Naše kulturno bogastvo - Razvojni center Srca Slovenije

SRCESLOVENIJENaše kulturno bogastvoOur cultural wealthVrednotenje nesnovne kulturne dediščineCultural Capital CountsCenter za razvoj LitijaDevelopment Centre LitijaProjekt je podprt v okviru programaSrednja Evropa, ki ga sofinancira1Evropski sklad za regionalni razvoj.

Projekt je podprt v okviru programa Srednja Evropa, ki ga sofinanciraEvropski 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 LitijaZbrala in uredila/Collected and edited by: Tina Mučič in Vito HazlerAvtorji besedil/Written by: Tina Mučič, Mija Bokal, Marko Gorenc, Mojca Ramovš,Ida Dolšek in Zorka PožarPregled besedila/Proof-read by: Lidija JurmanPrevod/Translated by: Mojca MercPregled angleškega besedila/English text proof-read by: Peter WallerOblikovanje/Designed by: Matej Zupančič, MEDIANOVATisk/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: 2000CIP - Kataložni zapis o publikacijiNarodna in univerzitetna knjižnica, Ljubljana39(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, 2012ISBN 978-961-92295-2-11. Vzp. stv. nasl. 2. Mučič, Tina2615759362

VSEBINA/Contents4 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 Slovenia10 Ustna izročila in izrazi, vključno z jezikom/Oral lore and expressions including the language12 Zgodbe in bajke o rudniku Sitarjevcu pri Litiji/Stories and fairy tales about the Sitarjevec Mine near Litija14 Zgodbe o ajdih in ajdovskih deklicah/Fairy tales about giants (becoming pagans later on in history) and giant’s girls16 Uprizoritvene umetnosti/Performing arts18 Lutkovna igra Mejaši/Puppet show entitled Mejaši20 Tamburaški orkester Šmartno pri Litiji/Tamburitza Orchestra Šmartno near Litija22 Družbene prakse, rituali in praznovanja/Social practices, rituals and festivities24 Špinerbal, litijski ples predilcev/Špinerbal, the ball of spinning mill workers of Litija26 Šege ob poroki, postavljanje mlajev in šrange/Manners and customs on wedding days, erecting maypoles and šrange28 »Freh« pred godovanjem/“Freh” on the eve of a name’s day celebration30 Pritrkavanje/Chiming32 Priprava velikonočnih oblatov/Preparation of Easter wafers34 Štručke s pregreto smetano na pušelšankih/Rolls with warmed cream at “pušelšank”36 Peka kruha v krušni peči/Making bread in a brick oven38 Mengeški bizgec/Bizgec of Mengeš40 Sir »trnič« iz Velike in Male planine/“Trnič” cheese from Velika and Mala planina42 Znanje in prakse o naravi in svetu/Knowledge and practices relating to nature and the world44 Oglarjenje/Charcoal production46 Zeliščarstvo/Herbalism48 Tradicionalne obrtne in gospodarske veščine/Traditional craftsmanship and commercial skills50 Pečarstvo/Stove-maker trade52 Pletarstvo/Plaiting54 Pletenje slamnatih kit/Plaiting of straw braids56 Rezbarjenje lesenih jaslic/Carving of wooden Christmas cribs58 Skodlarstvo/Shingle making craft60 Tesarstvo/Carpentry62 Viri in literatura/Resources and literature3

NesnovnadediščinaSlovenijeLeta 2003 je UNESCO sprejel Konvencijoo varstvu nesnovne dediščine,ki je pomemben korak krazumevanju in sprejemanju vsehpojavnih oblik in značilnosti dediščine.V svojih ciljih konvencijapoudarja pomen dediščine na lokalniin nacionalni ravni ter nujnostspoznavanja kulturnih identitet vmednarodnem okolju. Njen osnovninamen je ohraniti različnost identitetnarodov in etničnih skupnosti vnajširšem materialnem, družbenemin duhovnem obsegu, ki so ogroženezaradi globalizacijskih procesovna področju gospodarstva, komunikacij,jezikov, narečij in kulturenasploh.Podobno kot druge države svetatudi Slovenija vse več pozornostinamenja ohranjanju nesnovnekulturne dediščine, kar se je šeposebej izpostavilo po sprejetjunovega Zakona o kulturni dediščini(Uradni list RS, št. 16/2008).Zakon to vrsto dediščine posebejobravnava kot novo varovanokategorijo. Zato je Ministrstvoza kulturo RS v skladu z določilizakona poiskalo usposobljenegakoordinatorja za zbiranje podatkovin uvrščanje v register nesnovnekulturne dediščine. Sprvaje bil izbran Inštitut za slovenskonarodopisje ZRC SAZU, leta 2011pa je te naloge prevzel Slovenskietnografski muzej.Novi koordinator za nesnovnodediščino že dobro leto intenzivnopridobiva številne nove predlogeza vpis v register. Predloge pošiljajozainteresirani posamezniki, različnadruštva in združenja, javni zavodi,muzejske ustanove in v nekaj primerihcelo nosilci in organizatorjikulturnih prireditev. To vse kaže naveliko pozitivno odzivnost javnostina obravnavo in zaščito številnihoblik in pojavov nesnovne dediščine,ki pa seveda vedno in povsoddeluje v navezavi na mnogo boljpoznani in dlje časa varovani področjisnovne premične in nepremičnedediščine, ki v naši varstveni praksipraviloma sodita pod varstvenopristojnost nacionalnih, pokrajinskihin lokalnih muzejev, arhivov in knjižnicter zavoda za varstvo kulturnedediščine in njegovih sedmih območnihenot.Dediščino je treba vedno razumevaticelovito (kompleksno) incelostno (kompletno), saj jo le v tehrazsežnostih spoznavamo in razumemov njenih najbolj sporočilnihpomenih. Delitev po raznih zvrstehje v varstveni praksi sicer pogostain tudi potrebna, vendar, ko jetreba kulturne pojave spoznati inoceniti z vseh možnih zornih kotovter jih ustrezno umestiti v kontekstrazvoja nacionalnih, regionalnihin lokalnih kultur, potem je dediščinotreba presojati celovito. Incelovitost ne bi bila mogoča, če nebi enakovredno snovni dediščiniobravnavali tudi vse oblike in pojavenesnovne dediščine. Šele takratnamreč mnogo bolje razumemovzroke in posledice posegov v prostor,ravnanja etničnih skupnostiter poklicnih in družbenih skupinin seveda ravnanja posameznikov.Zato se vsestranski pomen nesnovnekulturne dediščine najboljizkaže v postopkih obnove kulturnihspomenikov, ki jih je nemogočeustrezno vzdrževati in obnavljati,ne da bi poznali stoletne tehnologijegradnje, znanje in veščineobdelave gradiv ter predvsemizkušnje starih mojstrov obrti, ki sože v preteklosti znali kakovostnousmerjati delovne postopke svojihdelovnih skupin. Prav o takšnihspregovori naša knjiga, ko govorio skupinah izvrstnih tesarjev naobmočju Mirenske doline.Nesnovna dediščina slovenskega,evropskega in obče svetovnegakulturnega okolja je nedvomnozelo obsežna in bogata. V tradicionalnihin sodobnih oblikah življenjase je ohranila vrsta spominov tertudi znanja in veščin na nekdanjedejavnosti, šege in navade ter tehnologijeobdelave gradiv, ki nikakorne smejo zaiti v pozabo. Namenpričujoče publikacije je prav to:ohranimo spomin na preteklost, dabomo lažje živeli v sodobnosti inše bolje v prihodnosti, saj se praviz dediščine lahko veliko naučimo.Vsak še tako moderen industrijski aliobrtniški izdelek namreč temelji nadediščini preteklega znanja. Številnoznanje in mnogotere izkušnje sosicer zapisani, bodisi v učbenikih,zakonih, pravilnikih, standardih inpodobnih dokumentih. A mnogiše čakajo na zapis, ker so se številnekulturne prvine praviloma prenašaleod ust do ust, od generacijedo generacije. To pravilo delovanjakulture je zelo značilno za družbena nekoliko drugačnih razvojnihstopnjah, kot je naša – a zaraditega nikakor niso siromašne. Mordaso duhovno celo bogatejše in poznanju prvobitnejše. Samo primer:znanje o naravnem okolju Bušmanov(Grmičarjev) v Južni Afriki danespretresa farmacevtsko industrijo,saj ti ljudje poznajo učinkovineštevilnih rastlin, ki lahko dobesednorešijo sodobni svet.Tudi pri nas še vedno obstaja znanjeo številnih kulturnih prvinahnaravnega okolja, o skrbi za vodo,zrak, zemljo in zdravo življenje.Tudi mi smo imeli izvrstne (ljudske)zdravilce, ki so znali na sonaravennačin iz narave pridobivati zdravilnain zaščitna sredstva. Žal smo senjihove moči in znanja zavedeli šelepred nedavnim, žal prepogosto šelepo vzporednih vzgibih iz tujine, kjerso (žal) to znanje skomercializirali dopovsem globaliziranih oblik. Takegaravnanja z našo nesnovno dediščinonikakor ne smemo dopustiti.Ne smemo je folklorizirati nitipretvarjati v nove moderne oblike,ker potem ni več to, kar je bila vsvoji prvini pojavnosti. Vsekakor paje treba nesnovno dediščino vpeti vsodobno in bodoče življenje in tegaprilagoditi dediščinskim prvinam,če želimo še naprej živeti v skladu znaravo in spoštovati vse prevečkratprekršena načela sonaravnosti intrajnostnega razvoja.Zato podpiram prizadevanja Centraza razvoj Litija, da se je usmeril vizvedbo mednarodnega projektaVrednotenje nesnovne kulturne dediščine(Cultural Capital Counts) naobmočju, za katerega skrbi v skladus svojimi pristojnostmi in koncesijami.V knjigi je zbranih enaindvajsetrazličnih primerov znanja in vedenjao dediščini. Prepričan sem, da bo taseznam z leti še bogatejši. Vsekakorpa so obravnavani primeri izvrstnapodlaga za pripravo podrobnejšihbesedil za vpis v register nesnovnekulturne dediščine Slovenije.izr. prof. dr. Vito Hazler,etnolog konservator4

