still organ-izes an annual event for the employees; recently, however, only on the round anniversaries, always before New Year – on 26 December, and sees to everything from a cultural programme, the CEO’s opening speech, dinner to an ensemble, but not under the same name and without the grandeur of the “špinerbal”. The Cultural and Arts Society Folklore Group Javorje from Šmartno near Litija strives to revive this heritage and link up with the Spinning Mill Litija. This is why in the years 2009–2011 they carried out the project Špinerbal – the ball of spinning mill workers of Litija: within the framework of this they conducted a survey in the field, made evening dresses, prepared music arrangements and dance choreographies, made up an appropriate ensemble and published promotional material.

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Dediščina življenjskih šeg in na-vad, med njimi poročnih, se je na podeželju ohranila vse do danes. Postavljanje mlajev in šrange ob poroki se od vasi do vasi nekoliko razlikuje, bistvo in namen pa osta-jata enaka.

V Petelinjah pri Dolskem so mlaj pos- tavljali mladi neporočeni fantje tako ženinu kot nevesti, v nekaterih sosed- njih vaseh pa so postavljali ženinu le en mlaj. Mlajev niso vedno znova sekali, ampak so uporabili že stare. Pred ponovno uporabo so fantje mlaje prebarvali z belo barvo, pribili v vrh svež vršac, obesili pod vrh smrekov venec in državno zastavo, spodaj pa so jih okrancljali s smrečjem. Vmes so privezali tablo, na kateri je na eni strani pisalo Pozdravljena (ali živela) ženin in nevesta, na drugi pa Bog daj mnogo sreče v zakonu. Mlaji so se začeli pro-dajati šele po drugi svetovni vojni, saj so se mladi zaposlili v službah in niso imeli vedno časa za stare poročne šege. Tako je ponekod prišlo v navado, da so fantje poračunali za nevesto že kar v petek namesto v soboto, na dan poroke.

Mlaji so imeli bolj simbolični po-men, saj so se ob tej priliki mladi družili, hkrati pa so pripravili nevesti oziroma ženinu slovo od samskega stanu. Mlaji tako označujejo slovo od fantovske oziroma dekliške druščine, hkrati pa tudi slovo iz vasi, kjer sta nevesta oziroma ženin živela. Mlaji so predstavljali slavolok, pod kate-rim je moral ženin nujno popeljati nevesto; če tega ne bi storil, bi jima to prineslo nesrečo v zakon. Danes ponekod namesto neveste (ženina) prodajajo mlaje, kar pa ne izhaja iz tradicionalnih šeg in navad. Mlaje radi postavljajo ženinu ali nevesti še danes, čeprav se čedalje manj mladih tudi dejansko poroči. Tudi nekdanje pravilo, da lahko pri tem sodelujejo le mladi neporočeni fantje, ne velja več, saj radi priskočijo na pomoč tudi dekleta in posamezni starejši vaščani pa tudi sorodniki mladoporočencev. Tovrstnega vaškega druženja se na-mreč še danes vsi zelo veselijo, tako

mladi kot stari. Mlaj so po štirinajstih dneh podrli in ga včasih uporabili za lestev.

Ženinu oziroma nevesti se je šrangalo le, če sta odhajala iz vasi. Fantje so šrangali odhajajočemu fantu, dekleta pa nevesti. Ponekod so za šrango postavili oviro na cesti. Ženin je pla-čal za nevesto odškodnino, ki je bila navedena v pismu nevesti. Znesek je bil različen glede na socialni status ne-veste (ženina). Če je nevesta prihajala iz bogate družine, je bil tudi znesek temu primerno višji. Po daljšem prigovar- janju, šaljivkah in opravljenih nalogah je ženin odkupil nevesto. Staršem je zelo veliko pomenilo, če so lahko ne-vesto prodali, saj so s tem vaški fantje pokazali, da so jo imeli radi. Če neveste ne bi prodali, bi bila to za starše velika žalitev. Ko se je enkrat to zgodilo nekje v Vinjah, so domači fantje sredi vasi sežigali nevestine obleke in čevlje, da je po vsej vasi smrdelo. Kadar odhaja dekle iz vasi, pripravijo fantje še danes ženinu šrango z različnimi preizkušnja-mi iz kmečkega življenja, ki jih danes fantje niso več tako zelo vajeni, zneski pa so ponavadi dogovorjeni oziroma enaki ne glede na socialni status. Mladi vaščani s pridobljenim denarjem za odkup ponavadi kupijo darilo za mla-doporočenca ali pa gredo skupaj na večerjo oziroma zabavo. Temu pravijo, da gredo »mlaje zapit«.

Šege ob poroki, postavljanje mlajev in šrange

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Manners and customs on wedding days, erecting maypoles and šrange (barriers placed on a road or path in order to make the groom pay the young men of the village for the bride; translator’s note)

The heritage of life manners and customs, including those relating to weddings, has been preserved in the country until this day. Erecting maypoles and šrange on wedding days differ somewhat from village to village; however, the essence and purpose remain the same.

In Petelinje near Dolsko, maypoles were erected by unmarried young men for the bride and groom alike while in some nearby villages only one maypole was erected for the groom. Maypoles were not felled every time, old maypoles were used. Before a maypole was used again young men painted it white, hammered a small spruce or a top of a spruce to the top of the maypole, hung a spruce garland or national flag immediately beneath the top and decorated it with spruce branches at the bottom. In between they tied a board with Greet-ings, bride and groom and God bless the marriage with happiness. Maypoles started to sell only after World War II as the young got jobs and did not always have time for old wedding-related traditions and customs. Thus in certain villages it grew into a habit for young men to be paid for the bride already on Friday and not on Saturday, the day of the wedding.

Maypoles had a more symbolic mean-ing as this was an occasion for the young to socialise and at the same time prepare everything for the bride and groom to say goodbye to their days of being single. Thus maypoles mark a farewell from the men’s, namely, girls’ company they kept and at the same time a farewell to the village where the bride and groom lived. Maypoles represent a triumphal arch under which the groom had to take the bride; had he not done so this would have brought unhappiness into their marriage. Nowa-days, there are villages where maypoles are sold instead of a bride (a groom), which does not originate in traditional manners and customs. Maypoles are erected for brides and grooms even today although the number of young couples who actually get married is on the decline. Also the former rule that

only young unmarried men can take part in erecting maypoles is no longer observed: girls, individual older villagers and relatives of the newly-weds like to help. Nowadays, the young as well as the old still look forward to this type of socialising. Two weeks after the wed-ding the maypole was pulled down and sometimes used as a ladder.

Barriers (šrange) were placed on a road or path for the groom, to wit, the bride only if they were going to leave the village. Young men placed barriers on the road for the outgoing groom and girls placed them for the outgoing bride. In certain villages they placed a barrier on the road. The groom paid a compensation for his bride, the former having been stated in a letter to the bride. The amount varied in view of the social status of the bride (or groom). If the bride came from a wealthy family the amount was proportionally higher. After a lengthy discussion, some jokes and practical jobs the groom had to carry out, he bought the bride. It meant a lot to the parents if they could sell the bride as this was a way of showing that the village young men cared for her. If the bride could not be sold, this would be a serious offence for the parents. When this happened once upon a time, somewhere in Vinje the local young men burnt the bride’s attire and shoes so that the foul smell spread throughout the village. When a girl is leaving her village the local young men prepare a different šranga: they test the groom by making him do various jobs which have to do with life on a farm that men are not used to any longer nowadays; the amounts to be paid are agreed upon, to wit, equal regardless of the social status. Young villagers spend the money so obtained either to buy a present for the newly-weds or to go for dinner or a party together. This is what they call “drink the maypole earnings”.

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V preteklosti so ljudje posvečali večjo pozornost praznovanju godu kot rojstnega dne. Slednje se je po-javilo šele po drugi svetovni vojni. Praznovanje dneva svetnika, po ka-terem so dobili ime, je veliko starej-še in sega že v antiko. Beseda god v starocerkveni slovanščini pomeni uro, praznik, leto. Od tod izvira pomen godu kot obletnice ali pri-ložnosti, ki jih najdemo v nekaterih slovanskih jezikih. Do današnjih dni se je ponekod na podeželju ohranila šega, da gredo sosedje na večer pred godom »ofirati«.

Godovni zavetniki so imeli v preteklo-sti zelo pomembno vlogo pri poime-novanju otroka. Navadno so otroku namenili ime svetnika, ki je godoval na dan njegovega rojstva ali pa v dneh okrog njega. Če je le bilo mogoče, so ime povezali tudi s predniki in soro-dniki, da se je določeno ime obdržalo iz roda v rod. Prvorojenec je dobil pra-viloma ime po svojem očetu, kakšno od deklet pa so navadno poimenovali po mami ali stari mami.

Zelo razširjena navada na podeželju je bila, da so sosedje na večer pred godom pripravili »freh«, »ofreht«, »ofi-ranje«, »ofrah«, »tablanje« ali »rump- lanje«. Beseda »ofrah« domnevno prihaja iz nemške besede hofieren, ki pomeni dobrikati se komu, dvoriti. Poimenovanje »rumplanje« izhaja iz domače besede rumel, kar pomeni hrup ali trušč.

Zbrani sosedje, sorodniki ali prijatelji, mladi in stari, so se odpravili h godov-niku, da bi mu pripravili freh. Že nekaj dni prej so zbirali različne materiale in orodja za ropot: žlice, pokrovke, piskre, verige, žage, kose, ribežne, skodelice s kamenčki, krožnike, kozarce, orglice … Po drugi svetovni vojni so na dan do-godka s seboj povabili tudi godca, naj-pogosteje harmonikarja, in se skupaj podali do godovnika. Na pragu vrat ali pod oknom so se ustavili ter mu zapeli in zaigrali ljudsko pesem ali zgolj ropotali. Ponekod so prišli prav potiho do vrat ali okna in šele nato počili s karbidom, spet drugje so že na daleč ropotali. Trušč so zganjali, vse dokler

se ni na vratih pojavil slavljenec ter jih povabil v hišo, kjer jih je pogostil. V po-letnih mesecih je pogostitev potekala pred hišo. Pogostitev je bila navadno skromna, poudarek je bil na druženju. Pogosto sta freh in druženje trajala tudi vso noč. Ta navada se je ohranila prav do današnjih dni, samo da jo v različnih krajih različno imenujejo.

Danes je ta šega precej manj raz-širjena, predvsem zato, ker opušča-mo praznovanje godov in spontano medsosedsko druženje. Nekoč so si znali vzeti čas za takšna druženja, ki so ljudi povezovala med seboj ter jim obogatila vsakodnevno življenje na kmetiji. Ker ni bilo denarja za darila, pa tudi v navadi niso bila, so znali drug drugega razveseliti na druge načine. Navadno so kakšen priboljšek (suho sadje, orehe) dobili le otroci, sicer pa se je družina na ta dan odpravila k maši, gospodinja pa je pripravila tudi malo boljše kosilo. Na veliko so godove sicer praznovali bolj moški, ženske in otroci pa bolj v ožjem družinskem krogu.

»Freh« pred godovanjem

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“Freh” on the eve of a name’s day celebration

(“Freh”: supposedly from the german word hofieren meaning to flatter, to court someone; translator’s note)

In the past people paid much more attention to the celebration of their name’s days that their birthdays. Celebrating birthdays began only after World War II. Celebrating the day of the patron saint they have been named after is much older; it originates in the period before Christ. The word god (name’s day; translator ’s note) meant hour, holiday, year in the Old Church Slavonic. These are the roots of the meaning of name’s day as an anniversary or occasion which is found in some Slavonic languages. In certain communities in the coun-try the custom has been preserved until this day, namely the custom of the neighbours going to flatter/court someone (See above: hofi-eren, ofirati) in the evening before someone’s name’s day.

In the past patron saints played a very important role in naming a child. Usu-ally the child was named af ter the parton saint whose name’s day was celebrated on the day of the child’s birthday or around that day. If it was at all possible the name was also linked with the ancestors and relatives so that a certain name was kept in the family from generation to generation. As a rule the first-born was named after his fa-ther, one of the girls was usually named after her mother or grand-mother.

There was a widely-spread custom in the country that in the evening before someone’s name’s day the neighbours prepared “freh”, “ofreht ”, “ofiranje”, “ofrah”, “tablanje” or “rumplanje” (See above). The word “ofrah” is supposed to come from the German word hofieren which means to flatter, court someone. The word “rumplanje” originates in the spoken language word rumel which means noise or racket.

The gathered neighbours, relatives or friends, young and old, went to the person celebrating their name’s day in order to prepare them freh. Already a few days before they collected various materials and tools to make a noise such as spoons, pans, chains, saws, scythes, graters, cups with pebbles,

plates, glasses, harmonicas and the like. After World War II they also invited a musician, usually an accordionist, to accompany them to the person cel-ebrating their name’s day. They stopped at the threshold of the door or under a window to sing a folk song or simply to make a noise. In certain villages they came to the door or window as quietly as possible and only then they made a deafening noise by means of carbide, in other villages they were raising a noise on their way to the house. They kicked up a tremendous racket until the person celebrating their name’s day appeared at the door and invited them in where they wined and dined them. In summer they were wined and dined in front of the house. The drink and food were modest, it was the socialising that counted. Very often freh and socialis-ing went on till the next morning. This custom has been preserved to this day although it is called differently in differ-ent places.

Nowadays this custom is not so wide-spread mainly because we are giving up not only the celebration of name’s days but the spontaneous socialising of neighbours as well. In old times people took their time to socialise, which made them closer to each other and enriched their everyday lives on the farms. Since there was no money to buy presents they were able to find other ways to rejoice. Usually it was only the children who were given something extra (dried fruit, nuts), otherwise the family went to church when their member celebrated their name’s day and the mistress of the house prepared a slightly better lunch. It was the men who celebrated their name’s day in a large company while women and children did so in the com-pany of their families.

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V preteklosti so bili ljudje mnogo bolj kot danes povezani z zvonjen- jem v svojih župnijskih in podruž- ničnih cerkvah. Poleg rednega urnega določanja časa in najmanj trikratnega zvonjenja čez dan je bilo pomembno tudi praznično pritrkavanje, ki so ga izvajali bodisi vešči cerkovniki ali krajevni ljubi-telji pritrkavanja. Še danes se ob posebnih priložnostih v mnogih krajih in vaseh osrednje Slovenije združujejo ljubitelji pritrkavanja, ki s svojim znanjem in ustvarjanjem melodij razveseljujejo domačine.

Pritrkavanje je bilo v večini krajev že od nekdaj zelo cenjeno opravilo. Zvo-nilo se je pred največjimi cerkvenimi prazniki, kot so velika noč, binkošti, veliki šmaren, božič, pa tudi pred župnijskim proščenjem (žegnanjem), birmo, obhajilom in podobnim. Pra-viloma so pritrkovalci s pritrkavanjem cerkveni praznik slovesno naznanili že dan prej, pozimi ob treh, poleti ob štirih, lahko pa tudi pozneje. Na dan praznika so pritrkavali od petnajst do dvajset minut pred mašnim obredom, približno pol ure po obredu ter med procesijo, kadar je bila ta del obreda. Precej razširjena je bila tudi navada, imenovana dan zvonit, kar je pomeni-lo pritrkavanje zgodaj zjutraj (budnica) ob štirih na dan praznika ali že v noči pred praznikom. Nekoč se je povsod zvonilo s kemblji (podolgovat, odebel- jen kovinski predmet, gibljivo pritrjen v zvon), pri čemer so bili zvonovi ne-premični ali pa je eden od njih nihal. V začetku devetdesetih let 20. stoletja so postopoma začeli uvajati elektronsko pritrkavanje. Kljub temu je še danes veliko pritrkovalcev, mladih in starih.

Ponavadi so pritrkavali pred večjimi prazniki le v farni cerkvah, na podruž- nicah pa pred žegnanjem. Pritrkavali so v glavnem mladi fantje, vodja pa je bil navadno cerkovnik (mežnar). Znanje o pritrkavanju se je prenašalo iz roda v rod. Fantje so pred pritrka-vanjem v zvoniku že doma pridno vadili na pokrovke, ki so jih privezali na kakšen drog. Za velike cerkvene praznike so pritrkovalci iz posameznih

vasi med seboj tekmovali, kdo bo zjutraj prej začel, in se ocenjevali, kdo lepše pritrkava. Za pritrkavanje so bili zelo pomembni posluh, občutek za ritem in smisel za kolektivno delo. Pritrkovalci so znali zaigrati na zvonove najrazličnejše viže.

V Mengšu od leta 1997 deluje pritrko- valska sekcija Kulturnega društva Mi-haelov sejem Mengeš. Vodi jo Franc Blejc, ki veščino pritrkavanja obvlada že 66 let. Učenje pod njegovim vod-stvom in s pomočjo dveh študentov (Ana Pišek in Žiga Strmšek) poteka na miniaturnih šolskih zvonovih v Župnijs- kem domu v Mengšu enkrat na teden pred prazničnim pritrkavanjem, sicer pa tudi na različnih oratorijih. Franc ima trenutno dve starejši in tri mlajše učenke.

V župniji svete Helene v Dolskem deluje skupina pritrkovalcev v sklopu Kulturnega društva misijonarja dr. Janeza Janeža. Mentor manjši skupini mlajših fantov je Gregor Vode. Vadijo na kovinskih ceveh, okvirno dvakrat na mesec.

Zelo dejavni pri pritrkavanju so tudi v občini Šmartno pri Litiji, kjer trenutno deluje skupina mladih pritrkovalcev, ki se srečujejo enkrat na teden. Tudi na Brdu pri Lukovici imajo štiri pritrko-valske skupine (starejši, mlajši okrog 40 let, mladi do 20 let in osnovnošolci). Dobivajo se enkrat na teden, razen starejši enkrat na mesec. Mentor in koordinator je Anton Lebar, ki se z dru-žinsko tradicijo – pritrkavanjem ukvarja že več kot petdeset let.

Pritrkavanje

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Chiming In the past people were much more connected with ringing in the suc-cursal and parochial churches than they are today. In addition to clock striking and ringing at least three times a day, holiday chiming was also important. It was performed by sacristans or local chiming devo-tees. Even today in many places and villages in central Slovenia, chiming devotees come together on special occasions and spread happiness among the locals with their skills and melody creations.

Chiming has always been a much respected job in most places. The bells were rung before major church holidays such as Easter, Pentecost, the Assump-tion and Christmas; the bells were also rung before a parish festival commemo-rating a church’s patron saint, confirma-tion, Holy Communion and the like. As a rule, a church festival was announced by festive chiming one day before, in winter at 3 p.m., in summer at 4 p.m. or even later. On the day of the festival, chiming went on for fifteen to twenty minutes before mass was celebrated, approximately half an hour after the ritual and during the procession when the latter made part of the ritual. Quite widespread was the custom called to ring the day, which meant chiming early in the morning (wake-up call) at 4 a.m. on the day of the festival or already during the night before the festival. In times past the tongues of a bell were used to ring with the tongues of a bell (kemblji – oblong thickened metal ob-jects fastened into the bell so that they were movable) whereas the bells were either immovable or one of them was oscillating. In the beginning of the 1990s electronic chiming was introduced. Nevertheless, there are still many people, young and old, who enjoy chiming.

Usually chiming was performed be-fore major festivals only in parochial churches and in succursal churches before the parish festival commemo-rating a church’s patron saint. It was mainly young men who chimed led by their sacristan. The knowledge of chim-ing was transferred from generation

to generation. Before chiming in the church tower, the young men practised at home on pot lids they had suspended on a pole. On the occasions of major church holidays, the persons chiming from different villages competed for who would start earlier in the morning and their chiming was appraised as to whose chiming was nicest. What is needed if one wants to chime well? An ear for music, a sense of rhythm and team work. Various melodies were known to have been chimed.

Since 1997 there has been a chiming section of the Cultural Society Mihael’s Fair Mengeš. It is led by Franc Blejc who has been a master of chiming for 66 years. Learning under his leadership and with the assisstance of two students (Ana Pišek and Žiga Strmšek) takes place on miniature school bells in the Parish House in Mengeš once a week before the festive chiming and also in various oratories. At the moment Franc has two older and three younger female students.

Within the framework of the Cultural Society of the missionary Janez Janež, Ph.D., a group of chimers functions in the parish of Saint Helen in Dolsko. Gregor Vode is a mentor to a small group of younger boys. They practise on metal pipes more or less twice a week.

An intense chiming activity is present in the municipality of Šmartno near Litija where a group of young chimers functions and they meet once a week. Brdo near Lukovica boasts four chiming groups (older chimers, younger ones around 40 years, young up to 20 years of age and elementary school students). They meet once a week with the excep-tion of the older group who meet once a month. The mentor and coordinator is Anton Lebar who has been involved in chiming, that has grown into a family tradition, for over fifty years.

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Za velikonočni blagoslov jedi (že-gen) na veliko soboto večinoma gospodinje pripravijo umetelno pletene jerbase, košare in cekarje ter jih napolnijo z vzorci velikonoč-nih jedi. Na območju občine Dol pri Ljubljani, v Tuhinjski dolini in dolini Črni graben so ohranili navado, da jedem priložijo tudi posebne hosti-je oziroma oblate.

V košari so praviloma meso (šunka, klobasa ali danka), ki predstavlja Kris- tusovo telo, kolač, potica ali štruklji so trnjeva krona, trije hreni pomenijo žeblje, rdeči pirhi pa Kristusove rane ali kaplje krvi. Dodajo še kvašen kruh, ja-bolka, kakšno pomarančo in ponekod tudi oblate. Košaro za blagoslov jedi nato prekrijejo z vezenim ali čipkastim prtičem, ki je narejen in okrašen prav za to priložnost. Žene in dekleta so si nekoč zadale pripravljene jerbase na glavo, podložile pa so jih s svitkom. Ta okrogla blazinica z luknjico v sredini se je lepo prilegla glavi in ublažila pritisk težkega jerbasa.

V župniji svete Helene v Dolskem žegnu še vedno dodajo oblate. Oblati so opresen oziroma nekvašen kruh, izdelani pa so kot velike ovalne hostije. Pripravljeni so iz moke in vode, za peko pa se uporablja poseben pekač, ki pusti v končnem izdelku odtis Jezu-sovega monograma. Okoli 1400 kosov oblatov se peče mesec dni. Pečejo se v posebnem pekaču, ki deluje samostoj-no na elektriko, za peko enega oblata je potrebna dobra minuta. Prvotno je oblate pekel mežnar in si s tem prislužil kakšen dodaten denar za preživetje. Pozneje je to vlogo prevzela župnikova gospodinja, ko sta odšla z župnikom v drugo župnijo, pa nekaj časa obla-tov ni pekel nihče. V Dolskem danes delajo oblate pri Borc (pri Bokalovih), poseben pekač so dobili v župnišču, ko se je pokvaril, pa so kupili novega v Italiji. Jože Bokal, ki peče oblate, je tudi sicer mežnar v župniji, vendar je bila pobudnica za prevzetje naloge peke oblatov njegova žena. Žal marsikje primanjkuje pekačev za peko, ven-dar Jože Bokal iz Dolskega rad nauči peke oblatov vsakogar in tudi pekač

z veseljem posodi na dom. Jožetu pri peki oblatov pomagajo družinski člani. Oblate razdelijo med farane pred cerkvijo po mašah na cvetno nedeljo, nekateri pa jih pridejo iskat na dom k Bokalovim. Navadno dajo ljudje za oblate prostovoljne prispevke. Oblati so zelo priljubljeni zlasti med otroki, saj so prijetnega blagega okusa in čvrsto hrustajo.

Jerbas (košaro, cekar) so po blagos- lovu prinesli domov in ga postavili na praznično pogrnjeno mizo. Jedi so na-vadno počakale kar v njem do nasle-dnjega jutra, ko se je ob velikonočnem zajtrku zbrala vsa družina. Takrat so člani družine na začetku obedovanja zaužili še oblate in vsakdo je dobil vsaj en kos.

V Tuhinjski dolini, v župniji Zgornji Tu-hinj, ohranjajo tradicijo peke oblatov, ki jih med vernike razdelijo v tednu pred veliko nočjo. Spečejo vsaj 900 oblatov, za vsakega po enega. Enako šego ohranjajo v Blagovici, Krašnji in na Vačah. Oblate pečejo tudi redovnice na Mali Loki pri Ihanu.

Priprava velikonočnih oblatov

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Preparation of Easter wafers On Holy Saturday the ladies of the house prepare food to be taken to church for Easter benediction in large woven wicker baskets and a narrow, two-handled bag, usually of straw. In the area of the munici-pality of Dol near Ljubljana, in the Valley of Tuhinj and the Črni graben Valley a special custom has been preserved, namely, to put special hosts or wafers among the food.

As a rule there is meat in the wicker basket (a ham, sausage or a colon, i.e. a fat sausage with the ingredients stuffed into a colon) which represent the body of Christ, a cake, potica (a traditional cake consisting of a sheet of pastry spread with a rich nut/poppy filling and rolled up; translator’s note) or dumplings stand for the thorn crown, three roots of horseradish stand for the nails, red-col-oured eggs are Christ’s wounds or drops of blood. Leavened bread, apples, an orange or two and wafers are added in some places. The wicker basket contain-ing food for benediction is then covered with an embroidered or lace napkin which has been made and decorated for this very occasion. Women and girls used to put the prepared wicker baskets on the head and padded them with a coil made of fabric. This round cushion with a hole in the centre matched the head beautifully and relieved the pres-sure of the heavy basket.

In the parish of Saint Helen in Dolsko they always add wafers to the food to be taken to benediction. The wafers are basically unleavened bread and are made as large oval hosts. They are made from flour and water and they are baked in a special baking pan which leaves an impression of Christ’s mono-gram on the final product. About 1400 pieces of wafers are baked over a period of one month. They are baked in a spe-cial electric baking pan which functions independently and a good minute is necessary for one wafer to be done. Originally it was the sacristan who baked wafers thus earning some addi-tional money to make ends meet. Later on the job of baking wafers was taken over by the sacristan’s housekeeper:

When the priest and his housekeeper left the parish nobody baked wafers for a while. Today, in Dolsko wafers are made at the Bokals (informally: at Borc); they were given a special baking pan in the presbytery and when it broke down they bought a new one in Italy. Jože Bokal who bakes wafers is also the sacristan but the initiative for taking over baking wafers was originally his wife’s. Unfortu-nately in many places baking pans are scarce, yet Jože Bokal from Dolsko likes to teach baking wafers to everyone and is happy to lend you his baking pan to take home. When baking wafers Jože is helped by his family members. Wafers are distributed among the parishion-ers in front of the church after services on Palm Sunday, and many come to the Bokals’ house to get them. Usually, people pay for the wafers by giving vol-untary contributions. Wafers are very popular among children as they have a delicate taste and are very crunchy.

After the benediction, a wicker basket (a narrow, two-handled bag, usually of straw) was brought home and placed on the festively set table. Usually, food was left in there until next morning when the entire family gathered for Easter breakfast. It was then that the family members ate wafers, too, and everybody got at least one wafer.

In the Valley of Tuhinj, in the parish Zgornji Tuhinj, people have been pre-serving the tradition of baking wafers which are distributed among the faith-ful during the week before Easter. At least 900 are made, one for each parish-ioner. The locals of Blagovica, Krašnja and Vače have been preserving the same custom. Wafers are also made by nuns in Mala Loka near Ihan.

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Občasni vinotoči, imenovani pu-šenšank, pušelšank (iz nem. Bu-schenschank, točilnica pod vejo), so bili v preteklosti razširjeni v Mirenski dolini in so pomenili po-memben dodaten vir zaslužka vinogradnikom, povečini kmetom. Obdržali so se do šestdesetih let 20. stoletja, ko je po vaseh v okolici Šentruperta delovalo več pušelšan-kov. Pozneje je oblast prepovedala prosto prodajo vina. Na pušelšan-kih so prodajali predvsem vino, pogosto pa so ponudili tudi do-mače dobrote, kot so bile štručke s pregreto smetano.

Pušelšanki so delovali od spomladi do jeseni. Poleg zaslužka je bil namen sprazniti sode in tako pripraviti posodo za novo sezono. Na pušelšanke se je vabilo od ust do ust, preko sosedov pa tudi na trgu v Šentrupertu. Klicanje na trgu pred cerkvijo je bilo znano še v šestdesetih letih 20. stoletja. Ob nekdanji Pavlinovi hiši, v kateri sta bili trgovina in posojilnica, je bila pred posojilnico kamnita klop. Po jutranjih nedeljskih mašah so se Šentruperčani zadržali na »plac« in prisluhnili razgla-som, ki so jih brali s te kamnite klopi. Na koncu klicanja je klicatelj povabil na pušelšank z besedami: »Pušelšank se vrši…« ter navedel kraj in dan.

Pušelšanku so domačini rekli tudi na pu za šenk – na pol zastonj. Vino je bilo namreč cenejše kot v gostilni. Odvijali so se predvsem zvečer ob vikendih, pa tudi med tednom po kakem večjem delu. Obiskovalci so bili vaščani, iz so-sednjih vasi, včasih tudi hribci, kot pra-vijo domačini prebivalcem vasi višje v hribih. Sploh imenitni so bili pušelšanki takrat, ko sta bila v Šentrupertu ali na Veseli gori žegnanje in semenj. Prišli so moški in ženske, kar ni bilo nič sramo-tnega, otroci navadno ne. Odvijal se je kar v domači hiši, v osrednjem prosto-ru – hiši. Prodajali so predvsem vino, ki so ga sproti prinašali iz kleti v litrih različnih velikosti (posebnost sta bila polič za dva litra štefan ter za tri janez). Ob pijači ni manjkalo hrane, obvezno so ponudili domač kruh pa kako suho klobaso ali suha rebra. Včasih so ponu-

dili tudi odlično poslastico - štručke, ki so bile narejene iz kruhovega testa in pregrete domače smetane.

Štručke s pregreto smetano so neke vrsta potica. Narejene so iz kruhovega testa in nadevane s pregreto smetano. Pri izdelavi najprej surovo mleko nali-jemo v nižjo in širšo posodo, pustimo stati na hladnem en dan, nato pa počasi spečemo v krušni peči, da se smetana na vrhu zapeče – zarumeni in začne delati mehurčke. Nato jih vzamemo iz peči, odlijemo odvečno tekočino, ostane pa nam smetana. Na razvaljano testo so namazali pregreto smetano, včasih posuli s sladkorjem ter zvili kot potico in spekli poleg kruha v krušni peči. Pečeno so narezali s po-močjo kolesc za rezanje.