Intangible heritageof SloveniaIn 2003, UNESCO adopted the Conventionfor the Safeguarding of IntangibleCultural Heritage which was an importantstep towards understandingand accepting all occurring formsand characteristics of heritage. Theobjectives of the Convention emphasizethe meaning of heritage at thelocal and national level as well as theimperativeness of getting to knowcultural identities in an internationalenvironment. Its basic goal is to preservethe diversity of the identitiesof nations and ethnic groups in thebroadest material, social and spiritualrange: they are, namely, endangeredowing to globalization processes inthe field of economy, communications,languages, dialects and culturein general.Similarly to other countries of theworld, Slovenia also pays more attentionto the preservation of intangibleheritage, which was particularly emphasizedafter the new Cultural HeritageProtection Act (Official Gazette ofthe Republic of Slovenia, No. 16/2008).The Act treats this type of heritage as anew protected category. Consequently,in compliance with the provision ofthe Act, the Ministry for Culture of theRepublic of Slovenia found a qualifiedcoordinator to collect informationand make relevant entries in the registerof intangible heritage. At first, theInstitute of Slovenian Ethnology waschosen. In 2011, these tasks were takenover by the Ethnographic Museum ofSlovenia.The new coordinator for intangibleheritage has been intensely collectingnumerous new proposals for registerentries. The proposals have beensent by interested individuals, varioussocieties and associations, publicinstitutes, museums and in somecases even the bearers and organizersof cultural events. All of this showsa strong positive public responsivenessto dealing with and protectingnumerous forms and occurrences ofintangible heritage which, of course,always and everywhere works in relationto much better known and muchlonger protected areas of materialmovable and immovable heritage;in our protection-related practicesas a rule the latter belong under theprotection competency of national,regional and local museums, archivesand libraries as well as under theInstitute for the Protection of CulturalHeritage of Slovenia and its sevenarea units.The heritage needs to be consideredin view of its complexity and in viewof its integrity as it is only in thesedimensions that we get to know andcomprehend it in its most messageconveyingfunction. Its classificationinto various types is quite frequent andalso necessary in protection practice;however, when it is necessary to get toknow cultural occurrences and evaluateit from every possible angle andput them in place within the contextof the developmental of national,regional and local cultures, heritageneeds to be considered in view of itscomplexity. And the complexity wouldnot be possible if all the forms and occurrencesof intangible heritage werenot dealt with equally as material heritage.Only then we understand muchbetter the causes and consequencesof activities affecting the environment,actions by ethnic communitiesand professional and social groupsand, last but not least, actions of individuals.Consequently, the multilateralmeaning of intangible heritage is bestdemonstrated through the processesof renovation of cultural monumentswhich cannot be adequately maintainedand renovated without beingfamiliar with hundred-year old technologiesof building, knowledge andskills of material processing and mostof all the experience of old masters ofcraftsmanship who knew so manyyears ago to direct working processesof their work groups towards quality.These are the very masters our bookletis about when it speaks about groupsof excellent carpenters in the area ofthe Valley of Miren.The intangible heritage of Sloveneand European cultural environmentand that of the world in general isby no means very vast and rich. Intraditional and modern forms of lifea series of memories of former activitieshas been preserved as well as theknowledge and skills relating to them,the manners and customs and thetechnologies of material processing:they must not be forgotten. This is exactlywhat the goal of this publicationis, namely, to preserve the memory ofthe past in order to live more easilyin the present and even better in thefuture as we can learn so much fromour heritage. Every modern industrialor artisan article, as small as it maybe, is based on the heritage of a pastknowledge. The knowledge and multipleexperiences have been writtendown in students' books, laws, rules,standards and similar documents.Yet, many are still waiting to be writtendown since numerous culturalelements have been transferred byword of mouth from generation togeneration. This rule of the operationof culture is very characteristic ofsocieties at somewhat different stagesof development from ours – they are,however, by no means poorer. Spirituallyspeaking, they may even be richerand their knowledge more primeval.Let us take a look at an example: theknowledge Bushmen in South Africahave of their natural environment isshocking the pharmaceutical industrytoday since these people know theingredients of numerous plants whichcan literally save the modern world.We also have the knowledge on numerouscultural elements of naturalenvironment, on the concern forwater, air, soil and a healthy life. Wealso had first-class (folk) healers whoknew how to extract medicinal andprotective substances from nature ina sustainable manner. Unfortunatelywe have only become aware of theirpower and knowledge recently, toooften following parallel motives fromabroad where this knowledge hasbeen commercialized to the extent ofa completely globalized form. Underno circumstance can we allow our intangibleheritage to be treated in sucha manner. We must neither folklorize itnor transform it in new modern formsbecause if we do, it is no longer whatit was in its original state. Intangibleheritage needs by all means to be interlacedin the modern and future lifeand adjust the latter to the elementsof the heritage if we want to continueliving in accordance with nature andrespect the all too frequently breachedprinciples of sustainability and sustainabledevelopment.Therefore I strongly support the endeavoursof the Development CentreLitija and its focus on carrying out theinternational project Cultural CapitalCounts in the area it takes care of incompliance with its competenciesand concessions. The booklet providesa collection of twenty-one differentexamples of knowledge and awarenessof the heritage. I am convincedthat this list will become longer withthe passing of time. At any rate, theexamples dealt with are an excellentbasis to prepare more detailed textsfor the register of intangible culturalheritage of Slovenia.associate professor Vito Hazler, Ph. D.,ethnologist conservator5