V letu 2011 je bila v sklopu občinskega praznika občine Šentrupert v organiza-ciji Etno-družabnega društva Draga in v sodelovanju s strokovnjakom etnolo-gom in društvi prvič izpeljana priredi-tev »Na pu za šenk« oziroma pušelšank v Dragi. Prireditev je zasnovana kot prikaz kmečkih opravil iz obdobja od konca 19. stoletja do druge polovice 20. stoletja ter pušelšanka. Dogajanje po kmečkih opravilih se je prestavilo v središče vasi, poleg društvene hiše, kjer ni manjkalo godcev, humornih vložkov in domače kulinarike, saj so gospodinje pripravile kruh, suhomesnate izdelke in tudi štručke s pregreto smetano. Prireditev, ki se bo po načrtih društva odvijala vsako leto, skuša prikazati delo in družabno življenje na vasi v prete-klosti, hkrati pa popestriti dogajanje v kraju, ga narediti turistično zanimivega in privabiti obiskovalce.

Štručke s pregreto smetano na pušelšankih

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Rolls with warmed cream at pušelšanks

Later the authorities banned the uncontrolled selling of wine. The main article in the bars under a branch was wine, however, home-made goodies were also offered, for instance rolls with warmed cream.

Pušelšanks operated from spring to au-tumn. In addition to the earnings, their purpose was to empty the barrels and thus prepare containers for the new sea-son. The invitation to pušelšanks spread by word of mouth, by neighbours and also at the square in Šentrupert. Calling at the square in front of the church was still known in the 1960s. Next to the for-mer Pavlin’s house in which a shop and a savings bank which made loans were located there was a stone bench in front of the savings bank. After the morning services the inhabitants of Šentrupert stopped for a while on the “plac ” (square; translator’s note) and lent an ear to public proclamations which were read from the very same stone bench. At the end of the proclamations the caller invited everyone to a pušelšank by say-ing: “Pušelšank is taking place…” and gave the place and date.

There was another expression used for pušelšank by the locals, namely, na pu za šenk – at half price. Wine at pušelšanks was cheaper than in the inn. They were held mainly in the evenings at the end of the week and also during the week after some major work. The visitors were the villagers of the neigh-bouring villages, sometimes also hribci (hillbillies; translator’s note) as the local refer to the inhabitants of the villages up in the hills. More prominent were the pušelšanks on the occasion of a parish festival commemorating a church’s s patron saint and a fair in Šentrupert or on Vesela gora. Men and women came, which was not to be ashamed of, children were usually not there. Pušelšank took place in the farm house in its central room called – hiša (a house; translator’s note). They sold mainly the wine which they were bringing from the cellar as it was being sold in litres of various amounts (quite distinctive were those called štefan containing two litres and janez containing three litres).

Drink abounded and there was never a lack of food, home-made bread, a smoke-dried sausage or ribs were a must. Sometimes an excellent dainty was offered - štručke – rolls, which were made from bread dough and warmed home-made cream.

Rolls with warmed cream are a kind of potica. They are made from bread dough and filled with warmed cream. When preparing the rolls, we first pour raw milk into a low and wide container, leave it in a cold place for a day and the we bake it slowly in a brick oven (extending into another room besides the kitchen; translator’s note) so that the cream at the top becomes a yellowish crust and starts forming bubbles. Then they are taken from the brick oven, the excess liquid is poured away and only the cream remains. Warmed cream was spread on the rolled pastry, sometimes sugar was sprinkled over it and then it was rolled up as a potica and baked next to the bread in the brick oven. When it was ready the pastry was cut up by means of pastry wheels. Within the framework of the municipality holiday of Šentrupert the Ethnological and So-cial Society Draga organized for the first time a social gathering called Na pu za šenk (at half price)”, namely, pušelšank. In doing so the Society was assisted by an expert ethnologist and other socie-ties. It took place in Draga in 2011. The event was designed as a presentation of farm works over the period from the end of the 19th century through the second half of the 20th century, and of pušelšank. The goings-on of the farm works were transposed to the centre of the village next to the Society’s house; musicians were plenty and so were humorous inputs and home-made culinary products since the housewives had prepared bread, smoke-dried meat products and rolls with warmed cream, too. The event, which, according to the plans of the Society, will take place every year, tries to present the work and social life of the villagers in the past and at the same time it aims to lend colour to the things that go on in Draga, making it interesting from the point of view of tourism and attracting visitors.

Periodical wine selling points called pušenšank, pušelšanks (from German: Buschenschank, a bar under a branch) used to be widely spread in the Mirna River valley and represented an

important source of income for winegrowers who were mostly farmers. Pušelšanks survived until the 1960s when several of them were still active in the vil-lages surrounding Šentrupert.

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Peka kruha v domači krušni peči je bila nekoč skoraj nujno opravi-lo vsake kmečke gospodinje, saj je domač kruh veljal za eno od glavnih jedi, večkrat tudi kot samo-stojna jed. Znanje o pripravi in peki kruha v krušni peči se je ohranilo do danes, za kar med drugim skr-bijo prizadevne gospodinje in tudi različna ljubiteljska društva.

Peka kruha sega v 13. stoletje in se je skozi čas spreminjala. Sprva so pekli enostavni zmesni kruh iz pšenične, ovsene ali prosene moke, pozneje tudi iz ajdove in koruzne. Nastajale so različne vrste kruhov, zelo razširjeni soržični in priljubljeni pšenični kruh pa tudi različne vrste boljših in dražjih prazničnih kruhov. Osnovno pravilo priprave testa za kruh je mešanje moke z vodo in dodajanje vrelnih nastavkov, kakršne so bile v preteklosti najpogosteje droži (namesto kvasa), pripravljene iz prosene, ržene, redkeje iz koruzne moke.

Medeja Kurent je zelo dejavna pri peki kruha na tradicionalni način, predvsem v okviru Društva podeželskih žena in deklet Šentrupertske šmarnice. S peko se ukvarja od leta 1997, pri tem pa uporablja svojo veliko domačo krušno peč. Krušna peč navadno stoji v kmečki sobi, kuri pa se iz sosednjega prostora. Peke se je Medeja naučila od svojih staršev in od starejših žensk. Pravi, da je »za peko treba imeti dobro moko in veliko dobre volje«. Najprej na posebni mizi za mesenje – mentrgi zamesi moko in vodo, nato doda še sol in kupljen kvas, ki pa ne smeta priti neposredno v stik. Testo mora za vzhajanje nekoliko počivati. Med tem časom pripravi brst in suha drva (bukova ali mešana) za krušno peč. Nato kurišče v peči večkrat premeša, da je dovolj vroče in razbeljeno po vsej površini. Za mešanje peči uporabi leseno grebljo. Ko je testo dovolj vzha-jano, ga razporedi na hlebce v peharje in spet počaka, da vzhaja. Med tem časom meša peč in pripravi omelo, največkrat iz ličkanja, za pometanje po peči. Ko je peč pripravljena in kruh dovolj vzhajan, hlebce testa na vrhu

pomoka in preloži na lesen lopar, nato jih premaže z jajcem, naredi tri zareze in postavi v peč. Kruh nato med peko malo premakne z loparjem. Peče pri-bližno 60 minut. Pečen kruh z veslico ali železnim loparjem vzame iz peči, po spodnji strani potrka in tako preve-ri, ali kruh zadoni. Takrat ve, da je kruh dobro pečen.

Medeja Kurent svoj beli, zmesni, ajdov, koruzni, pirin in ržen kruh prodaja na tržnici v Trebnjem, sicer pa ima precej rednih strank, ki kruh kupujejo pri njej doma. Največ naročil in dela ima v pra-zničnih časih, ob veliki noči ter božiču, ko pripravi bolšji kruh, oblikovan v ple-tenice. Ta kruh je ob različnih praznikih simbolično okrašen z detajli. V okviru društva se s svojo ponudbo vključuje v turistično ponudbo kraja, predvsem na raznih predstavitvah in sejmih.

S peko in organizacijo kulinaričnih delavnic za mlade se od leta 2007, ko so na Jesenskem sejmu prikazali do-mačo peko kruha v krušni peči, ukvarja tudi Aktiv žena Plamen Dolsko. Pod vodstvom Dore Škafar veselje do peke in ohranjanje kulinarične dediščine združuje več kot 40 mladih in starejših članic. Delavnice peke kruha potekajo v prostorih TIC Jurij Vega, kjer sicer pečejo v električni peč, ob posebnih priložnostih pa uporabijo krušno peč, ki jo imajo nekatere članice društva na svojem domu.

Peka kruha v krušni peči

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Making bread in a brick oven

Making bread in a brick oven used to be an inevitable task of a house-wife at a farm since home-made bread was considered to be one of the main foodstuffs, frequently as an independent dish. The knowl-edge of making bread and baking it in a brick oven has been preserved to this day, which is the result of assiduous housewives and various amateur societies.

Baking bread dates back in the 13th century and has been changing with the time. At first, plain bread was made from wheat flour, oatmeal or millet flour and later from buckwheat flour and corn flour. Various types of bread emerged, the widely spread meslin bread and popular wheat flour bread, and also different types of better and more expensive festive bread. The basic rule concerning the preparation of the bread dough is mixing flour with water and adding additives that make the bread rise. The rising additives most frequently used in the past were droži (a surrogate of yeast, usually made from millet flour and must; translator’s note) (instead of yeast). Sometimes rye flour or, more rarely, corn flour was also used.

Medeja Kurent is very active in bak-ing bread in the traditional manner, mainly within the framework of the Society of Country Women and Girls called Šentrupertske šmarnice. She has been involved in baking bread since 1997 using a large brick oven. A brick oven is usually located in the hiša and a fire in it is made from the (usually) kitchen next to it. Medeja learnt to bake bread from her parents and older women. She says that “baking requires good flour and a lot of good will ”. First, on a special kneading table, called mentrga, she kneads flour and water, then she adds salt and purchased yeast, yet the two must not come into direct contact. The pastry must rest a while to rise. During this time dry brushwood and dry chopped wood (beech or mixed) for the brick oven is prepared. Then the fire place in the oven is shuffled several times so that it becomes hot enough and red-hot all over the surface. Medeja uses a

wooden poker to shuffle the oven. When the pastry has risen enough she divides it into loaves and puts them into round straw baskets and waits again for them to rise. During this time she shuffles the oven and prepares a whisk which she uses to sweep the interior of the oven. When the oven is ready and the bread has risen enough she strews flour on top of the loaves of bread and places them onto a wooden oven-peel, smears them with an egg, makes three cuts and puts them into the brick oven. While the bread is in the brick oven she shifts it a little. The bread remains in the oven for about 60 minutes. Once it is baked, she takes it out by means of a veslica (an oar-like gadget used for removing hot coals and ashes from an oven; translator’s note) and an iron oven-peel, knocks on the bottom of the bread thus checking if the bread resounds. She knows then that the bread is well baked.

Medeja Kurent sells her white, mixed flour, corn, spelt, and rye bread in the market in Trebnje. She has quite a few regular customers who come to her house to buy her bread. She receives numerous orders and has most work to do in holiday seasons, i.e. Easter and Christmas when she better bread shaped in braids. This bread is decorated with details which depend on the festive occasion. Within the framework of the society, she makes part of the tourist offer of the place – mainly on the occa-sions of various presentations and fairs.

The Active of Women called Plamen Dolsko has been involved in baking and organizing culinary workshops for the young since 2007 when they showed how bread is baked at home in a brick oven at the autumn fair. Un-der the leadership of Dora Škafar they have established that the enthusiasm over bread baking and preserving the culinary heritage brings together more than 40 young and older members. Bread baking workshops take place on the premises of the Jurij Vega Tourist In-formation Centre where an electric oven is used but on special occasions brick ovens, which some society members have at home, are used.

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Pisatelj in etnolog Janez Trdina je mladost preživel v Mengšu, zato je zelo dobro poznal življenje in navade svojih rojakov. V pismih, ki jih je pošiljal mengeškemu kaplanu Antonu Kolarju v letih 1888–1889, je podrobno opisal življenje Meng- šanov v 19. stoletju. Dotaknil se je tudi prehranjevalnih navad. V enem od teh pisem omenja prepro-sto jed bizgec.

Učenci osnovne šole Mengeš so ja-nuarja 2010 v okviru festivala Turizmu pomaga lastna glava predstavili pro-jektno nalogo z naslovom Trdinova literarno-etnološka pot. Etnološki kro-žek, ki sta ga vodili mentorici Ljubica Rožman in Draga Železnikar, je več mesecev raziskoval Trdinovo etnološko delo, ki se nanaša predvsem na Men-geš in Mengšane.

S pomočjo etnologa dr. Janeza Bo-gataja so učenci odkrili, da je ta jed, ki je žal utonila v pozabo, sestavljena iz kislega zelja, kisle repe, ječmenove kaše oziroma ješprenja in mesa. Trdina je bizgec, ki je bil brez mesa in zabele, imenoval vražji bizgec. Gospa Zorka Požar, predsednica Turističnega dru-štva Mengeš, je pomagala pri odkriva-nju recepta za jed, pravih razmerij med sestavinami in načina priprave.

S skupnimi močni so oživeli recept za 20 oseb, ki zajema: 40 dag kisle repe, 40 dag kislega zelja, 35 dag ješprenja, 50 dag prekajenega svinjskega mesa, 10 dag naribanega korenja, zaseko, čebulo, česen, peteršilj, sol in poper po okusu. Ješprenjček čez noč namočimo, da se dobro napne. Dobro opranega damo kuhat. Skupaj kuhamo kislo zelje in repo. Ko zavre, vodo odlijemo in dodamo k ješprenjčku. Nato doda-mo še ostale sestavine in meso. Ko je meso že skoraj kuhano, ga narežemo na kocke in ga proti koncu kuhanja dodamo jedi. Bizgec mora biti gosljata jed, zato ga po potrebi zalijemo z vodo ali še bolje z jušno osnovo. Čas kuhanja je približno dve do tri ure, jed pa lahko pripravijo le največji kuharski mojstri.

Na predstavitvi Trdinove literarno--etnološke poti v osnovni šoli Mengeš,

20. januarja 2010, je bil bizgec prvič predstavljen širši javnost. Nad neverje-tno preprosto in okusno enolončnico so bili vsi obiskovalci zelo navdušeni. Vsi sodelujoči pri tem projektu pa so bili nadvse veseli pohvale etnologa dr. Janeza Bogataja. Vsekakor je želja Turističnega društva Mengeš, da bi bizgec postal stalna kulinarična tu-ristična ponudba. Do sedaj sta ga v svojo ponudbo vključila dva gostinca, in sicer Mengeška koča na Gobavici in Trdinov hram. Domačini pa si želijo, da bi jed bizgec kot avtohtono mengeško jed uvrstili ob bok pristnim slovenskim jedem. S pomočjo občine, ki podpira tovrstna prizadevanja, verjamejo v uresničitev zastavljenih ciljev.

Mengeški bizgec

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Bizgec of Mengeš

(Bizgec - a dish made of pickled cabbage, pickled turnip, barley groats, to wit, pot barley and meat; translator’s note)

The writer and ethnologist Janez Trdina spent his youth in Mengeš, consequently he knew well the life and customs of his countrymen. In the letters he wrote to the chaplain of Mengeš, Anton Kolar, over the period of 1888–1889, he described in great detail the life of the inhabit-ants of Mengeš in the 19th century. He also tackled their eating habits. In one of these letters he mentions a simple dish called bizgec.

In January 2010, the students of the Mengeš elementary school presented within the framework of the festival called Turizmu pomaga lastna glava a project task entitled Trdina’s literary and ethnological way. For several months the Ethnological Circle under the leader-ship of the mentors Ljubica Rožman and Draga Železnikar researched Trdina’s ethnological work which has to do pri-marily with Mengeš and its inhabitants.

With the assistance of the ethnologist Janez Bogataj, Ph.D., the students dis-covered that this dish, which has unfor-tunately been forgotten, is made up of pickled cabbage, pickled turnip, barley grouts, to wit, pot barley and meat. Trdina called the bizgec which was without meat and lard devilish bizgec. Ms Zorka Požar, the chairwoman of the Tourist Society Mengeš, has helped with uncovering the recipe for the dish, the proper ratios among the ingredients and the manner of preparation of the dish itself.

Working hand in hand they have re-vived a recipe for 20 persons which requires: 40dag of pickled turnip, 40dag of pickled cabbage, 35dag of pot barley, 50dag of smoke-dried pork, 10dag of grated carrots, minced fried lard, onion, garlic, salt and pepper in the quantities to your taste. Pot barley needs to soak in water overnight so that it absorbs enough water. After we have washed it well we heat it up. The pickled cabbage and pickled turnip are cooked together. When it boils, the water is poured away and added to the pot barley. Then we add the rest of the ingredients and the meat. When the meat is almost cooked it is cut into cubes and added to the dish

when the cooking is almost over. Bizgec must be quite thickish, which is why we add some water or, even better, broth. The dish takes about two to three hours to cook and it can be prepared only by the best of chefs.

At the presentation of Trdina’s literary and ethnological way at the Mengeš elementary school on 20 June 2010 bi-zgec was first introduced to the broader public. All the guests were enthusiastic about the simple and tasty stew. All the parties participating in the project were extremely glad when they were compli-mented on the dish by the ethnologist Janez Bogataj, Ph.D.. It is a strong wish of the Tourist Societ y Mengeš that bizgec should become a part of a per-manent culinary tourist offer. Until now it has been included in their offer by two restaurants, to wit, by Mengeška koča on Gobavica and Trdinov hram. On the other hand, the locals wish that bizgec as an autochthonous Mengeš dish would be placed next to the original Slovenian dishes. They believe that with the help of the municipality, who sup-ports such endeavours, the goals they have set will become a reality.

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Trniči so vrsta posušenih sirov z Velike in Male planine, ki so obli-kovani iz kislega sira in okrašeni ter imajo ne le prehranjevalni, ampak tudi ritualno simbolni pomen. Domačini imenujejo tak sir »trnә č«. Znanje izdelovanja trničev se je v zelo omejenem številu ohranilo v današnji čas.

O izvirih in razvoju te vrste sirov je raz-meroma malo znanega. Vsi raziskovalci so enotnega mnenja, da lahko govo-rimo o razmeroma arhaični pojavni obliki, ki ne skriva le vprašanja o vlogi in pomenu medspolnih odnosov v t. i. tradicionalni družbi, ampak nas privede tudi do hipotetičnih sklepanj o povezanosti s staroselskimi kulturami in z antiko.

Trniče so izdelovali iz posnetega kisle-ga mleka. Tega so nekoliko bolj segreli, da so dobili bolj pust sir, to je skuto. Najprej so ga odcedili, nato osolili in mu primešali nekaj smetane, da je bila sirna zmes ustrezno voljna za obliko-vanje. Z rokami so oblikovali hlebčke čebulastih oblik, na vrhu koničastih. V nekaterih primerih so na površini hlebčka naredili drobne bradavičaste izrastke. Po dve kepi takih sirov so okrasili z ornamenti, ki so jih vtisnili z reliefno izrezljanimi lesenimi paličicami ali »pisavami«. Ti hlebčki ali grude sira so bili v velikosti moške dlani. Po kon-čanem oblikovanju in okraševanju so jih polagali na polico nad ognjiščem, kjer so se posušili, rahlo odimili in tako konzervirali. Med sušenjem so na ognjišču kurili le bukova drva. Po pri-bližno štirinajstih dnevih so bili trniči že dovolj suhi, njihova masa pa je bila za polovico manjša. Število izdelanih trni-čev je bilo vedno parno, saj so te sire pastirji podarjali ženam in dekletom kot darilo v znak zvestobe in ljubezni, pomenili pa so tudi obljubo zakona. Po nekaterih izjavah sogovornikov naj bi bil par okrašenih trničev pravzaprav podoba ženskih dojk, saj so pastirji menili, da »ima tudi ženska prsi v par«. Čeprav so mnoge obdarovanke te trniče skrbno hranile dlje časa, tudi po več let, je bila temeljnega pomena nji-hova uporabnost v prehranjevanju. S

trniči seveda niso obdarovali le deklet in žensk, ampak tudi druge prebivalce. Posušene trniče so namreč pogosto namočili v toplem ali hladnem mleku, da so postali mehkejši in primerni za uživanje. V sodobnosti se trniči pogosto uporabljajo tudi kot riban sir za začinjanje nekaterih testeninskih in mesnih jedi.

Okrašeni darilni siri trniči z Velike in Male planine so brez dvoma ena od posebnosti pastirske dediščine in alp-ske kulture nasploh. Že etnolog Tone Cevc je opozoril, da bi »z nekaj dobre volje, razumevanja in iznajdljivosti mogli oživiti in poživiti vsaj del skoraj že pozabljenega izročila, če bi pospe-ševali izvirno spominkarstvo. Le-to pa bi moralo zajemati in črpati pobude iz zakladnice velikoplaninskega pastir-stva. [Cevc: 1993: 73]

Danes trniče po stari recepturi izdeluje Rezka Mali iz Godiča, ki znanje pre-daja svojim otrokom. V mladosti jo je postopka izdelave naučila Debevčeva Zefka, ki je bila tudi pastirica na Gojški planini, ki se nahaja v neposredni bliži-ni Male in Velike Planine.

Sir »trnič« z Velike in Male planine

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“Trnič” cheese from Velika and Mala planina

The trnič cheeses are a type of sea-soned cheeses from Velika and Mala planina. They are made from sour cheese and ornamented. They do not only have a nutritional symbol but a ritually symbolic meaning as well. Such cheeses are called “trnәč” by local inhabitants. Until today, the skill of making these cheeses has been preserved to a very limited extent.

Relatively little is known in reference with the origin and development of these types of cheeses. All those who have researched agree that we can speak about a relatively archaic form of appearance which does not only hide the question of the role and meaning of the relationships between the genders in so-called traditional society but it leads us to hypothetical deductions in relation to the aboriginal culture and antiquity.

These cheeses used to be made from skimmed sour milk . The latter was warmed a little so that more meagre cheese was obtained, i.e. cottage cheese. First the milk was strained, then salted and some cream added in order to give the cheese mixture adequate softness to enable shaping. Onion-shaped small loaves pointed towards the top were shaped by hand. In some cases tiny warty bumps were made on the surface of the loaves. Pairs of lumps of such cheeses were decorated with ornaments which were imprinted by means of relief-like carved wooden sticks or “writ-ings”. These loaves or chunks of cheese were the size of a man’s palm. After they have been shaped and ornamented they put them on a shelf above the hearth where they dried, slightly smoked and thus preserved. While the loaves were drying only beech firewood was used in the hearth. After approximately two weeks trniči were dry enough and they had shrunk by half. The number of the cheese loaves produced was always even, as shepherds gave them to their wives and girlfriends as a present and a token of fidelity and love; they also meant a promise of marriage. As some of the persons we have spoken to said, a pair of ornamented trniči is actu-

ally an image of a woman’s breasts: the shepherds thought that “a woman also has breasts in pairs”. Although many women and girls who were presented with the cheese kept the latter for a long time, several years even, the es-sence of its meaning was its usefulness for nutritional purposes. Not only girls and women were presented with these cheese but other locals as well. Sea-soned trniči were frequently soaked in hot or cold milk to make them become softer and suitable to eat. Nowadays these cheeses, trniči, are often used as grated cheese to flavour pasta and meat dishes.

The ornamented trniči to be given away from Velika and Mala planina are undoubtedly one of the specialities of the shepherd ship heritage and Alpine culture in general. The ethnologist Tone Cevc reminded us that “with some good will, understanding and ingenuity we could revive and make alive at least a part of the almost forgotten tradition if we promoted original souvenirs mak-ing. This should comprise and draw from the initiatives from the treasure-house of the Velika planina shepherd-ship. [Cevc: 1993: 73]

Nowadays trniči are made according to an old recipe by Rezka Mali from Godič who transfers her knowledge on to the children. When she way young she was taught the process of making trniči by Debevčeva Zefka who used to be a shepherdess on Gojška planina situated in the immediate vicinity of Velika and Mala planina.

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Znanje in prakse o naravi in svetuKnowledge and practices relating to nature and the world

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Na Dolah pri Litiji je še danes priso-tna že skoraj izginula stara obrt in spretnost – oglarstvo. Tradicijo ku-hanja oglja so pred več kot 100 leti v te kraje prenesli italijanski oglarji. Priprava kope in pridobivanje oglja na tradicionalni način je postopek, ki ga že vrsto let ohranjajo doma-čini, ki so zelo povezani z gozdom in življenjem ob njem. Na območju deluje okoli 25 oglarjev, ki letno skuhajo okoli 30 kop, kar znese med 150 in 200 ton kakovostnega oglja.

Tehniko kuhanja oglja in poogljeva-nja v pokončnih kopah so v te kraje zanesli Italijani v sredini 19. stoletja. Med drugo svetovno vojno je bilo oglarjenje prekinjeno, saj je bila večina prebivalstva izseljena v Nemčijo. Po vojni se je oglarjenje nadaljevalo še v večjem obsegu. Oglje so po vojni izva-žali predvsem v Italijo, med domačimi porabniki pa sta bila velika odjemalca ljubljanski Litostroj in Strojna tovarna Trbovlje. V zadnjem času se oglje ve-činoma uporablja za pripravo jedi na žaru, manjše količine pa tudi v kemični industriji, gumarstvu, pri spajkanju bakrene in pocinkane pločevine ter za proizvodnjo specialnega jekla v železarstvu. Kakovostno oglje upora-bljajo umetniki tudi za risanje, nekateri zdravniki pa tudi za lajšanje želodčnih težav in celo beljenje zob.

Izdelava oglarske kope je zahtevno opravilo, postopek pa je povezan s pripravo kopišča, pripravo lesa, zlaga-njem in pokrivanjem kope, kuhanjem ali oglenitvijo in na koncu razdiranjem kope. Oglar za celoten postopek porabi pri povprečno veliki kopi okoli 43 dni. Pri večjih kopah, ki dajejo do osem ton oglja, pa okrog 47 dni. Delo opravlja večinoma oglar sam z družino, le pri črnjenju si oglarji pomagajo med seboj. Skupino največkrat sestavljajo trije do štirje oglarji in povprečno ve-liko kopo v enem dnevu tudi razdrejo. Oglje se v enem dnevu oziroma čez noč ohladi in je naslednji dan pripra-vljeno za polnjenje v vreče. Priprava oglja za prodajo, od razdiranja kope do pakiranja, traja od tri do šest dni.

Na območju Dol danes kuha oglje še 12 oglarskih domačij, nekatere so pripravljene tudi sprejeti obiskovalce in jim predstaviti tradicijo oglarjenja. Oglarska domačija Brinovec ponuja prikaz oglarjenja, ponudbo oglja, spre-jem skupin in izobraževanje za mlade. Na kmetiji oglar z veseljem pove vse o oglarjenju in izdelavi kope ter ponudi oglarsko malico. Ob domačiji vodi Oglarska pot, ki pripelje tudi do oglar-ske domačije Medved, kjer ravno tako prikazujejo kuhanje oglja na tradicio-nalen način. Povezani oglarji na Dolah pri Litiji se danes predstavljajo pod znamko Oglarska dežela, ki je zaživela tako med domačini kot obiskovalci območja.

oglarska Dežela(Stane Kmetič, Dole pri Litiji)

Bom žago nabrusil pa sekat začel,bom travnike naše plevela otel,hoja, hoja, pa ti travca moja,najlepša dežela Oglarska je ta!

Zdaj kopa velika zložena stoji,le pridi ženička, da se zakadi,hoja, hoja, pa ti ženka moja,najlepša dežela Oglarska je ta!

Oglarjenje

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Charcoal production Even today Dole near Litija boasts the presence of an almost disap-peared old craft, i.e. charcoal pro-duction. The tradition of burning charcoal was brought to these plac-es by Italian charcoal burners over one hundred years ago. The prepa-ration of a clamp and producing charcoal in the traditional method is a procedure that has been pre-served by local charcoal burners over years; they are very close to the forests and life next to them. Twenty-five charcoal burners work in the area and they burn around 30 clamps, which amounts to 150 to 200 tons of quality charcoal.

The technique of charcoal burning and producing it in upright clamps was brought to these places by Ital-ian charcoal burners in the middle of the 19th century. During World War II charcoal production was discontinued since the majority of the population was deported to Germany. After World War II charcoal production picked up again. After the war, charcoal was exported mainly to Italy while the most important among national users were Litostroj Ljubljana and Strojna tovarna Trbovlje. Recently, charcoal has mostly been used for the preparation of grilled food and smaller quantities are required by the chemical industry, rubber produc-tion, in soldering copper and zinc sheet metal and for the production of special steel in the ironwork industry. Quality charcoal is used by artists for drawing, some doctors treat stomach disorders with it; charcoal is also used for whiten-ing teeth.

The preparation of a charcoal clamp is a demanding task, the procedure is connected with the preparation of the clamp area, wood, and it involves piling and covering the pile, burning or char-coaling and finally undoing the pile. A charcoal burner needs about 43 days for the entire procedure with an average charcoal pile. With larger piles which generate up to eight tons of charcoal he needs around 47 days. The work is done mostly by a charcoal burner and his family; it is only when backening that

charcoal burners help each other by monitoring the clamp in turns. A group is most frequently composed of three to four charcoal burners and they undo an average-sized clamp in one day. In one day, to wit, overnight, charcoal cools down and the next day it is ready to be bagged. The preparation of charcoal for selling, from undoing the clamp to packing requires three to six days.