Živa dediščinaje vse okoli nasLiving heritage is allaround usCenter za razvoj Litija na območjuSrce Slovenije že vrsto let sodelujez občinami, ki z različnimi aktivnostmiin projekti podpirajo razvojpodeželja. Med pomembnimiprizadevanji sta tudi ohranjanjebogate lokalne in regionalne dediščineter njeno vključevanje vpodjetniški in turistični razvoj. Naobmočju je ogromno nepremičnedediščine, kot so domačije, gospodarskaposlopja, cerkve, kapelice,mlini in kozolci. Veliko pa je tudinesnovne ali žive dediščine, ki ji vsiskupaj ponavadi namenjamo premalopozornosti. Tudi zato, ker sene zavedamo, da jo imamo. Nemalokratnanjo postanemo ponosnišele takrat, ko nas nanjo opomniobiskovalec naših krajev.Predstavljanje, zapisovanje in ohranjanježive dediščine so izrednopomembna, predvsem za nosilcein drugo lokalno prebivalstvo, ki senemalokrat poistovetijo s tovrstnodediščino kraja. Šege in navade,verovanja, ustno izročilo, plesnadediščina, znanje o naravi, posebnotehnično in obrtniško znanje so torejkulturni kapital, ki se ga moramobolj zavedati in ga ceniti. Zapisati inprenesti ga moramo na prihodnjegeneracije.Pri izvajanju različnih projektov natemo dediščine se na terenu večkratsrečujemo z nosilci dediščine,predvsem obrtniki in rokodelci.Želijo si, da bi bilo njihovo delo boljcenjeno in spoštovano. Opozarjajo,da je zaradi našega odnosa cena zanjihove izdelke glede na vloženodelo in kakovost na trgu nemalokratprenizka. Tudi zato se zelo malomladih ljudi odloča za obrtniškipoklic. Z aktualnim projektom želimonosilcem dediščine pomagatipri sistematičnem trženju izdelkov,prepoznavanju podjetniške priložnostiin vključitvi v turistični razvoj.Verjamemo, da nam bo uspelo skupajz vami, ki se zavedate vrednostitovrstne dediščine.Sicer pa smo veseli, da imamo vSrcu Slovenije zelo aktivna različnadruštva, ki si prizadevajo ohranjatiin prenašati rokodelsko znanjeoziroma predstavljati dediščino. Nemaloje zelo angažiranih posameznikov,ki ves svoj prosti čas vložijo vorganizacijo rokodelskih delavnic,pripovedovanje ljudskega izročila,postavljanje razstav in zbiranje gradivao dediščini. Hvala vam.Skupaj s koordinatorji občin, nosilcidediščine in strokovnjaki etnologismo pripravili knjižico o le nekaterihod mnogih enot nesnovne dediščinev Srcu Slovenije. Toliko, da naglas povemo, za kakšno dediščinogre, in vas spodbudimo k razmišljanju.Prepričani smo, da se boste obprebiranju spomnili še na mnogodruge dediščine in ob tem nanjopostali še ponosnejši!Živa dediščina je v naših srcih in vseokoli nas. Prisluhnimo ji!Aleksandra Gradišek,direktorica Centra za razvoj LitijaFor several years, the DevelopmentCentre Litija in the area of the Heartof Slovenia has been cooperatingwith the municipalities who withvarious activities and projects supportrural development. Among importantendeavours are the preservation ofthe rich local and regional heritageand its inclusion in entrepreneurialactivities and tourist development.The area abounds in immovable heritagesuch as farms, estate buildings,churches, wayside shrines, mills andhayracks. There are plenty of intangibleor living heritages which we, all ofus, usually do not pay much attentionto. One of the reasons for the latter isthat we are not aware of having it.More often than not we begin takingpride in it only when a visitor to ourparts calls our attention to it.Presentation, writing down and preservationof living heritage are very importantparticularly for the bearers ofheritage and the rest of the local populationwho often identify themselveswith this type of heritage of the area.Manners and customs, beliefs, orallore, dance-related heritage, knowledgerelating to nature, particularlytechnical and craftsmen's knowledgeare therefore a cultural capital wehave to become more aware of andappreciate it more. We have to write itdown and transfer the knowledge onto future generations.In carrying out various projects withthe theme of heritage in the field weoften meet the bearers of heritage,mostly craftsmen and artisans. Theywish their work was more appreciatedand respected. They call ourattention to the fact that owing toour attitude, the price of their work inview of the work required and qualityin the market is quite often too low.This is also one of the reasons why sofew young people decide to take upcraftsmanship. The present projectis supposed to help the bearers ofheritage in the systematic marketingof their articles, identifying entrepreneurialopportunities and inclusion intourism development. We believe thattogether with you who are aware ofthe value of this type of heritage wewill be successful.However, we are glad that in theHeart of Slovenia there are variousvery active societies who undertakea sustained effort to preserve andtransfer artisan knowledge, to wit,represent the heritage. There are quitea few engaging individuals whospend all their free time organizingartisan workshops, spreading folktradition, setting up exhibitions andcollecting material relevant to heritage.Thank you all.Hand in hand with coordinators ofthe municipalities, bearers of heritageand expert ethnologists we have preparedthis booklet dealing with onlysome of the numerous units of intangibleheritage in the Heart of Slovenia.We want to say out loud what type ofheritage it is about and encourageyou to reflect. We are certain thatwhen reading this booklet you willremember all the other types of heritageand become even prouder of it!Living heritage is in our hearts and allaround us. Let's lend it our ears!Aleksandra Gradišek,Development Centre Litija Manager6

Živost nesnovnekulturnedediščineVividness ofintangible culturalheritageNematerialna, neopredmetena,živa, nesnovna ..., vse to so termini,ki po Unescovi Konvenciji o varovanjunesnovne kulturne dediščinepomenijo prakse, predstavitve,izraze, znanje, veščine in z njimipovezana orodja, predmete, izdelkein kulturne prostore, ki jih skupnosti,skupine in včasih tudi posameznikiprepoznavajo kot del svoje kulturnedediščine. Nesnovna dediščina jev primerjavi s snovno ravno zaradiživosti, ki jo potrjuje tudi terminologija,izjemna. Ves čas se spreminja,je odziv na svoje okolje, naravo inzgodovino, se prepleta z drugimisestavinami in se razvija.V Sloveniji od leta 2008 vodimonacionalni register t. i. žive kulturnedediščine, kamor so po presojistrokovne komisije koordinatorjavarstva žive kulturne dediščine (odleta 2011 je to Slovenski etnografskimuzej) vpisane enote dediščine, kiustrezajo merilom veljavnih dokumentov,kot sta Unescova Konvencijao varovanju nesnovne kulturnedediščine in slovenski Zakon ovarstvu kulturne dediščine. Želimosi, da bi čim več enot nesnovnekulturne dediščine iz območja SrceSlovenije dobilo svoje mesto tudi vregistru, ki je eno od središč prizadevanjza ohranjanje in varovanjedediščine. Ko govorimo in pišemoo nesnovni kulturni dediščini, pa nesmemo pozabiti na njeno neločljivopovezanost s premično in nepremičnokulturno dediščino. Kajti lecelovita obravnava dediščine namomogoča celosten pogled na njenrazvoj, trenutno stanje in morebitnipotencial za prihodnost. Ne grespregledati dejstva, da so sestavinenesnovne kulturne dediščine lahkobogat vir za razvoj lokalnih, regionalnihin nacionalnih identitet.Ohranjanje nesnovne kulturnedediščine je vrednota, ki nas bogatiin spodbuja k odgovornemuravnanju z dediščino. Pri tem imajopomembno vlogo nosilci dediščine,pa naj bodo to skupine, skupnostiali posamezniki, ki skrbijo, da znanjein veščine, potrebne za njenodelovanje in ohranitev, posredujejonaslednjim generacijam. Nalogastrokovnjakov je predvsem spremljatiin dokumentirati nesnovno kulturnodediščino, ki s svojo živostjopovečuje že tako bogato kulturnoraznolikost.Adela Pukl,Slovenski etnografski muzejNon-material, intangible, living…are technical terms which accordingto the UNESCO Convention for theSafeguarding of Intangible CulturalHeritage represent practices, presentations,expressions, knowledge, skillsand related tools, objects, articles andcultural premises which communities,groups and sometimes individualsidentify as part of their cultural heritage.Compared to the materialheritage, non-material heritage is exceptionalfor its very vividness whichis also confirmed by the terminology.It is changing and developing all thetime, it is a reaction to its environment,nature and history, it is intertwinedwith other componentsSince 2008, we have had in Slovenia anational register of the so-called livingcultural heritage. The register containsthe units of heritage which, accordingto the assessment of the professionalcommission of the coordinator of theprotection of living cultural heritage(since 2011, this role has been assumedby the Ethnographic Museum of Slovenia),correspond with the criteria ofoperative documents such as the UN-ESCO Convention for the Safeguardingof Intangible Cultural Heritageand the Slovenian Cultural HeritageProtection Act. We wish as many unitsof cultural heritage as possible fromthe area of the Heart of Slovenia gettheir place in the register which isone of the centres of the endeavoursfor the preservation and protectionof the heritage. When we speak andwrite about non-material culturalheritage we must not forget that it isinseparably linked with movable andimmovable cultural heritage. Sinceonly the heritage being dealt with inits complexity enables us a complexview of its development, current situationand eventual potential for thefuture. We must not overlook the factthat the components of non-materialheritage may be a rich resource for thedevelopment of local, regional andnational identitiesThe preservation of intangible heritageis a valuable feature whichmakes us rich and encourages us totreat our heritage with responsibility.In doing so, a critical role is playedby the bearers of heritage, i.e. communities,groups or individuals whosee to it that knowledge and skillsnecessary for its functioning and preservationare transferred to the nextgenerations. The task of the experts isprimarily to monitor and documentintangible heritage which – throughits vividness – increases the alreadyrich cultural diversity..Adela Pukl,Ethnographic Museum of Slovenia7