In the area of Dole, today 12 charcoal farms burn charcoal, some of them wel-come visitors and present the tradition of charcoal production. The charcoal farm Brinovec offers a presentation of charcoal production, an assortment of charcoal, receives groups and educa-tional training for the young. The char-coal burner at the farm is glad to tell everything about charcoal production, preparation of a clamp and offers you a charcoal meal. There is Oglarska pot (Charcoal Way; translator’s note) along the farm which brings you to the char-coal farm Medved where at this mo-ment they are demonstrating burning of charcoal in the traditional manner. The interconnected charcoal burners at Dole near Litija appear today under the brand Oglarska dežela (Charcoal Land; translator’s note) which has rubbed off not only on the locals but on the visitors to the area as well.

charcoal lanD(Stane Kmetič, Dole near Litija)

I will sharpen my saw and start to fell,I will rid our grassland of weed,green grass of mine, God speed, Charcoal Land has no match!

Now a large clamp is set up,Come, wifey, it starts to smoke,You, wifey of mine, no joke,Charcoal Land has no match!

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Zeliščarstvo so prakse, znanje in veščine nabiranja, vzgajanja ter uporabe različnih rastlin in njihovih izvlečkov za zdravilne namene. Na območju Ivančne Gorice se je tudi na podlagi znanja in delovanja sti-škega samostana razvilo in ohrani-lo veliko tega znanja iz preteklosti vse do današnjih dni.

Tradicija sloni na praksi znanega patra Simona Ašiča (1906–1992), ki je svoje zeliščarsko znanje pridobival s študi-jem in dopolnjeval z lastnimi izkušnja-mi. Od leta 2000 v samostanu izde-lujejo izdelke po Ašičevih recepturah in jih prodajajo pod lastno blagovno znamko. Za to je zaslužen predvsem strokovnjak Jože Kukman, ki je nekoč sodeloval s patrom. Vpliv patra je bil močan tudi na lokalno prebivalstvo, ki se zaveda pomena rastlin za zdravilne namene. Veliko se jih je zato v prostem času usmerilo v tovrstno dejavnost, nekateri celo tako zelo, da se z dejav-nostjo ukvarjajo poklicno.

Na ekološki kmetiji Bioplavica v Za-gradcu živi in dela z družino Andrej Majes, ki izdeluje čajne mešanice Plavi-ca. Pridelujejo veliko zdravilnih rastlin, predvsem ročno in na način, kot so to delali naši dedki in babice. Andrej je med drugim priznani terapevt Mahari-ši ajurvede. Andreja je za delo navdušil oče Jože Majes, ki je veliko teoretskega znanja pridobil v samostanu Stična. Poleg tega je zasnoval zeliščarsko kmetijo Plavica v okolici Dolenjskih Toplic, na kateri raste okoli 450 vrst zdravilnih rastlin.

V Šentvidu pri Stični na svoji domačiji s permakulturnim vrtom ustvarja in v delavnicah predaja znanje Meta Ma-ček. Njeno vodilo delovanja je ohrani-tev narave in dediščine z biološko pri-delavo in predelavo zdravilnih rastlin in zelišč. Z rastlinami se ukvarja že od malega. Pravi, da »imajo nekateri talent za glasbo, ona pa za delo z rastlinami«. Za to sprva ni potrebovala izobraže-vanja, pozneje, ko se je odločila, da bo znanje predajala naprej, pa je morala svoje praktične izkušnje podkrepiti s teorijo. Opozori, da je v zeliščarstvu zelo tanka meja med zdravilnim učin-

kom in zastrupitvijo. Veliko rastlin ima na svojem vrtu, v naravi nabira samo tisto, kar je višek, saj moramo ohraniti naravo, kakršna je.

V okolici Ivančne Gorice prideluje in nabira zdravilna zelišča Otilija Grad Bar-le, in sicer v vasi Temenica. Posebnost njene kmetije je gozdni vrt po načelih permakulture. Ima veliko znanja o kmetovanju brez kemičnih sredstev. Skupaj zaseje in sadi rastline, ki se do-bro medsosedsko prenašajo in koristijo druga drugi. Tako rastline ne obolevajo in tudi škodljivcev je manj. Na ekološki tržnici v Ljubljani ponuja zeliščna žga-nja, posušena zelišča, mazila, zeliščni kis, vzglavnike z žitnimi luščinami …

Z zeliščarstvom se v občini Ivančna Gorica ukvarja tudi upokojena Jasna Zajc iz Zagradca, ki si je na svoji doma-čiji na dnu bližnje vrtače ustvarila njivo z zelenjavo in zelišči. Rastline pušča rasti v sožitju, plevela ne iztreblja in ne uporablja umetnih gnojil. Zdravilne rastline ima predvsem na obrobju vr-tače in med sadnim drevjem, veliko pa jih najde tudi v bližnjem gozdu. Poleg mešanic za čaje iz rastlin izdeluje tudi marmelade, namaze in zeliščne kruh-ke. Največ pridela in predela poprove mete, indijanske koprive ali zlate me-lise. Nad rastlinami jo je že v mladosti navdušil oče, ko jo je vodil na izlete po naravi in ji kazal zdravilne rože.

Znanje in izkušnje ljudi, ki se ukvarjajo z zelišči, se prepletajo z izročilom pred-nikov, dediščino patra Simona Ašiča in lastnimi izkušnjami na tem področju. Ohranjeno vedenje z delavnicami odlično prenašajo na starejšo in mlajšo generacijo. Kot dobro prakso lahko poudarimo tudi aktivno povezovanje zeliščarstva v okviru turizma in pod-jetništva.

Zeliščarstvo

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Herbalism Herbalism is the practice, knowledge and skill of harvesting, cultivating and using various plants and their extracts for medicinal purposes. In the area of Ivančna Gorica, vast knowledge from the past has been developed and preserved to this day on the basis of the knowledge and operation of the Cistercian monastery located in the village of Stična.

The tradition is based on the practices of the renowned friar Simon Ašič (1906–1992) who obtained his herbalism-related knowl-edge by studying and supplemented it by his own experience. Since 2000, products per friar Ašič’s formulas have been pro-duced in the monastery and sold under their own brand. It is to the expert Jože Kukman, who used to work with friar Ašič, that the merit for this can be ascribed. The influence of the friar was strong over the local inhabitants who were aware of the importance of the plants for medicinal purposes. Consequently, many of them have focused on this activity in their free time, some of them even so seriously that they perform the activity professionally.

Andrej Majes works and lives with his fam-ily at the ecological farm called Bioplavica in Zagradec; he makes herbal tea mixtures under the brand Plavica (cornflower; trans-lator’s note). They grow many medicinal herbs; the work is mainly done by hand and in a manner that was known by our grand-mothers and grand-fathers. Among other things Andrej is a renowned therapist of Maharishi ayurveda. Andrej was made enthusiastic for the work by his father Jože Majes who had obtained a lot of theoreti-cal knowledge in the Stična Monastery. In addition, he designed the herb farm Plavica with about 450 species of medicinal plants in the surroundings of Dolenjske Toplice.

In Šentvid near Stična, Meta Maček creates and transfers knowledge in the workshops on her home farm with a permacul-tural garden. The motto of her operation is the preservation of nature and heritage through biological cultivation and process-ing of medicinal plants and herbs. She has been involved plants since she was a child. She says that “some people have a talent for music, I have a talent for working with plants”. At the beginning she did not need

training, but later, when she decided she was going to transfer her knowledge, she had to reinforce her practical experience with theory. She calls attention to the fact that in herbalism there is a very thin line between a medicinal effect and poisoning. She has many plants in her garden, she only harvests in nature what is surplus since we have to preserve nature the way it is.

In the surroundings of Ivančna Gorica, Otilija Grad Barle cultivates and harvests medicinal herbs in the village of Temenica. The speciality of her farm is a forest garden according to the principles of permacul-ture. She has vast knowledge on farming without chemical agents. She sows and seeds together the plants which tolerate each other and are useful to each other. Thus the plants do not get affected by diseases and also pests are fewer. In the ecological market in Ljubljana she offers strong herbal liquors, dried herbs, oint-ments, herbal vinegar, pillows filled with grain husks…

In the municipality of Ivančna Gorica, Jasna Zajc from Zagradec, retired, and is engaged in herb-related activities on her farm; lo-cated at the bottom of a nearby sinkhole she has created a field with vegetables and herbs. She lets her plants in symbiosis, she neither kills weeds nor uses chemical fertilisers. She keeps her medicinal plants on the fringes of the sinkhole and among fruit trees; she harvests many of them in the nearby forest. In addition to the mixtures of teas she makes marmalades, spreads and herbal rolls. Her main crops are peppermint (Mentha x piperita), lemon balm (Melissa officinalis ) and scarlet monarda (Monarda dydima). When she was a child her father made her enthusiastic about plants: he took her on trips in the countryside and showed her medicinal flowers.

The knowledge and experience of the people who are engaged in herbs are inter-twined with the tradition of their ancestors, the heritage of fair Simon Ašič and his own experience in this field. The knowledge preserved through workshops is superbly transferred to the older and the younger generation. Linking actively herbalism within the framework of tourism and en-trepreneurship as a good practice deserves to be emphasized.

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Tradicionalne obrtne in gospodarske veščineTraditional craftsmanship and economic skills

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Pečarstvo je stara obrt, ki se ukvar-ja z izdelovanjem pečnic, zidanjem in izdelovanjem peči in štedilnikov ter oblaganjem sten s keramičnimi ploščicami. V Lukovici in okoliških krajih pečarska obrt živi že dese-tletja. Franc Avbelj se od otroštva ukvarja s pečarstvom, od leta 1984 ima obrt tudi registrirano. Pred tem se je s pečarstvom ukvarjal njegov oče.

Delavnica družine Avbelj ima že več kot 60-letno tradicijo. Franc je leta 2005 svoje znanje potrdil z opravlje-nim mojstrskim izpitom, že pred tem pa pridobil certifikat Sekcije za do-mačo in umetnostno obrt pri Obrtni zbornici Slovenije za izdelke, ki jih roč-no izdeluje v svoji delavnici. V podjetju je proizvodnja pečnic za krušne peči in kamine stalnica že od vsega začetka delovanja delavnice, po letu 1980 pa podjetje vse bolj slovi po svojem unikatnem izdelku, ročnem opečnem tlakovcu. Medtem ko večina podjetij ročno delo opušča, Avbljevi skrbijo prav za njegovo ohranjanje, saj so prepričani, da strojno izdelani predmet nima toliko kakovosti in vsebinskih sporočil kot tisti, ki je izdelan ročno.

Vsi njihovi izdelki so od nekdaj narejeni iz naravnih materialov, saj poudarjajo tradicionalnost stare pečarije. Osnova za izdelavo pečnic (kahel) je model iz mavca, ta pa je odlit po leseni rezbarski matrici. V model pečar vmesi sivo gli-no, da se odtisnejo vsi detajli in značil-na velikost. Nato surovo pečnico izloči od modela in jo postavi na polico, da se povsem posuši. Oblikovana mehka glina se dva dni suši, da postane toliko suha in trda, da jo lahko primejo v roke. Ne sme se kriviti. Nato polizde-lek obdelajo na kamne, obrežejo in naredijo luknje v opore pečnice, zato da se pozneje v peči veže. Pečnica se nato počasi trdi okoli mesec dni. Šele nato je primerna za pečenje v pečarski peči in krašenje z glazurnimi premazi. Pred žganjem dodajo še zeleno-rjavo ali natur glazuro. Pečnica z glazuro se žge v peči, kjer so temperature do 900 stopinj Celzija. Kakovostne pečnice pe-čar odbere za prodajo, slabše pa izloči

in zdrobi za druge namene. Celoten postopek traja tri mesece in v tem času pečar vsak izdelek vzame v roke okoli 50-krat.

Material za izdelavo pečnic je siva glina, ki jo kopljejo v komendskih gmajnah. Glino je treba skopati vsaj dve leti pred uporabo, da čez zimo premrzne, saj je bolj krhka in gnetlji-va ter boljše kakovosti. Glino nato s strojem pregnetejo, da je povsem ho-mogena. Če je preveč mastna, dodajo malo kremenčevega peska, ki poveča trdnost pečnic.

Avbljevi večino svojih izdelkov dela-jo po naročilu, saj imajo ljudje zelo različne želje. Izdelujejo tudi klasične kmečke peči in krušne peči. Na terenu sicer že vrsto let niso postavljali peči in polagali tlakovce, raje priporočijo priznane pečarje postavljavce in pola-galce opečnega materiala.

Franc Avbelj ima naslednika, sina, ki se obrti že uči in mu v delavnici marljivo pomaga. Sicer pa ima trenutno dva redno zaposlena iz lokalnega obmo-čja. Zaveda se, da je njihovo znanje in ročno delo specifično, zato veščin ne skriva, ampak jih z veseljem deli. Iz srednje gradbene, geodetske in ekonomske šole Ljubljana sprejema in izobražuje vajence. Poleg tega se nekajkrat na leto udeleži tematskih obrtnih sejmov, kjer predstavlja svoje delo in poklic, čeprav je ta oblika pro-mocije precej draga.

Franc Avbelj meni, da je pečarsko delo lep in zahteven poklic, zato je treba delavce spoštovati, predvsem njihovo opravljeno kakovostno delo. Ljudje, ki se ukvarjajo z obrtjo in si z njo služijo kruh, morajo biti precej potrpežljivi, široki, razgledani, obenem pa tudi marljivi.

Pečarstvo

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Stove-making trade The stove-making trade is an old craft which deals with manufacturing glazed tiles, building and manufac-turing stoves and ovens and lining of walls with ceramic tiles. In Lukovica and the surrounding places the stove-making trade has been alive for dec-ades. Franc Avbelj has been engaged in stove-making since his childhood and has been a registered craftsman since 1984. Before that his father was in the stove-making trade as well.

The workshop of the Avbelj family boasts an over sixty-year tradition. In 2005, Franc had his knowledge confirmed by passing a master craftsman exam and even before that he received a certificate from the Home Crafts and Applied Art Section with the Chamber of Craft of Slovenia for the articles he makes by hand in his workshop. From the very beginning of the workshop there has been a constant production of glazed tiles for glazed tile stoves and fire-places; moreover, since 1980 the business has been renowned for its unique article, i.e. manually-fired pavers. While most businesses are giving manual work up the Avbelj’s see to it that it is preserved. They are firmly convinced that a mechanically manufactured product does not have the quality and messages of substance as a hand made product.

All their products have always been made from natural materials since they empha-size the traditionality of an old stove-mak-ing business. The basis for the production of glazed tiles (kahel) is a mould made of plaster; it is cast using a wooden engraving matrix. The stove-maker kneads grey clay into the mould so that all the details and the characteristic size are impressed. Then an unfired tile is taken from the mould and placed on a shelf until it dries completely. The formed soft clay dries for two days so that it becomes so dry and hard that it can be held in hands. It must not bend. Then the semi-product is treated by means of stones, cuts and holes are made into the supports of the tile; this is necessary so that later on it binds in the oven. The glazed tile then needs about one month to harden slowly. Only then it becomes suitable for firing in the stove-makers oven and for being ornamented by means of glazing

coatings. Before it is fired, the green-broken or natural glazing is added. The tile with glazing is fired in the oven where the tem-peratures rise up to 900 degrees Celsius. Quality glazed tiles are then selected while those of inferior quality are eliminated and crushed for other purposes. The entire pro-cedure takes three months and during this time the stove-maker takes each product in his hands about fifty times.

The material for the production of glazed tiles is grey clay which is excavated in the commons of Komenda. The clay needs to be excavated at least two years prior to it being used so it freezes over during the win-ter, which makes it more fragile and knead-able and at the same time improves its quality. The clay is then kneaded by means of a machine so that it becomes absolutely homogeneous. If it is too greasy some silica sand is added as it makes glazed tiles firmer.

The Avbelj’s make most of their products to order as people’s wishes are left to their imagination. They also make classic farm and brick ovens. They have not built a stove or laid pavers in the field for several years now, they prefer recommending re-nowned stove-makers who build from brick material and lay pavers.

Franc Avbelj has a successor, a son who is already getting familiar with the craft and helps his father in the workshop. Otherwise Franc Avbelj employs two local persons on a permanent basis. He is well aware of the fact that their knowledge and handicraft are specific. Consequently, he does not hide the skills; moreover, he enjoys sharing them with others. He receives and trains apprentices from the Secondary School for Construction, Geodesy and Economy Ljubljana. Moreover, several times a year he participates in the-matic craftsmanship fairs where he presents his work and profession although their form of promotion is rather expensive.

Franc Avbelj thinks that the stove-making trade is beautiful, the respective work is a nice and demanding profession, which is why workers must be respected, particu-larly the quality work they have performed. People who are engaged in a craft and earn their living in this way must be very patient, of wide horizons, open-minded and industrious.

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Pletarstvo sodi med najstarejše obrti na Slovenskem. Pletarsko znanje se je širilo iz roda v rod, od 19. stoletja tudi s pletarskimi tečaji in šolami. Danes je pletarstvo med najbolje ohranjenimi in razširjenimi domačimi obrtmi, vendar deluje zgolj na samouški in lokalni ravni. V velikonočnem času so pletarski iz-delki, še posebej košare, zelo zaže-leni. Med pletilci košar in cekarjev izstopa Tončka Jemec iz Petelinj pri Dolskem, ki še ohranja starodavno pletarsko tradicijo.

Jemčeva Tončka ali po domače Jerši-nova se je rodila v letu 1931 v vasi Pete-linje, kjer živi še danes. Daleč naokoli jo poznajo po kakovostnih pletarskih iz-delkih. Plete iz vrbe, česar se je naučila od mame in očeta. Njena mama se je pletarskih veščin naučila od očeta, njen oče pa od bratov, ki so znanje osvojili v pletarski šoli v Dolskem, ustanovljeni okoli leta 1900. Tončka se spominja, da so bili nekoč najbolj iskani koši za na hrbet, saj je bilo »treba vse na roke požet in nakosit pa domov znest«. Njen ded je pletel jerbase, »tiste, ki so jih včasih v žegen nosili na glavi, ali pa za mleko, ko so v vozičkih v Ljubljano ženske vozile«. Pletene košare iz vrbe so potrebovali za vsakdanja opravila.

Njeni izdelki so iz naravnih materialov. Nekaj šibja in viter Tončka nareže doma, nekaj pa ji jih prinesejo sosedi. Vrba je idealno gradivo, še posebej, če se poreže vsako leto, saj je za ple-tenje najboljša enoletna palica, ki je brez stranskih izrastkov. Vrba se reže spomladi, nato jo pletar olupi, posuši in sortira po debelini. Že poleti ali na jesen lahko debele palice cepi na vitre, na tri ali štiri dele. V ta namen Tončka uporablja stroj na ročni pogon. Do izdelave viter delo poteka »vse na suho«, za samo pletenje pa je treba gradivo namočiti, da postane upoglji-vo. Tončka plete le pozimi. Takrat se usede na stol, vitre in palice da poleg na tla in začne popletati. Z eno samo košaro je veliko dela. V zadnjem letu je naredila precej košaric za šivalni pribor. Plete predvsem zase, včasih tudi po naročilu. Najraje pa dela košarice za

veliko noč, teh ji vedno zmanjka. Ljudje želijo košare tudi za razna poročna in jubilejna darila. Pri svojem delu je zelo inovativna, saj ji marsikatera želja pred-stavlja pravi izziv za novo ustvarjanje, nemalokrat pa se ji nenavadna ideja porodi kar sama. Tradicionalno pletar-stvo tako ne le ohranja, pač pa ga tudi razvija in mu dodaja novosti.

Od leta 1987 do 1994 je Tončka v osnovni šoli Dolsko vodila pletarski krožek. Zanj je bilo veliko zanimanja, saj se je vsakič zbralo med 20 in 40 učencev. Izdelovali so košarice, ki so jih potem tudi razstavili. Otroci so se redko lotili pletenja tudi doma, saj niso imeli vseh pripomočkov (stroja za vitre, vrbovih palic itd.), ki so jih sicer dobili pri krožku. Leta 1990 je Tončka prejela priznanje Obrtne zbornice Slovenje in pridobila naziv mojstrice domače obr-ti, nato pa leta 2000 še priznanje Zlata vitica. Vsekakor so na Tončko in njene izdelke ponosi tudi domačini, zato je za svoje delo prejela naziv častne ob-čanke občine Dol pri Ljubljani.

Tončka pravi, »da v rokodelskem pokli-cu ni zaslužka, s tega vidika se ne spla-ča«. Zadnjih petdeset let in več so bile v Sloveniji obrti zanemarjene. Sedaj se obrti sicer nekoliko oživljajo, ljudje počasi pridobivajo več spoštovanja do ročnih, kakovostnih in tradicionalnih izdelkov, tako da imajo tudi obrtniki nekoliko več spodbude za delo.

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Plaiting Plaiting belongs among the oldest crafts in Slovenia. Plaiting-related knowledge spread from genera-tion to generation and since the 19th century this has been helped by plaiting courses and schools. Today plaiting is among the best preserved and wide-spread home crafts; nevertheless, it functions exclusively at the self-taught and local levels. During the Easter holi-days, plaiting products, in particu-lar wicker baskets are most desired. Tončka Jemec from Petelinje near Dolsko plaits baskets and narrow, two-handled bags, usually of straw, and is famous among those who still preserve the ancient plaiting tradition.

Tončka Jemec or, informally, Jeršinova Tončka, was born in 1931 in the village of Petelinje where she has lived until this day. She is known far and wide for her quality basketry. She plaits from wil-low, which she learnt from her mother and father. Her mother had learnt bas-ketry skills from her father and the latter from his brothers who have gained the knowledge in the basketry school in Dolsko, established around 1900. Tončka remembers that in times past the most demanded products were the baskets people carried on their backs since “everything had to be reaped and cut by hand and then carried home”. Her grand-father made baskets, “such baskets that used to be carried on the head or for milk when women trans-ported it to Ljubljana on wooden carts”. Willow-plaited baskets were needed for everyday jobs.

Her products are made from natural materials. Tončka cuts some material and thin strips of wood at home, some are brought by her neighbours. Willow is an ideal material, in particular if it is cut every year: one year old rods are the best as it is without knots. Willow is cut in spring, then it is peeled, dried and sorted as to its thickness. Already in summer or autumn thick rods can be cleft into vitre, in three or four parts. Tončka uses a hand-operated machine to do this. Until the preparation of thin strips of wood, to

wit, vitre, the work is done “in dry”; how-ever, plaiting required the material to be wet so that it became pliable. Tončka plaits in winter only. She sits down in a chair, places vitre and rods on the floor and starts plaiting. A single basket requires plenty of work. Last year she made a lot of small baskets for a sew-ing kit. She keeps her baskets for herself, sometimes she makes one or two per order. Her favourites are the baskets for Easter, She is very innovative in her work since there are always those special wishes which she considers a challenge to her creativity, quite often she has an idea herself. Thus not only she preserves traditional plaiting but she develops it and fits it with new details as well.

From 1987 to 1994 Tončka was a mentor of plaiting as an extracurricular activity at the elementary school of Dolsko. The interest was quite substantial: every time 20 to 40 students gathered. They made baskets which were later exhibited. Children took up plaiting but on rare occasions, not even at home as they did not have adequate tools at home (machines for thin strips of wood, willow rods etc.): children got those tools at the extracurricular activity. In 1990 Tončka was awarded a top recognition by the Chamber of Craft of Slovenia and was given the title of master craftswoman of handicraft. In 2000, she was awarded another recognition called gold tendril. Locals too, are proud of Tončka and her products. This is why she was made an honorary citizen of the municipality of Dol near Ljubljana.

Tončka says “that there is no profit in the craftsman’s profession, it is not worth-while from this point of view”. For the last 50 years and more, crafts in Slovenia have been neglected. Nowadays the crafts are slowly reviving, people begin to respect hand made, quality and traditional products more: thus, crafts-men are encouraged in their vocational endeavours.

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Pletenje slamnatih kit je osnova za slamnikarsko obrt, ki se je v zadnjih desetletjih tudi na Domžalskem skorajda povsem porazgubila. Slamniki so bili nekoč cenjena po-krivala različnih družbenih slojev in posebej poklicev, kakršen je na primer poklic solinarja v naših obmorskih solinah. 300-letna sla-mnikarska tradicija je predstavlje-na v edinstvenem Slamnikarskem muzeju v Domžalah, kjer je po do-govoru možen tudi prikaz pletenja kit in šivanja slamnikov.

Pletenje slamnatih kit se je kot značilna domača obrt začela razvijati v 18. sto-letju na območju Ihana, v 19. stoletju pa se je razširila še v okoliške kraje na območju Domžal, Lukovice, Mengša, Kamnika, Dola pri Ljubljani, Moravč in Trzina. V hribovskih predelih so pretežno pletli kite, v ravninskem delu so šivali slamnike, v tovarnah pa so jih dokončno oblikovali in poslali na trg. Ker so bili končni izdelki zelo odvisni od polizdelkov, je bilo nujno treba najprej ločiti pletenje kit ter šivanje in oblikovanje slamnikov. Danes se s tovr-stno dejavnostjo ukvarjajo le nekatera društva in posamezniki, vsekakor pa pletenje kit iz slame najbolj povezuje članice Kulturno-umetniškega društva Fran Maselj Podlimbarski iz Krašnje pri Lukovici.

Slamo za kite so nekoč odbirali po ročni žetvi žit. Iz snopov so potegnili najlepšo slamo, ji obtolkli pšenična zrna in zvezali pušeljne, ki so jih nato posušili na soncu. Paziti je bilo treba, da se slama ni namakala na dežju, da je ostala čista, brez pik. Suhi slami se je nato porezalo klasje in ponavadi odložilo na podstrešje, vse do zime. V zimskem času, ko ni bilo dela na polju, so predvsem ženske pletle v krogu družine, s sosedami, včasih pa so se zbrale pri eni doma in skupaj ustvarjale slamnate kite.

Pred pletenjem so slamo pripravili za pletenje tako, da so jo otrebili, jo odre-zali pri prvem kolencu in jo razporedili po debelini. Preden so začeli plesti, so slamo namočili. Pletenje ni prinašalo velikega zaslužka. Kite, spletene iz naj-

tanjših slamic, so bile najdražje. Največ kit je bilo spletenih iz sedmih slamic, ker so iz teh izdelovali slamnike in ce-karje. Kite so pletli še z več slamicami, tudi enaindvajsetimi. Spleteno kito so navijali na deščico, ki so ji rekli komo-lec. Ko je bila kita dolga šestintrideset komolcev ali osemnajst metrov, so jo sneli s komolca in jo povezali. Vsak te-den je prišel ponje kitar in jih odnesel v slamnikarske tovarne. Za en slamnik so potrebovali eno kito, za večje tudi več.

Leta 1985 so v Krašnji pri Lukovici preko Kulturno-umetniškega društva Fran Maselj Podlimbarski na pobudo učiteljice Vere Beguš ponovno oživili pletenje kit. S tem so želeli prebuditi zanimanje za nekdaj zelo razvito hišno obrt in ljudi privabiti v društveno življe-nje. Danes je pletenje v Krašnji znova zelo priljubljeno, saj se veliko otrok na-uči pletenja v tamkajšnji osnovni šoli. Člani društva slame ne kupujejo, am-pak jo pridobijo po starem postopku, z ročnim žetjem na okoliških njivah. V društvu plete več kakor dvajset žensk, šestnajst od njih že vrsto let predstavlja pletenje kit iz pšenične slame tudi na različnih prireditvah in sejmih po Slo-veniji. Pogosto se jim pridružijo otroci, ki so že dobro osvojili novo veščino. Društvenih prostorov sicer nimajo, vsi se učijo v vaški osnovni šoli. Nastajajo kite, takšne kot pred leti, ki jih nato odnesejo v Domžale, k upokojeni slamnikarici Joži Košak, da izpod nje-nih spretnih prstov nastanejo cekarji, košarice in slamniki.

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Plaiting straw braids Plaiting straw braids is the basis for the straw-related craft which has almost disappeared in the area of Domžale over the last ten years. Straw hats used to be highly ap-preciated by various social classes and particularly professions such as for example that of a salt-worker in our saltpans at the seaside. The 300 year-old straw hat tradition is presented in the unique Straw Hat Museum in Domžale, where a demonstration of plaiting and sew-ing of straw hats is possible by prior arrangement.

Plaiting straw braids started to develop as a characteristic home craft in the 18th century in the area of Ihan, and in the 19th century it spread to the surround-ing places in the areas of Domžale, Lukovica, Mengeš, Kamnik, Dol near Ljubljana, Moravče and Trzin. In the hilly areas braid plaiting dominated, while on the plains straw hats were sewn and in the factories they were finalised and sent to the market. Since the final products depended considerably on the semi-products it was necessary to first separate braid plaiting from sewing and shaping of straw hats. Today only some societies and some individuals are involved in this activity; plaiting straw braids connects most closely the female members of the Cultural and Arts Society Fran Maselj Podlimbarski from Krašnja near Lukovica.

The straw for braids used to be selected after the crop had been hand-reaped. The best of straw was pulled out of the sheaves, then threshed to separate the straw from the grains and sheaved pušeljne (i.e. sheaves; translator’ note) which they then put in the sun to dry. They had to be careful as the straw must not get wet because of rain otherwise spots would appear on it. After the straw had dried the ears were cut off, it was stored in the attic where it remained until winter. In winter when there was no field work to do mainly women plaited surrounded by their families, with neighbours and sometimes one of them hosted the others and together they created straw braids.

Before plaiting was begun, the straw was prepared for plaiting in a certain manner. It was cleaned, i.e. freed of any impurities, cut at the first kolenec (at the first thickened part of the hollow stalk; translator’s note) and distributed according to its thickness. Before they started to plait, the straw was put into water. Plaiting did not bring a lot of money. The braids plaited from the thin-nest straws were the most expensive. Most braids were made of seven straws as these braids were use to make straw hats and narrow, two-handled bags. Braids were also of more straws, even as many as twenty-one. The plaited braid was coiled around a small board which was called a komolec (unit of length – 44cm; translator’s note). When a braid was thirty-six komolci or eight-een metres long it was taken off the komolec and tied. Every week a kitar (a braidman; translator’s note) came to take them to the factories where straw hats were made. One braid was needed for a straw hat, for larger ones more braids were used.