O brošuriPričujoča knjižica je eden od prvihvidnejših rezultatov projekta Vrednotenjenesnovne kulturne dediščine(angl. Cultural Capital Counts),katerega aktivnosti so usmerjene vustvarjanje pogojev za prepoznavanjenesnovnih kulturnih virov inuporabo le-teh v podjetništvu. Stem projektom se odpira razmeromanova tema, saj večina evropskihregij ne pozna in se ne zaveda možnostinesnovne kulturne dediščine,tako v ekonomskem pogledu kottudi v smeri izboljšanja kakovostiživljenja.V letu 2011 so partnerji iz sodelujočihregij izvedli vrsto intervjujev zregionalnimi interesnimi skupinami,društvi, nosilci dediščine, etnologi,zgodovinarji in posamezniki, ki imajobogato znanje o svojem okolju.Z njimi so želeli ugotoviti najpomembnejšeelemente nesnovnekulturne dediščine.Izmenjave s strokovnjaki iz drugihregij in primerjave s tujimi praksamiso omogočile odkritje posebnihelementov nesnovne dediščine vokolju. Mnogokrat šele zunanji pogledna zbrano gradivo in dediščinorazkrije prezrte »skrite zaklade«.Regionalna nesnovna kulturnadediščina predstavlja eno od neprecenljivihbogastev naših regij, saj grenemalokrat za posebne identitete, kilahko povečujejo privlačnost okoljatako za prebivalce kot obiskovalce inomogočajo trajnostni razvoj.Želimo, da bi se ljudje z našegaobmočja zavedali, da so lahko ponosnina svoj izvor, posebne šege innavade, spretnosti in znanje, zaradikaterih je vsaka regija edinstvena.Tradicija jeprihodnost.O projektuCulturalCapital CountsCultural Capital Counts je triletniprojekt (2011–2014), ki ga sofinanciraEvropski sklad za regionalni razvoj(ESRR) v okviru programa SrednjaEvropa. Vključuje deset regij iz šestihevropskih držav s skupnim ciljem izkoriščatikulturne vire za konkurenčnejšamesta in regije s poudarkomna nesnovni dediščini, kot so tradicija,spretnosti, navade in znanje.S projektom ne želimo ovrednotitimaterialnega bogastva in dediščine,ampak ljudi, njihovo znanje in kulturooziroma področje, ki je danespogosto zanemarjeno.Nesnovna kulturnadediščina je dušaregije.Za več informacij o projektu obiščitespletno stran:www.culturalcapitalcounts.euali www.razvoj.siAbout the brochureThis booklet is one of the first resultsof the project Cultural Capital Counts,the activities of which have been focusedon creating conditions for recognizingintangible cultural resourcesand the use of these in entrepreneurship.This project is opening a relativelyrecent theme since the majority ofEuropean regions does not appreciateand is not aware of the opportunitiesof intangible cultural heritage eitherin the field of economy or in the areaof improving the quality of life.In 2011, the partners from the regionstaking part in the project carried outa series of interviews with regionalinterest groups, societies, bearers ofheritage, ethnologists, historians andindividuals who have vast knowledgeof their environment. In so doing thepartners wanted to find out what themost important elements of intangiblecultural heritage were.The exchanges with experts fromother regions and comparisons withforeign practices have enabled us todiscover special elements of intangibleheritage in the environment. Moreoften than not it is the last look at thematerial and heritage that disclosesthe overlooked “hidden treasures”.Regional intangible cultural heritagerepresents one of the priceless richesof our regions as it has often to dowith special identities which may addto the attractiveness of the environmentnot only for the inhabitants butfor visitors as well, at the same timeenabling sustainable development.We wish that people in our regionwould become aware of the factthat they can be proud of the origins,special manners and customs, skillsand knowledge which make everyregion unique.Tradition isfuture.On the projectCultural CapitalCountsCultural Capital Counts is a three-yearproject (2011-2014) co-funded by theEuropean Regional DevelopmentFund (ERDF) within the framework ofthe programme Central Europe. It includesten regions from six Europeancountries and its common goal is toexploit cultural resources to raise thecompetitiveness of towns and regionswith an emphasis on intangible heritagesuch as tradition, skills, customsand knowledge.The goal of the project is not to evaluatematerial riches and heritage butthe people, their knowledge and culture,to wit, the area that is frequentlyneglected nowadays.Intangibleculturalheritage is thesoul of a region.For more information on the projectsee website:www.culturalcapitalcounts.euor www.razvoj.si8

Predstavitevnesnovnedediščine v srcuslovenijePresentation ofintangible heritagein the Heart ofSloveniaPri projektu in nastajanju brošuresodelujejo občine Dol pri Ljubljani,Ivančna Gorica, Mengeš, Lukovica,Šentrupert, Kamnik, Litija in Šmartnopri Litiji, povezane v Razvojnopartnerstvo središča Slovenije. Kotsvojo skupno identiteto občineprepoznavajo znamko Srce Slovenije,ki združuje območje v oblikisrca z geometričnim središčemSlovenije GEOSS kot središčnotočko. V brošuri predstavljamonekaj izbranih enot žive dediščineiz omenjenih občin.Klasifikacijo enot smo povzeli poUnescovi Konvenciji o varstvu nesnovnekulturne dediščine iz leta2003. Čeprav je težko smiselno uvrstitiraznolike enote žive dediščine vtovrstnih pet sklopov, pa smo skušalislediti tej klasifikaciji, saj jo uporabljajotudi ostali projektni partnerji.Ustno izročilo in izrazi, vključno zjezikom, so razna ljudska verovanja,bajeslovje, pripovedništvo, pesništvo,kratke prozne oblike, bralnenavade in posebni narečni govori.Uprizoritvene umetnosti predstavljajorazlične ljudske gledališkepredstave, pasijoni, plesne uprizoritvein lutkarstvo.Družbene prakse, rituali in praznovanjavključujejo življenjske inkoledarske šege ter navade, kulinaričneparke, prosti čas in zabavo.Znanje in prakse o naravi in svetuzajema področje naravnegaokolja, zdravilstva, rastlinskega inživalskega sveta, znanja o vremenuin pojavih, vedenja o življenjskemprostoru, zgodovinske zavesti ingeografskega obzorja.Tradicionalne obrtne in gospodarskeveščine vključujejo različnotehnično znanje, ki se nanaša naobrti in gospodarske panoge.The following are the municipalitiestaking part in the project DevelopmentalPartnership of Central Sloveniaand in the preparation of thisbrochure: Dol near Ljubljana, IvančnaGorica, Mengeš, Lukovica, Šentrupert,Kamnik, Litija and Šmartno near Litija.The municipalities consider the brandThe Heart of Slovenia their commonidentity; this brand unites the heartshapedarea with the geometricalcentre of Slovenia GEOSS as its centralpoint. This brochure presents someof the selected units/areas of livingheritage from the above-mentionedmunicipalities.The classification of the units hasbeen made according to the UNESCOConvention for the Safeguarding ofIntangible Cultural Heritage from2003. Although it is difficult to classifydiversified units of living heritage intofive chapters we have tried to stick tothe classification since it is also usedby our other project partners.Oral lore and expressions includingthe language include variousfolk beliefs, mythology, story telling,poetry, short prose forms, readinghabits and special dialect languages.Performing arts represent variousfolk theatre performances, passionplays, dance performances and puppetry.Social practices, rituals and festivitiesinclude life- and calendar-relatedmanners/traditions and customs, culinarypractices, leisure time activitiesand entertainment.Social practices, rituals and festivitiescomprise the areas of naturalenvironment, healing, fauna andflora, knowledge of the weather andweather phenomena, knowledge ofthe habitat and historical and geographicalawareness.Knowledge and practices relatingto nature and the world comprisea variety of technical knowledgewhich applies to craftsmanship andeconomy-related lines of business.9