In 1985 a teacher, Vera Beguš, gave the initiative to revive the craft of plaiting braids. This was done with the as-sistance of the Cultural and Arts Soci-ety Fran Maselj Podlimbarski. Thus they wanted to raise the interest for a home craft which used to be highly devel-oped and entice people to enjoy social life more. Today plaiting is again very popular in Krašnja: many children learn the craft at the local elementary school. The members of the Society do not buy the straw, they obtain it according to the method, i.e. by hand-reaping in the nearby fields. More than 20 women in the Society plait, sixteen of them have been demonstrating their craft at various events and fairs throughout Slovenia. Children who have already learnt the skill well often join them. The Society does not have premises of their own, they all learn in the village elemen-tary school. Braids are made, similar to those of so many years ago; which are then taken to Domžale to the retired Joža Košak: her skilful fingers master the craft of making baskets, narrow, two-handled bags and straw hats.

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Rezbarjenje lesenih jaslic je že dobro stoletje ena od značilnosti Mengša in bližnje okolice. Uvelja-vilo se je ob koncu 19. stoletja in se kaj kmalu razvilo v donosno roko-delsko dejavnost, ki so se je oprijeli številni domači obrtniki. Sprva so za poskusne figure uporabljali stare modele iz mavca in v tem gradivu ustvarjali kar nekaj let. Sča-soma so se rezbarji preizkusili tudi v lesu. K prepoznavanju mengeških jaslic in rezbarjev je izdatno pripo-mogla prva razstava jaslic po drugi svetovni vojni, ki jo je leta 1972 v Mengšu postavil takratni mengeški župnik, Štefan Babič.

Ponovno je bila v Mengšu pripravlje-na razstava jaslic leta 1995, ko so po prizadevanjih društev, aktivnih posa-meznikov in nekaterih strokovnjakov zopet opozorili na imenitno rezbarsko veščino. Takrat je na razstavi z izdelki sodelovalo 24 rezbarjev, med njimi tudi zelo dejavna Miha Skok in Milan Kosec, ki danes edina v kraju še ohra-njata rezbarjenje lesenih jaslic.

Milan Kosec (roj. 1936) si skupaj z ženo Rozi (roj. 1937) že vrsto let zapolnjuje prosti čas z rezbarjenjem lesenih jaslic. V mladosti ga je navdušil stric, ki se je takrat ukvarjal z rezbarjenjem. Milan je s svojimi štirinajstimi leti začel po pouku zahajati v stričevo delavnico, kjer so se družili in ustvarjali mengeški mojstri jaslic. Opazoval jih je pri delu in kmalu poizkusil tudi sam, najprej z na-vadnim kuhinjskim nožkom. Od takrat je ves svoj čas posvečal rezbarjenju, še posebej po upokojitvi. Kmalu se mu je pri delu pridružila tudi žena Rozi. Milan je povedal, da ji je nekega dne dal kos lesa in ji rekel: »Poizkusi tudi sama, da ne boš samo gledala in komentirala!« Tako je počasi nastala tudi njena prva izrezljana ovčka.

Osnovni material za izdelavo lesenih jaslic je lipov les. Ta je najmehkejši, prožen in zato najprimernejši za rez-barjenje. Milan les kupi pri domačinih, ki imajo drevesa v okoliških gozdovih. Za samo rezljanje potrebuje tračno žago, dleta, primež, kladivo in rezbar-ski nožek. Milan z ženo ustvarja kar v

kuhinji za mizo, kjer si je po svoje uredil umetniški kotiček. Jaslice izdeluje vse leto in jim nameni skoraj ves prosti čas. Rad dela natančno in kakovostno, vendar je čas izdelave figurice odvisen od zahtevnosti lika: ovčice je mogoče izrezljati hitreje kot figuro pastirčka, ki ga postopoma izdeluje tudi po me-sec dni. Po končanem rezbarjenju je figurico treba zaščititi še s premazom. Nekoč je bil zelo priljubljen čebelji vo-sek, vendar se je nanj zelo rad prijemal prah, zato danes uporablja predvsem vodotopen mat lak. Ker izdelava jaslic zahteva veliko dela in časa, jih Milan ne izdeluje za trg, temveč predvsem zase, za družino in ožje prijatelje. Jaslice je pred leti pogosto razstavljal na sejmih in razstavah po vsej Sloveniji, danes pa gostuje le še na sejmih v okoliških krajih.

Milan Kosec je že več kot deset let aktiven član Turističnega društva Kanja Trzin, kjer imajo posebno sekcijo za rezbarje. Društvo organizira tudi delav-nice za rezbarjenje, na katerih je Milan rezbarskih spretnosti v lesu naučil že nekaj ljudi. Ko je v letu 2010 pridobil certifikat o nacionalni poklicni kvalifi-kaciji, je tudi uradno postal rezbar. Za pridobitev naziva poklicni rezbar je treba poleg teorije znati izdelati tudi lesorez, plitke in globoke reliefe in skulpture.

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Carving of wooden christmas cribs

For a century carving of Christmas cribs has been one of the charac-teristics of Mengeš and its nearby surroundings. It was highly ap-preciated in the 19th century and soon developed into a profitable handicraft activity which was taken up by many a craftsman. At first, trila figurines were made according to the old models made from plaster and worked with this material for several years. Eventually the carvers tried to work with wood. The first exhibition of Christmas cribs after World War II contributed consider-ably to the identification of the cribs from Mengeš and of the carvers. It was held in 1972 in Mengeš and was put in place by the parish priest Štefan Babič.

Another exhibition of Christmas cribs was organized in Mengeš in 1995 when the endeavours of the societies, active individuals and some experts called the attention again to the remarkable carving skill. Twenty-four carvers took part in that exhibition, among which very industrious Miha Skok and Milan Kosec who today are the only persons in Mengeš preserving the skill and craft of carving Christmas cribs.

Milan Kosec, born in 1936, and his wife Rozi, born in 1937, have been spend-ing their free time carving Christmas wooden cribs. In his childhood Milan was encouraged by his uncle who was then an active carver. When Milan was fourteen he started going to his uncle’s workshop after school. The masters of the craft of carving cribs socialised and created there. He watched them at work and soon tried himself, at first with a kitchen knife. Since then he has been spending all his time carving, even more so after he retired. Before too long his wife Rozi joined him. Milan told us that one day he had given her a chunk of wood and said to her: “Try it yourself so that you will not just watch and com-ment!” This is how her first carved sheep slowly came into being.

The basic material for making wooden cribs is the wood of a linden tree. It is the softest wood there is, flexible and

consequently suitable for carving. Milan buys wood from local people who have trees in the surrounding forests. To carve they need: a bandsaw, chisels, a vice, a hammer and a carving knife. Milan and his wife work in their kitchen at the table where he has organized his artistic work place. He carves cribs all the year around and devotes all his free time to them. He likes to be precise in his work, he loves quality; yet, the time required for one figurine depends on how demanding the figurine is. Sheep can be carved much faster than a figu-rine of a shepherd which takes him up to a month to carve. After the figurine has been carved, Milan has to apply a coating on it. Bee wax used to be very popular but dust adheres to it too much: this is why today mainly water-soluble opaque varnish is used. Since it takes a lot of time to carve the cribs, Milan does not make them for the market but mainly for himself, his family and close friends. Years ago he exhibited his cribs quite often at fairs and events through-out Slovenia. Today he only goes to the fairs in the surrounding villages to exhibit his cribs.

For over ten years Milan Kosec has been an active member of the Tourist Society called Kanja Trzin which has a special carving section. The Society organ-izes carving workshops where Milan has taught his carving skills to quite a few. When he obtained the certificate on the national vocational qualification he officially became a carver. If one wants to get the title of a professional carver, theory alone does not suffice. One has to make a woodcut, shallow and deep reliefs and sculptures.

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Lesena strešna kritina je bila na Slo-venskem skupaj s slamnato kritino splošno razširjena vsaj do srede 20. stoletja, nato pa je njen obseg začel upadati zaradi uveljavljanja indu-strijsko izdelanih kritin. Najpogo-steje so bile s klanimi skodlami ali žaganimi deskami prekrite stavbe v višje ležečih hribovskih območjih, znani pa so primeri kritja z lesom v nekaterih nižinskih mestih. Da-nes je lesene kritine najpogosteje opaziti ponekod na Koroškem in Gorenjskem, na nekaterih cerkve-nih strehah po Sloveniji, predvsem pa na pastirskih kočah in turističnih stavbah na Veliki planini.

Na območju Kamniške Bistrice ohranja alpsko skodlarsko in krovsko dedišči-no Bojan Koželj iz Stahovice, ki se s skodlarstvom ukvarja od leta 1987, ko je uradno registriral obrt. Danes so v podjetju trije zaposleni, poleti, ko je veliko dela, na pomoč priskoči še nekaj ljudi. Veščine in znanje je Bojan prevzel od očeta in deda, danes mu poma-gajo njegovi otroci. Dokazi njegove usposobljenosti, znanja in veščine obdelovanja lesa so številni strokovno obnovljeni kulturni spomeniki po vsej Sloveniji.

Postopek izdelave skodel se začne poz- no jeseni, ko se po gozdovih Slovenije v senčnih legah na višini nad 800 m išče macesnov in smrekov »resonanč-ni« les. Resonančni pomeni, da ima les ravne in goste letnice, ki so eden od pokazateljev kakovosti. Les mora biti kar se da raven in brez grč. Izbrana drevesa se potem posekajo okoli de-cembra (t. i. stari mesec), ko drevesa ni-majo v sebi sokov. Po prvem zapadlem snegu se hlodovina spravi v dolino, da ostane nepoškodovana. Hlodi se sveže razrežejo na poljubno dolge kose, ki se razcepijo okvirno na osem delov ali krhljev. Sredina oziroma srce se od-strani, ker ta del lesa ni dober. Nato se odstrani še lubje in krhlji so pripravljeni na ročno obdelavo – cepljenje skodel. Za cepljene deščice poznamo več krajevnih imen: šinkl (Gorenjska), šikl (Štajerska), šinktl (Koroška), šindra (Not- ranjska in Kočevsko), bolj knjižno pa

je skodla. Debelina skodel je okvirno do 14 milimetrov, širina pa je različna, od 10 do 17 cm. Skodle so lahko tudi različno dolge, kar je odvisno od želja naročnikov in predvsem od tradicije kritja v krajih, kamor so namenjene Koželjeve skodle. Nacepljene skodle se takoj povežejo v snope z žico, zložijo vodoravno in primerno obtežijo ter na zraku pustijo sušiti vsaj eno leto. Za vgraditev so primerne od spomladi do pozne jeseni, ko se strehe prekrivajo s skodlami. Bojan uporablja dva načina kritja, dvoslojno in trislojno prekrivanje, kar pa je odvisno od želja naročnikov oziroma njihovega gmotnega položa-ja, saj kritje z lesom sodi med najdražje prekrivanje streh.

Za izdelavo skodel so potrebna raz-lična orodja: sekira šinklarca, sekira za izločanje sredine, različne sekire za ce-pljenje lesa, klavnica za razcep krhljev, leseni bat, capin, rezalnik, motorna žaga in žaga amerikanka. Cepljenje skodel je naporno opravilo, ki traja po ves dan, od šestih zjutraj do poznih večernih ur. Na dan Koželj izdela tudi do 800 skodel, kar pomeni, da bi z njimi lahko prekril 20 m2 strešne povr-šine, saj za en kvadratni meter strehe potrebuje kar 40 skodel. Številka pa se podvoji ali celo potroji, če krije v treh plasteh. Bojan Koželj jamči, da njegove macesnove skodle zdržijo na strehi tudi do 60 let, pozna pa tudi primere, ko so nekatere kritine na cerkvah zdr-žale tudi 100 let.

Družinsko podjetje se danes predsta-vlja na različnih sejmih po Sloveniji, načrtujejo pa tudi predstavitve na tujem trgu, saj želijo za tovrstni poklic navdušiti še več ljudi in povečati svojo dejavnost. Bojan Koželj ima v načrtu tudi organizacijo šolskih učnih prika-zov izdelave skodel, saj se zaveda, da je prenos znanja na mlajše generacije še kako pomemben.

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Shingle making Wooden shingles used for roof-clad-ding and straw roof-cladding were the most wide-spread method of roofing in Slovenia at least until the middle of the 20th century. Then its importance began to diminish because industrial roofing started to emerge. Most frequently houses in the higher hilly area were covered with cleft shingles or sawn boards; but there are examples of roofs cov-ered in wood in certain places located much lower. Today wooden claddings are most often seen in Carinthia and Upper Carniola, on some church roofs all over Slovenia and on shepherd’s cabins and tourist buildings on Velika planina.

Bojan Koželj has been preserving Alpine shingle making and the roofing-related heritage in the area of Kamniška Bistrica. He has been engaged in shingle making since 1987 when he officially registered his craft. Today he employs three persons and in summer when there is a lot of work his children help him. Numerous profession-ally reconstructed cultural monuments throughout Slovenia are witness to his professional competence, knowledge and skills in wood processing.

The procedure of shingle making starts in late autumn when larch and spruce “reso-nant” wood is sought in Slovenian forests in shade areas at the height of above 800m. Resonant means that such wood has a straight and dense grain which is one of the wood quality indicators. The wood has to be as straight as possible and without any knots. The selected trees are then felled around December (the so-called old month) when trees no longer contain sap. After the first snow the timber is transported into the valley in such a manner that the wood remains undam-aged. The timber is then cut into chunks of arbitrary length; the chunks are cleft into approximately eight parts or krhlji (seg-ments; translator’s note). The centre of the heart is removed because this part of the wood is not good. Then the bark is also re-moved and the segments are prepared for manual processing - cleaving of shingles. There are several local names known for the cleft boards: šinkl (Upper carniola) šikl

(Styria), šinktl (Carniola), šindra (Inner Car-niola and the area of Kočevje). A shingle is a more literary word. Shingles are about up to 14mm thick, their width varies from 10 to 17cm. Shingles can be of various lengths, depending on the wishes of indi-vidual clients and most of all on the tradi-tion of roof-cladding in the places where the shingles of Koželj are going to go. The cleft shingles are immediately sheaved by means of wires, piled horizontally and ad-equately weighted to be left in the air for at least a year to dry. Roofs can be clad with shingles from spring to late autumn when the roofs are being clad with shingles. Bojan uses two methods of cladding, to wit, double layer and triple layer overlap-ping, which depends on the wishes of the clients, i.e. on their financial situation, since wood-cladding is one of the most expensive roof-covering methods.

Various tools are required for making shingles: an axe called šinklarca, another axe to eliminate the centre of the timber, various axes for cleaving wood, a cleaver to cleave the segments, a wooden mallet, a cutter, a power saw and a saw called amerikanka (American; translator’s note). Cleaving shingles is a tiring job which takes all day from 6.00a.m. to late in the evening. Koželj makes up to 800 shingles a day, which means that he could cover 20m2 of roof surface: one square metre requires as many as 40 shingles. This num-ber doubles or even triples if a three-layer cladding is applied. Bojan Koželj guaran-tees that his larch shingles can stay on a roof up to 60 years. He knows of cases in which some claddings on churches have lasted for one hundred years.

The family business is presented at various fairs in Slovenia but they are planning to place and present themselves in foreign markets. They would like to encourage even more people for their profession and expand their business. Bojan Koželj is going to organize the presentation of his shingles in schools, i.e. make learning presentations of how shingles are made as he is well aware of the importance of the transfer of knowledge on to younger generations.