Ustno izročilo in izrazi, vključno z jezikomOral lore and expressions, including the language11

Zgodbe in bajke orudniku Sitarjevcu priLitijiZgodovina srednjeveškega rudnikaSitarjevec, kjer so do leta 1965 kopalisvinec, živo srebro, barit in cinkv rovih istoimenskega hriba (448m) na desnem bregu Save, je zelobogata in raznovrstna. Čeprav rudnikne deluje že skoraj pol stoletja,se je med domačini globoko usidralv pripovednem izročilu, kar najboljpotrjujejo različne zgodbe in bajke,ki rudnik v bajeslovnem pomenuohranjajo v spominu ljudi. Žal gazadnja leta domačini spoznavajotudi kot »ekološko bombo«, ker seiz njegovih opuščenih rovov pogostoizliva onesnažena voda.Sitarjevec sodi med najstarejše rudnikena Slovenskem, ponaša pa se še z večkot 40 km rovov in prehodov. Ljudje sona širšem območju Litije iskali rudo žev zgodnji železni dobi. Najpogostejširudnini sta bili železova in bakrenaruda, kar med drugim odseva tudi vveč kot tisočletni zgodovini rudarjenjain pridelave ter obdelave kovin v okoliciVač in Litije. Pred 2000 leti so v rudnikuSitarjevec svinčevo rudo izkopavaliže Rimljani. Rudarjenje se je obdržalodo leta 1965, z njim pa tudi številnezgodbe o življenju in težaškem delu, kijih med drugimi ohranja še nekaj živihrudarjev iz Litije in Šmartnega pri Litiji.Na pomembnost rudarjenja opozarjatudi nagrobni kamen z napisom: »Bogblagoslovi plemenito rudarstvo« izleta 1537, ki je posvečen rudarskemumojstru Christofu Brukherschmidu instoji v šmarski cerkvi. V preteklosti najbi bilo Šmartno pri Litiji povezano zrudiščem na Maljeku s štiri kilometredolgim rovom, ki so ga končali leta1648 in je prišel na dan pri kapeliciKristusovega trpljenja na Pungartu.Pri kopanju rova je rudarje zasulo into je bil povod za legendo o nastankušmarske cerkve, ki jo znajo povedatiskoraj vsi domačini, stari in mladi:»V Sitarjevcu je bil rudnik in rudarji sokopali pa jih je nekega dne zasulo.Potem so kopali in kopali in kopali, dabi se rešili. Medtem so se zaobljubili, dakjer bodo prišli na plan, bodo cerkvicosezidali. Prišli so tu, v Šmartnem ven inpotem so res zgradili cerkvico. Dan, koso se rešili, je bil godovni dan sv. Martina,zato so tudi cerkvico njemu posvetili.Mišljena pa je še prejšnja cerkeviz 16. stoletja. To je šmarska legenda.«Rudarji iz Sitarjevca dobro poznajoškrata Berkmandeljca (tudi Perkmandeljc,Pergmandelc, Birkmandeljc,Perkmandelj), ki je bil sicer varuh rudarjev,vendar pa je v ljudskih verovanjih vjamah povzročal tudi nesreče. IgnacSlapničar, ki se je rodil leta 1932 in jebil svoj čas rudar v Sitarjevcu, se spominja,da so imeli tega škrata za boljhudobnega, podobno, kot je na primerparkelj v Miklavževem sprevodu.Delovodje so sicer starejšim rudarjemprepovedali, da bi novince v rudnikustrašili z zgodbicami o škratu, vendarso jih kljub temu znali prestrašiti.Navidezni škrat, ki so ga v bistvu poosebljalistarejši rudarji, je neizkušenimnovincem rad izmaknil kos malice alijim skril svetilko. Zato je bil zgolj škratBerkmandeljc kriv tudi za vse drugenevšečnosti in nevarnosti, ki so spremljalein pretile rudarje. A pogosto se jeizkazalo, da je bil škrat odrešitelj vsehtegob rudarjev. Nemalokrat jih je rešilnevarnosti prav v trenutku, ko so ga zasledovalipo rovih, in se je na njihovemdelovišču zgodila nesreča, se je usulokamenje, je prišlo do eksplozije ali seje rov zapolnil s plinom. Zato so rudarjitrdili, da jim je nagajivi Berkmandeljcrešil življenje in jih na svoj igrivi načinspeljal daleč stran od kraja nesreče.Rudnik Sitarjevec je danes zaprt, ače bo del rovov odprt v turističnenamene, bodo v prikaz dela v rudnikuvključene številne zgodbe in legende.12

Stories and myths about theSitarjevec mine near LitijaThe history of the medieval Sitarjevecmine, where until 1965 lead,mercury, baryte and zinc weremined in the galleries of Sitarjevec(448 m) on the right bank of theSava River, is very rich and fascinating.Although it has been almost fiftyyears since the mine became disusedit is deeply rooted among thelocals in the form of oral lore, whichis best substantiated by various storiesand myths that keep the mine,mythology-wise, in the memory ofthe people. Unfortunately, localshave recently identified the mine as“ecological bomb” since pollutedwater is frequently discharged fromits disused galleries.Sitarjevec is among one of the oldestmines in Slovenia and boasts more than40 km of galleries and passages. In thebroader area of Litija people prospectedfor ore already in the early Iron Age. Themost frequent minerals were copperand iron ores, this fact is, among otherthings, reflected in the over-thousandyearhistory of mining, production andprocessing of metals in the surroundingsof Vače and Litija. Two thousand yearsago the Romans used the Sitarjevecmine to obtain lead ore. Mining hasbeen present in the area up to 1965 andwith this numerous stories about lifeand hard work have arisen. These storieshave been preserved by a few miners stillliving in Litija and Šmartno near Litija.We are also reminded how importantmining was by a tombstone, where itwas written in 1537: “God bless noblemining”. The tombstone is dedicatedto the master miner Christof Brukherschmidand is located in the churchof Šmarje. In the past, Šmartno nearLitija was supposedly linked by meansof a four-kilometre long gallery with theore deposit at Maljek. The gallery wasfinished in 1648 and came to the surfaceat the wayside shrine of the Christ'sSuffering at Pungart. While digging thegallery, miners were buried beneath theground and this gave occasion for thelegend on how the church of Šmartnocame into existence. Almost every local,be they young or old, is capable oftelling it:“There was a mine in Sitarjevec and theminers were digging and one day theywere buried beneath the ground. Thenthey kept on digging and digging anddigging to save themselves. While doingso they made a vow to build a churchafter they had reached the surface. Theycame out here in Šmartno and built achurch. The day they were saved was St.Martin's name's day so the church wasconsecrated to him. The church in questionis the previous one from the 16thcentury. This is the legend of Šmarje.”Miners from Sitarjevec know well thegoblin Berkmandeljc (also Perkmandeljc,Pergmandelc, Birkmandeljc, Perkmandelj)who was a guardian of theminers, yet in folk beliefs it was Brkmandeljcwho made accidents happen inthe caves. Ignac Slapničar who wasborn in 1932 and used to be a miner inSitarjevec remembers that they consideredthis goblin to be more evil, in thesame way as the devil is, for instance,in the procession of Saint Nikolaus.Foremen forbade the older miners tofrighten newcomers to the mine withstories about the goblin but they knewnevertheless how to scare them. Anapparent goblin that was personifiedby the older miners enjoyed stealing apiece of bread or hiding a lamp. This iswhy the goblin Berkmandeljc was guiltyof all the other inconveniences and dangerswhich accompanied and threatenedthe miners. Frequently it turnedout that the goblin saved the minersfrom every possible trouble. The goblinsaved them from danger at the verymoment when they were following himthrough the galleries and an accidenthappened at their workplace, stonesstarted pouring down, an explosionhappened and a gallery was filled withgas. Consequently, the miners claimedthat the teasing goblin Berkmandeljcsaved lives and in his own playful mannertook them away from the placeswhere bad things happened.The Sitarjevec Mine is closed today; butif a part of the galleries are opened fortourists, the presentation of working inthe mine will include numerous storiesand legends.13

Zgodbe o ajdih inajdovskih deklicahBeseda ajd označuje velikana, kiima ponavadi pozitivno vlogo vljudskih legendah in velja za najstarejšegamitičnega prebivalcazemlje. Ajdovska deklica je njegovahči in ima lastnosti čarobnega bitja.Vlogo v verovanju o starem ljudstvuvelikanov je igrala domišljija,ki je bila plod strahu in religioznegaverovanja o nadnaravnem.Značilnost različnih zgodb o ajdih inajdovskih deklicah je, da označujejostaroselce, ki so v naših krajih živelipred Slovani, pripovedni spomin oajdih pa je ohranjen vse do danes.Poleg tega, da ajd označuje velikana,se je v zgodovini skupaj s selitvami inbitkami pojavil tudi ajd, ki označujepogana. Ajdi so velikokrat pomagaligraditi cerkve, premikali so skale, živeliso v jamah, z nogama so stali na dvehbregovih in prali perilo, deklice so vpredpasnikih nosile kamenje ali zlatoitd. Skoraj vsak kraj ima še danes svojorazličico legende in »resničnih srečanj«.Starejši ljudje pomnijo veliko zgodb,medtem ko mlajši vedno manj.V okolici Lukovice so ajdovske deklicepomagale pri gradnji cerkve vPraprečah, saj so nosile kamenje izPalovč. Neki kmet naj bi kričal na enood njih, ki je prečkala njegovo polje,ta pa je odvrgla skalo iz predpasnika,ki še danes stoji pod Palovčami. Drugazgodba pravi, da je ajdovska deklicaprinesla predpasnik zlata za zvonik naGolčaju, ki se še danes sliši najlepše vPrilesju. Ljudje znajo povedati, da jetod ajdovska deklica stala z eno nogona Samrgli, z drugo na Dragi, v Radomljipa je prala plenice.V Mengšu so ajdovske deklice v predpasnikihnosile kamenje in skale zagradnjo mengeške cerkve. Pleniceso prale v Pšati pri Topolah, medtemko so z eno nogo stale na Grintovcuin z drugo na Šmarni gori. V Dolu priLjubljani pa je ajdovska deklica pralaplenice v Savi.Zanimive zgodbe, ki jih je zbrala IdaDolšek v svoji knjigi z naslovom Kakuse kej narod rihta, prihajajo tudi izokolice Polšnika, razložene vasi priLitiji. Olga Majcen (roj. 1925) je znalapovedati zgodbe, ki jih je slišala odmame, rojene 1892. leta: »Na Torijevmugrunti pod Ostrežom so živeli ajdi, ajdovci.So bili dobri ljudje. Zelo veliki inmočni. So prišli gor na Preveg, kjer sosedaj domačije Pri Koširju, Grabnarju,Hiršelnu in so tem kmetom kar čez nočdelo končali. So bili zelo močni. Plug,če se je ustavil, ga je kar sam zagrabilin prestavil. Če so sredi njive ostalikmetje, ki so delali, so jim ponoči ajdipriskočili na pomoč. Drugi dan je bilodelo končano. Ajdi so bili bolj nevidni,niso se radi kazali. So kar izginili, ko sose navadni ljudje naseljevali. So živelnad Prevegom, kjer je ena jama, ki seji še sedaj reče ajdovska jama. Še dol vPasjek je bila ena jama, ne vem točno.Pa pod eno skalo, malo naprej, naj bijih tudi ene štiri, pet notri živelo«Ivan Kralj (roj. 1927) iz Prevega se jespominjal, da je v Ajdovski jami tudikamnita postelja, dolga dva metra inpol. Ta naj bi bila še vedno na istemmestu. Pripovedoval je, da so bili ajdina tem območju naseljeni že predSlovani, pojedli pa so sedemkrat tolikokot navadni ljudje.Bajna bitja so po predstavah ljudiživela v naravnem okolju, v katerem seje moral človek za sožitje z njimi znajtiin večkrat poslušati njihove nasvete, čeje hotel preživeti. V naravi je zato najtinajveč skrivnostnih bitij, z njimi povezanihzgodb in spominov.14

Stories about giantsand giants’ girlsThe word “ajd” means a giant whichusually plays a positive role in folklegends and is considered to be theoldest mythical inhabitant of theearth. The giants’ girl is his daughterand has the characteristics of amagical being. Imagination playeda role in the beliefs about an oldrace of giants: it was the fruit of fearand religious beliefs in the supernatural.A characteristic of the stories about giantsand giants’ girls is that they applyto aborigines who lived here before theSlavs and the memory of which hasbeen preserved through story telling tothis day. In addition of an “ajd” describinga giant, the word also stands for apagan who appeared through historywith migrations and battles. The giantsoften helped build churches, movedrocks, lived in caves, stood above rivers,a leg on each bank, doing the laundry,the giants’ girls carried stones or gold intheir aprons and the like. Almost everyplace has preserved its alternative and“real encounters” until this day. Olderpeople remember many stories whilethe young much less.In the surroundings of Lukovica the giants’girls helped to build the church inPrapreče carrying stones from Palovče. Afarmer is supposed to have yelled at oneof them while she was crossing his fieldand the girl threw a rock from her apronand the rock is still there below Palovče.Another story says that a giants’ girlbrought an apron of gold for the churchtower at Golčaj and even today thesound of the bell is the nicest in Prilesje.People are known to tell that a giants’girl stood on Samrgla with one leg andon Draga with the other while washingthe nappies in Radomlja.In Mengeš, giants’ girls carried stonesand rocks in order to help build thechurch there. They washed nappies inPšata at Topol standing on Grintovecwith one leg and on Šmarna gora withthe other. In Dol near Ljubljana a giants’girl washed nappies in the Sava River.Interesting stories, collected by IdaDolšek in her book entitled Kaku se kejnarod rihta, come from the surroundingsof Polšnik, a dispersed village nearLitija. Olga Majcen, born in 1925, isknown to have told stories she hadheard from her mother who was bornin 1892: “At the large Tori estate belowOstrež, giants used to live. They weregood people. Very big and strong. Theycame up to Preveg where the Košir,Grabnar and Hiršeln farms are locatednowadays and the farmers there finishedtheir work overnight. They werevery strong. If a plough stopped, a gianttook it with his hands and movedit on. If farmers working in a field didnot manage to finish their work, giantsgave them a helping hand. Next daythe work was completed. The giantskept to themselves, they did not like tobe seen. With ordinary people settlingthey simply disappeared. They livedabove Preveg where there is a cave andit has been called Giants’ Cave to thisday. There was another cave down inPasjek, I do not remember it well. And abit farther on, there were four or five ofthem living inside under a rock.”Ivan Kralj, born in 1927, from Preveg,remembered that there was also a stonebed in Giants’ Cave: it was two and halfmetres in length. It is still supposed tobe there. He used to say that the giantssettled in this area before the Slavs andthey ate seven times as much as ordinarypeople.According to the beliefs, mythologicalbeings lived in natural environmentswhere a man, wanting to live in harmonywith them, often had fend forhimself and listen to their advice if hewanted to survive. This is why the largestnumber of mysterious beings are foundin the countryside, and the stories andmemories having to do with them arecountless.15