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Tesarstvo velja za eno od najsta-rejših obrti, njegove prve pojavne oblike pa segajo več kot pet tisoč let v preteklost. Zaradi potrebe po gradnji varnih bivališč so se ljudje že v zgodnjih obdobjih kovin srečali z obdelavo lesa na različne načine in tako so nastajale raz-lične stanovanjske in gospodar-ske stavbe, brvi, mostovi in drugi uporabni objekti. Tesarstvo je kot pomembna obrtniška dejavnost močno zaznamovalo zlasti obmo-čje Mirenske doline, ki je poznana predvsem po gradnji kozolcev. Prav tu so nastale velike tesarske mojstrovine z najbolj slikovito olepšanimi kozolci.

Tesarstvo zahteva tudi veliko znanja in izkušenj, zato so bili tesarski mojstri od nekdaj predvsem izkušeni starejši mo-ški. Dejavnost je danes še povsod zelo živa, saj je praviloma večina ostrešij še vedno izdelana iz lesa. V preteklosti so iz lesa tudi v Mirenski dolini izdelovali lesene stavbe, torej stene, zelo razširilo pa se je zlasti v 19. in prvi polovici 20. stoletja postavljanje lesenih toplarjev. Prvi enojni kozolci v Mirenski dolini so se pojavili že sredi 17. stoletja, kar do-kazujejo slikovna gradiva tistega časa, razvoj novih kmetijskih tehnologij pa je od tesarjev terjal nove tesarske rešitve in tako so v drugi polovici 18. stoletja tudi v Mirenski dolini nastajali prvi toplarji, ki so razcvet dosegli v tridesetih letih 20. stoletja. Takrat so izkušeni dolenjski tesarji zgradili naji-menitnejše in konstrukcijsko najzah-tevnejše dvojne kozolce – toplarje. V tistem času je bilo aktivnih kar sedem tesarjev, ki so se med seboj razlikovali po različni izvedbi detajlov na kozolcih. Najuglednejši tesarski mojstri so bili Ja-nez Karlič mlajši z Velikega Cirnika, Jože Kafol iz Trebelnega in Janko Gregorčič iz Slovenske vasi pri Šentrupertu. Sle-dnji je izdelal znani Simončičev toplar na Bistrici pri Šentrupertu, ki je edini kozolec na Slovenskem s statusom kulturnega spomenika državnega pomena.

Osnovna pogoja za dobro tesarstvo sta dobro orodje, s katerim so tesali, in

dobro pripravljen les. Tesarska sezona je potekala od pomladi pa tja do jese-ni. V zimskem času so posekali les, ki je bil večinoma smrekov, za glavne dele kozolca (npr. nosilne stebre) pa je bil namenjen hrastov les. Les se je sušil do pomladi, ko so začeli s tesanjem lesa in nato z vezavo posameznih sklopov konstrukcije na tleh, da so preverili ustreznost obdelave in vezave lesa. Nato so te konstrukcije postopoma razdrli in jih sestavili v celoto, kozolec.

Za tesarskega mojstra je bilo treba opraviti pripravništvo, kar je zajemalo praktično učenje od učnih mojstrov. Pripravništvo je bil čas, ko so se vajenci naučili obdelovati les in zakonitosti, ki veljajo pri gradnji lesenih objektov. Pozneje so tudi izkušeni mojstri ob svojem delu razmišljali in uvajali nove rešitve, ki so jih usklajevali z naroč-nikom. Danes posreduje znanje in vedenje o tesarski obrti na območju Mirenske doline Alojzij Gregorčič iz Slovenske vasi pri Šentrupertu, ki je večino znanja je prevzel od svojega očeta Janka Gregorčiča.

Tesarstvo daje Mirenski dolini velik pečat, saj preko kozolcev oblikuje podobo kulturne krajine in značilno slikovitost podeželja. S projektom Mu-zej na prostem – kozolci v Šentrupertu tesarstvo zopet pridobiva na veljavi, saj so njegova izhodišča in zakonitosti podlaga za postavitev muzeja. Poleg tega so na območju v zadnjih letih zaradi prijetnosti bivanja in okoljske prijaznosti v porastu tradicionalne teh-nike gradnje in opremljanja z lesom.

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Carpentry Carpentry is considered to be one of the oldest crafts. It first appeared more than five thousand years ago. Owing to the necessity of building safe housing structures, already in the early metal periods people met with various methods of wood processing: thus various residen-tial facilities and estate buildings, wooden footbridges, bridges and other useful structures emerged. Carpentry as an important crafts-man activit y lef t a strong mark in particular in the Mirna River valley. The valley is known for the construction of its hayracks. It is in the very Valley that magnificent carpentry masterpieces with the most picturesquely ornamented hayracks have sprung up.

Carpentry requires a lot of knowledge and experience: consequently, master carpenters have always been mostly experienced elderly men. The activity is very much alive everywhere today be-cause as a rule most roof trusses are still made of wood. In the Mirna River valley, wooden buildings, i.e. walls, were man-ufactured in the past. The construction of wooden double hayracks boomed particularly in the 19th and in the first half of the 20th centuries. The first simple hayracks appeared in the Mirna River valley as early as in the middle of the 17th century, which is documented in the pictorial documents of that time. The development of new farming tech-nologies required carpenters to find new carpentry-related solutions: this is why the first double hayracks appeared in the Mirna River valley. Double hayracks were in their prime in the 1930s. At that time carpenters from Lower Carniola built the most remarkable and construc-tion-wise the most demanding double hayracks – toplarji. As many as seven carpenters were active then and they differed from each other as to the execu-tion of details on the hayracks. The most eminent master carpenters were Janez Karlič Jr. from Veliki Cirnik, Jože Kafol from Trebelno and Janko Gregorčič from Slovenska vas near Šentrupert. The latter made the Simončič double hayrack in Bistrica near Šentrupert: this is the only

hayrack in Slovenia that boasts the status of a national cultural monument.

Two basic conditions for good carpentry are good tools to hew with and well-prepared wood. The carpentry season lasted from spring to autumn. In winter wood was felled, it was predominantly spruce wood, while oak was used for the main parts of a hayrack (i.e. sup-porting poles). The wood was then left to dry until spring when they started hewing it. This was followed by binding together individual assemblies of the construction on the ground to check the adequacy of the processing and binding of the wood. These structures were then completely disassembled and assembled into a whole, i.e. a hayrack.

If someone wanted to become a master carpenter he had to go through an apprenticeship that comprised practi-cal learning by teaching masters. The apprenticeship was a time when ap-prentices learnt to process wood and the laws applying to the construction of wooden facilities. Later on experienced masters, too, were thinking while work-ing and introduced new solutions for which they had to get the approval of their client. Alojzij Gregorčič, who got most of his knowledge from his father Janko Gregorič, from Slovenska vas near Šentrupert, conveys his knowledge and knowingness about carpentry crafts-manship to others in the area of the Mirna River valley.

Carpentry provides the Mirna River valley with a strong feature – through its hayracks it shapes the image of the man-made environment and the char-acteristical picturesqueness of the rural landscape. The project Open-Air Mu-seum – hayracks in Šentrupert returns carpentry to the stand and position it deserves, once again carpentry is gain-ing importance, with its basic premises and the laws being the foundation to build a museum. In addition, owing to the pleasantness of living here and to the friendly environment, traditional building techniques and the use of wood have been on the increase.

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Literatura/Literature:

• BAŠ, Angelos (ur): Slovenski etnološki leksikon. Ljubljana: Mladinska knjiga, 2004.

• BIZJAN, Branka: Rokodelci in umetniki. Ljubljana: Agencija Baribal, 2012.

• BOGATAJ, Janez: Smo kaj šegavi? Leto šeg in navad na Slovenskem. Ljubljana: Mladinska knjiga, 1998.

• BOGATAJ, Janez: Trniči iz Velike in Male planine. Neobjavljen prispevek k Pravilniku o tehnološkem postopku izdelave trniča in Pravilniku o pogojih podeljevanja pravice do uporabe kolektivne blagovne znamke Trnič. Litija: Center za razvoj Litija, 2011.

• BOGATAJ, Janez in drugi: Nesnovna kulturna dediščina. Ljubljana: Zavod za varstvo kulturne dediščine Slovenije, 2005.

• CEVC, Tone: Velika planina: življenje, delo in izročilo pastirjev. Ljubljana: [samozal.] T. Cevc : Inštitut za slovensko narodopisje Znanstvenoraziskovalnega centra Slovenske akademije znanosti in umetnosti, 1993

• DOLŠEK, Ida: Kaku se kej narod rihta. Ljubljana: Kmečki glas, 2000.

• DOLŠEK, Ida: Špinerbal, litijski ples predilcev. Družabno življenje predilniških delavcev v času med obema vojnama. Šmartno pri Litiji: Biroservis, 2011.

• DOMAČINI Jablaniške doline: Jablaniška pripoved: dediščina naših babic in dedkov. Šmartno pri Litiji: Društvo za razvoj podeželja Laz, 2010.

• GODEC, Ivan: Rudnik Sitarjevec. Litija: Javni zavod za kulturo, 2010.

• HROBAT, Katja: Ajdi z Ajdovščine nad Rodikom. Studia mythologica slavica (VIII), 2005: 99-112.

• JEMEC, Tončka: Vitre življenja: S pesmimi in črticami skozi čas. Kamnica: Društvo misijonarja dr. Janeza Janeža, 2011.

• KURET, Niko: Zanimiva oblika ljudskega lutkarstva na Slovenskem. Slovenski etnograf 10, 1957: 113-124.

• OREL, Boris: Ženitovanjski običaji na Dravskem polju niže Ptuja. Etnolog 14, 1942: 96-110.

• PALADIN, Jasna: Na stotine izrezljanih ovčic. Gorenjski glas LXII (87): 16.

• RAMOVŠ, Mojca: »Pušelšank«: Strokovna podlaga za poletno prireditev Etno-družabnega društva Draga. Neobjavljeno raziskovalno delo. Šentrupert: Etno-družabno društvo Draga, 2011.

• SAVŠEK, Ana ur: Tamburaški orkester Šmartno pri Litiji: Šmartno pri Litji: KUD FS Javorje, Tamburaški orkester, 2009.

• SAVŠEK, Ana: Tamburaštvo v Šmartnem pri Litji: etnološki oris tamburaškega orkestra. Neobjavljeno seminarsko delo. Ljubljana: Univerza v Ljubljani, Oddelek za etnologijo in kulturno antropologijo na Filozofski fakulteti 2007.

• SKUBIC, Valentin: Žalostno presenečenje. Klasje 16(9): 11, 2010.

• SNOJ, Marko: Slovenski etimološki slovar. Ljubljana: Mladinska knjiga, 1997.

• STRAŽAR, Stane: Črni graben: od Prevoj do Trojan. Lukovica: Kulturno umetniško društvo Janko Kersnik, 1985.

• STRAŽAR, Stane: Mengeš in Trzin skozi čas. Mengeš in Trzin: Odbor pri Krajevni skupnosti, 1993.

• ŠKAFAR, Dora ur.: Dobrote in običaji iz dežele Jurija Vege. Ljubljana: Občina Dol pri Ljubljani, 2008.

• ŠKRLEP, Janez: Jaslice mengeških rezbarjev: razstava v galeriji Mežnariji. Mengšan, glasilo občine Mengeš IIII (24), 1995: 28.

• ŠTEFANEC, Franček: Znak kakovosti za spretnega skodlarja. Kamniški občan 41(16), 2002: 5.

• ŠTEPEC, Dušan: Kozolec na prepihu časa, Simončičev toplar v Bistrici na Dolenjskem. Vestnik XXII, Ljubljana 2011.

• ŠUBELJ KRAMAR, Iva: Pletenje, pletarji. Iz dežele Jurija Vege, zbornik občine Dol pri Ljubljani (2): 2010.

• UHAN, Jože: 'Sprehodi med… Sprehodi med hišami na trgu: »Ko je b'lo še na plac' klicano…«.' Šentrupert: glasilo krajanov krajevne skupnosti Šentru-pert, marec 2003, str. 19.

Viri in literaturaResources and literature

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Internetni viri/On-line resources:

• AVBELJ, Senta: Slovenski večer v Tuhinjski dolini. Občina Kamnik.• Vir: www.kamnik.si/index.php?t=news&id=873 (28. marec 2012). • KLOBČAR, Marjanca: Jaslice mengeških rezbarjev: razstava jasličnih figuric. Kulturno društvo Franca Jelovška Mengeš. • Vir: http://www2.arnes.si/~ljkdfjm1s/Razstave/r_95_jasli_meng_rezbarjev.html (22. marec 2012).• SKODLARSTVO BOJAN KOŽELJ. Spletna stran podjetja• Vir: http://www.skodlarstvo.si/ (29. marec 2012). • PLAVICA. SPLETA STRAN KMETIJE PLAVICA IN BIOPLAVICA. • Vir: www.plavica.si (27. marec 2012).• ZGODOVINA OBČINE ŠMARTNO PRI LITIJI, Spletna stran Občine Šmartno pri Litiji• Vir: http://www.smartno-litija.si/predstavitev/zgodovina (23. marec 2012).

Sogovorniki/Persons we have spoken to:

• Franc Avbelj, rojen leta 1955, mojster pečarstva, Lukovica • Vera Beguš, rojena leta 1943, predsednica Kulturno umetniškega društva Fran Maselj Podlimbarski, Krašnja• Franc Beljc, rojen leta 1930, pritrkovalec, Mengeš • Jože Bokal, rojen leta 1946, mežnar in pek oblatov, Dolsko • Mirko Brinovec, rojen leta 1972, oglar, Dole pri Litija • Miro Dolinšek, rojen leta 1954, član Društva za razvoj in varovanje Sitarjevca, Litija • Ida Dolšek, rojena leta 1950, predsednica Folklorne skupine Javorje, Šmartno pri Litiji • Marijana Flis Lederer, rojena leta 1952, upokojena učiteljica na OŠ Brdo pri Lukovici • Alojzij Gregorčič, rojen leta 1955, tesar, Slovenska vas pri Šentrupertu• Tončka Jemec, rojena leta 1931, pletarka, Petelinje • Milan in Rozi Kosec, rojena leta 1936 in 1937, rezbarja, Mengeš • Bojan Koželj, rojen leta 1962, mojster skodlarstva, Stahovica • Medeja Kurent, rojena leta 1971, pekovka, vas Kamnje v Šentrupertu• Anton Lebar, rojen leta 1951, pritrkovalec, župnija Brdo pri Lukovici • Meta Maček, rojena leta 1949, zeliščarka, Šentvid pri Stični • Kristina Majcen, rojena leta 1928, pekovka, Draga pri Šentrupertu• Marko Pajk, rojen leta 1957, župnik v župniji Blagovica • Ana Savšek, rojena leta 1985, članica Šmarskega tamburaškega orkestra, Šmartno pri Litiji• Minka Savšek, rojena leta 1957, predsednica Šmarskega tamburaškega orkestra, Šmartno pri Litiji• Ignac Slapničar, rojen leta 1931, upokojeni rudar, Zavrstnik • Jožef Tomšič, rojen leta 1944, župnik v župniji Zgornji Tuhinj • Jasna Zajc, rojena leta 1947, zeliščarka, Zagradec

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