Uprizoritvene umetnostiPerforming arts17

Lutkovna igra MejašiMejaši so stara ljudska lutkovnaigra, ki so jo navadno igrali na porokah.Je zelo svojevrstna in ji nimoč najti podobne v evropskemlutkarstvu, zato govorimo o tipičnoslovensko-kajkavski lutkarski obliki.Pogosto so jo uprizarjali tudi naobmočju Šmartnega pri Litiji, danesle še ob posebnih dogodkih.Prvi strokovni zapisi o igri v Slovenijiso se pojavili leta 1941, opisujejo palutkovni prizor »Pravda za mejo« naDravskem polju. Starejši ljudje so žetakrat pripovedovali, da je to zelo »staršpas« na svatbah. Po pripovedih očetaIde Dolšek, Gregorja Pivca (roj. 1928), kije igro večkrat igral, so se lutke v Javorjunad Bogenšperkom pojavile prvaleta po drugi svetovni vojni. Lutkam sereče mejaši, pogovorno v okolici Javorjatudi »mlatiči«, ker se igralci prepirajozaradi meje.Igro so na poročnih svatbah igrali ljudskigodci, ponavadi mlajši moški. Zaigro potrebujemo klop, dve odeji, dveleseni palici (oblečeni v dva suknjiča)in klobuk. Na začetku se ena odejapoloži na tla, nanjo pa klop, pod katerose uleže moški igralec. Z drugo odejose klop pokrije z vrha. Nato se igralecoprime klopi z obema rokama innogama. Dva moška prekrijeta klop sspodnjo odejo in jo prineseta na prizorišče.Delno razgrneta odejo in igralecse s hrbtom spusti na tla. Njegovi roki(lutki) počivata na klopi, nogi pa spodvijepod zgornjo odejo. Vse razen lutkje skrito. Lutki oživita, vsaka ima svojeime, npr. Jože in Miha. »Kaj boš kaj danesdelal?« »Sem mislil, da bi mlatil. Miboš kaj pomagal?« »Veš, da ti bom, sajsi moj sosed.« »No, pa začniva.«Začneta mlatiti, sliši se pi-ka, po-ka. Nekajčasa lepo teče, nato pade »cepec«po sosedu. Ta se začne pritoževati, zakajga je udaril. Prvi se izgovarja, da ninič hudega mislil, naj še mlatita. Tepežse po mlatenju ponovno ponovi še vhujši obliki. Pristopi tretja oseba ali razsodnik:»Kaj se vidva tepeta?« Razložitamu, kako se je začelo, in izkaže se, dasta že dalj časa v sporu zaradi mejnika,ki naj bi stal »na tej strani«, in Jožepotolče z desnico po klopi. Vsak kažesvojo stran meje. Razsodnik razsodi,kje naj bi stal mejnik, nato se pobotatain mlatita naprej. Ko se ponovno udarita,se izkaže, da so posredi ženske,Miha naj bi rad pogledal za Jožetovo.Po veliko besedah se dogovorijo, dabo Miha pustil žensko pri miru, Jože pabo popustil pri mejniku. Tako se zopetpobotata, sežeta v roke in igra se konča.Igralec se oprime klopi in nosačaga odneseta.Za igro sta potrebna dva igralca, enigra oba soseda in drugi razsodnika.Glavni igralec za vloge izmenjujerazlične glasove in občinstvo ne ve, alije pod klopjo en igralec ali dva. Igra jetako še bolj smešna. Imena igralcev sosi ponavadi izposodili od bližnjih sosedov,ki sta bila zares v sporu.Ida Dolšek, umetniška vodja KUD Folklornaskupina Javorje, je igro večkrat videlakot otrok, nato jo je obudila s folklornimiskupinami. Z igro so nastopilina mednarodnem srečanju lutkarjev vLjubljani leta 1992. Igra je bila namrečzelo posebna, saj je ni bilo moč videtikjer koli drugje. Danes društvo uprizoriigro na nekaterih nastopih, sicer pa siželijo, da bi se tehnike igranja priučilamladina.18

Puppet show entitled Mejaši(persons whose real estate properties borderon each other; translator’s note)Mejaši is an old puppet show whichwas usually played at weddings.It is quite unique and its equal isnot to be found among Europeanpuppetry. This is why we speak of atypical Slovenian-Kajkavian puppetform. It was also often staged in thearea of Šmartno near Litija, todayit is only put on stage on specialoccasions.The first professsional notes on puppetryin Slovenia appeared in 1941:they describe a puppet scene entitled“Lawsuit for the borderline” at Dravskopolje. Even as early as that time olderpeople told that that was an “old prank”at weddings. According to the storiestold by Ida Delšek’s father Gregor Pivec,born in 1928, who had seen the playseveral times, puppets appeared in Javorjeabove Bogenšperk during the firstyears following World War I. Puppets arecalled mejaši and in the surroundingsof Javorje they are also called “mlatiči”(threshers) since the players quarrel overthe borderline between their properties.The play was performed at weddingcelebrations by folk musicians who wereusually younger men. The following arethe stage props required for the play: abench, two blankets, two wooden sticks(dressed in two jackets) and a hat. At thebeginning one blanket is laid down andthe bench is placed on the blanket; underthe bench, a male actor lies down.The second blanket is used to coverthe bench from the top. Then the actorholds the bench with both hands andlegs. Two men cover the bench with thelower blanket and bring the bench onthe stage. They partly unfold the blanketand the actor descends down onto thefloor. Their hands (puppets) rest on thebench while he hides the legs underthe upper blanket. Everything but thepuppets is hidden. The puppets come tolife; each has a name, for instance Jožeand Miha. “What are you going to dotoday?” “I thought I would thresh. Willyou help me do some?” “You know I will,you are my neighbour, aren’t you? “Allright, let’s start.”They start threshing, the strokes can beheard: pi-ka po-ka. For a while everythinggoes smoothly and then a flail falls downhard on the neighbour. The latter beginsto complain about having been hit. Thefirst offers a pretext that he meant noharm and asks the neighbour that theycontinue working. After they have beenthreshing for some time the fight startsagain, only this time it gets much worse.A third person comes up to them, the socalledarbitrator: “What are you fightingabout?” They explain to him how thefight started and it turns out that theyhave had this dispute for quite some timeover a boundary stone which is supposedto be “on this side”, and Jože pounds thebench with his right hand. Each showshis own side of the border. The arbitratorgives judgement as to where the borderstone should be, and then they make upand keep on threshing. When they takeup the fight again it turns out that it is allabout the women: Miha is supposed tocast glances at Jože’s wife from time totime. Big words followed and in the endthey agree that Miha will leave Jože’s wifealone while Jože will give in with respectto the border stone. Thus they make upagain, shake hands and the play is over.The actor holds tight to the bench andthe two men carry him off the stage.One actor plays two roles (two neighbours)and another is an arbitrator. Firstuses different voices for the roles andthe audience does not know how manyactors there are under the bench. Thismakes the play even funnier. The namesof the characters were usually borrowedfrom nearby neighbours who haveactually had a dispute.Ida Dolšek, artistic director of the Culturaland Arts Society Folklore GroupJavorje, saw the play several times whenshe was a child and then brought itback to life by means of folklore groups.They gave a performance at the internationalmeeting of puppeteers inLjubljana in 1992. The play is very specialsince it cannot be seen anywhere else.Nowadays the Society stage the playwhen they give a performance as aguest theatre; however, they do wishthat the technique of playing would belearned by the young.19

Tamburaški orkesterŠmartno pri litijiŠmartno pri Litiji se ponaša z bogatimkulturnim življenjem, o katerempričajo kulturno-umetniškadruštva z večdesetletno tradicijo.Med njimi je tudi Tamburaški orkesterŠmartno pri Litiji, kateregazgodovina sega v leto 1892 in veljaza najstarejšo tamburaško skupinov Sloveniji.Ohranjeni blagajniški dnevnik priča oustanovni veselici zbora na začetku 20.stoletja. Šmarski tamburaški zbor, kotse je sprva imenoval, je najprej vodilŠmarčan Ivan Bartl. Poznejših pisnihvirov in fotografij o delovanju orkestraje malo. Pobudo za ponovno oživitevtamburaške skupine je leta 1983 dalaumetniška vodja domače folklorneskupine KUD Folklorna skupina Javorje,Ida Dolšek. Vodenje skupine jetakrat prevzela Urška Meglič, nato paše Marjan Janežič ml. in Janko Slimšek.Šmarsko tamburaško skupino, ki se jerazširila v orkester, je leta 2002 prevzelaumetniška in dirigentska vodja HelenaVidic, diplomiranka kompozicije indirigiranja na Akademiji za glasbo vLjubljani. Pod njenim vodstvom seje skupina razvila v enega najboljšihslovenskih orkestrov, kar potrjujejodosežki na domačih in mednarodnihtekmovanjih. Januarja 2010 se je društvoodcepilo od Kulturno-umetniškegadruštva Javorje in danes deluje zimenom Kulturno društvo Tamburaškiorkester Šmartno. V zadnjih letih jetamburaštvo v Šmartnem namrečpreraslo okvire sekcije, zato so se odločiliza preoblikovanje v samostojnodruštvo.Trenutno v orkestru aktivno sodeluje36 tamburašev, kar jih uvršča med največjetamburaške sestave s Sloveniji.Prevladujejo mladi, saj več kot polovicačlanov šteje manj kot 30 let. Najmlajšitamburaš šteje 11 let, najstarejši pa71. Šmarske tamburaše sestavljajo trisekcije: tamburaški orkester, skupinaTrzalica in mladinska sekcija.Člani orkestra igrajo na vseh pet instrumentoviz družine tamburic: bisernico,brač, tamburaško čelo, bugarijo inberdo. Vaje potekajo vse leto, dvakrattedensko v šmarski osnovni šoli. Vzadnjih letih izvedejo okoli 35 nastopovna leto. Kadar orkester nastopasamostojno, se člani oblečejo v enotnaoblačila, za katere poskrbijo sami.Njihov repertoar je zelo raznovrsten inobsega več kakor sto skladb. Največje priredb slovenske ljudske glasbein priredb tujih pesmi. V zadnjih letihso s pomočjo Helene Vidic razširilrepertoar s priredbami klasične glasbe,ciganske glasbe, narodnozabavnih vižin tudi z izvirnimi deli.V orkestru je zelo pomembna glasbenaplat, poleg tega pa orkester obstajakot posebna družbena skupina. Vnjem je prisoten splet različnih odnosov,navad in nenapisanih pravil, ki sopogojeni z generacijsko in poklicnostrukturo ter priložnostmi, kjer se orkesterpojavlja. Stiki med tamburaši semnogokrat nadaljujejo tudi po vajahin nastopih, predvsem kadar kdo praznujerojstni dan. Včasih pa tamburašipresenetijo kakšnega svojega članatudi s podoknico za god.20

Tamburitza orchestraŠmartno pri litijiŠmartno near Litija boasts a richcultural life which is witnessed bythe Cultural and Arts Societies witha decades-long tradition, amongthem the Tamburitza OrchestraŠmartno near Litija. Their historygoes back to 1892 and is consideredthe oldest tamburitza group inSlovenia.The preserved cash book is a documenton the constitutional festivityof the choir at the beginning of the20th century. The Tamburitza Choir ofŠmartno near Litija, as it was originallycalled, was at first led by Ivan Bartl fromŠmartno near Litija. There are only afew written sources and photographson the orchestra of a later date. Theinitiative to revive the tamburitza groupwas given in 1983 by the artistic directorof the folklore group of the Cultural-Arts Society Folklore Group Javorje, IdaDolšek. At the time the group was ledby Urška Meglič, and later on by MarjanJanežič Jr. and Janko Slimšek. In 2002,the Tamburitza Group of Šmartno nearLitija which had already grown into anorchestra was taken over by the artisticdirector Helena Vidic who majored inComposition and Conducting at theMusic Academy in Ljubljana. Under herleadership the group grew into one ofthe best Slovenian orchestras, which isevidenced by their achievements at nationaland international competitions.In January 2010, the Society left theCultural and Arts Society Javorje and isactive today under the name of CulturalSociety Tamburitza Orchestra Šmartnonear Litija. During the last two years theactivities of the tambouritza players inŠmartno outgrew the frameworks of thesections so they decided to become anindependent society.At the moment there are 36 activetamburitza players, which has earnedthem the right to be among the largesttamburitza groups in Slovenia. Themembers are mostly young since morethan a half of them are under 30 yearsof age. The youngest tamburitza is 11years old, while the oldest is 71. There arethree sections of the tamburitza playersof Šmartno near Litija: the TamburitzaOrchestra, the Plectrum Group and theyouth section.The members of the Orchestra masterall five instruments from the tamburitzafamily: bisernica, brač, tamburaško čelo,bugarija and berda belonging to theplucked string instrument group. Theyhave rehearsals all the year round, twicea week in the Šmartno elementaryschool. Over the recent years they havebeen participating in about 35 appearancesannually. When the Orchestraperforms independently, the memberswear uniforms which they take care ofthemselves.Their repertoire is very diverse and comprisesover one hundred compositions.Most of them are arrangements of Slovenianfolk music and arrangements offoreign songs. Over recent years HelenaVidic has been helping them to broadentheir repertoire by including arrangementsof classical music, gipsy music,folk melodies and original works.Music is a very important element of theOrchestra; in addition, the Orchestra existsas a special social group. Within theOrchestra, different relationships, habitsand unwritten rules are intertwined andthey all depend on the generation- andprofession-related structure as well ason the occasions when the Orchestraperforms. The members keep in contactalso after rehearsals and performances,in particular when one of them has abirthday. Sometimes they surprise amember with a serenade on the occasionof their name’s day.21

Družbene prakse, rituali in praznovanjaSocial practices, rituals and festivities23

Špinerbal, litijski plespredilcevŠpinerbal, ki so ga po letu 1945preimenovali v ples predilcev, jespadal med elitnejše dogodke vmestu Litija. Njegovi začetki segajov prvo četrtino 20. stoletja in so povezanis tovarno, Predilnico Litija, kinemoteno deluje od leta 1886. Mednajstarejšimi še živijo spomini nata dogodek, ki je v mesto prineselpravo vznemirjenje ter spravil nanoge številne obrtnike, od šivilj dokrojačev, krznarjev, čevljarjev infrizerjev.Med obema vojnama je bil »špinerbal«razkošna prireditev, ki so se je udeležilizaposleni v predilnici, med njimi tudidelavci, litijska gospoda in povabljenigostje partnerji iz drugih krajev. Da bise delavci lahko kosali z gospodo, sose za ples še posebej uredili. Na plesuje bilo poskrbljeno za hrano in pijačo,glasbeni ansambel, okrašeno dvorano,sprejem domačih in tujih gostov,garderobo, strežbo pri mizah, nagovorin otvoritveni ples ter vodenje plesa inspremljajočih iger. Špinerbal so prirejalivedno v zimskem času, navadno tedendni pred pustom. Če je bila sobota»pustna sobota«, so bile dobrodošletudi maske.Beseda »špinerbal« izvira iz nemškegajezika (spinnen – presti, Ball – v povezavis prvo besedo pomeni ples,sicer pa žoga). Točen začetek prirejanjaplesa ni znan, domnevajo pa, da se jezačel okoli leta 1928, ko je predilnicadogradila dvorano Na Stavbah, kjerse je ples vedno odvijal. Dogodek jeotvoril direktor, ki je za ples zaprosilnajstarejšo predico, delavsko zaupnicoali uradnico. Vedno pa je bila plesalkaslovenskega rodu (sicer je bil lastnikpredilnice Mautner, tuji lastnik). Plesaliso standardne plese, ki so v tem časuprodirali iz Amerike v Evropo. Mladiso se na plesnih vajah naučili tudinovih plesov. V večeru so se zvrstiletudi razne igre, med drugim so plesali»cvetlični valček«, ko je plesalec poklonilplesalki nagelj ali šopek rožic in joprosil za ples. Med prvimi plesi so izbiralitudi najlepšo plesalko, miss večera,ki je naslov nosila eno leto in bila v temčasu nekoliko privilegirana. Ples je trajaldo jutranjih ur. Dobra volja, glasba inples so opogumili še sramežljive inomehčali narejeno elitno držo. Protikoncu plesnega dogodka so dobripevci še kakšno zapeli.Še bolj kot sam ples so izstopale plesnetoalete. Vse udeleženke so se pripravljalev strogi tajnosti in nekatereso varčevale precej dolgo, da so lahkodale narediti novo obleko po meri.Mlade delavke so se zgledovale povišjem sloju in ni se spodobilo v istiobleki na ples tudi naslednje leto. Zatošpinerbal ni bil le plesni dogodek, pačpa tudi prava »modna revija«.Predilnica Litija še vedno organiziraletni dogodek za zaposlene, zadnječase ob okroglih obletnicah, vednopred novim letom – 26. decembra,poskrbi za vse: kulturni program, nagovorgeneralnega direktorja, večerjo,ansambel, vendar ne pod takšnimnazivom in v tolikšnem obsegu, kotje bil »špinerbal«. Kulturno-umetniškodruštvo Folklorna skupina Javorjeiz Šmartna pri Litiji si prizadeva zaoživitev te dediščine in se povezati sPredilnico Litija. V ta namen so v letih2009–2011 izpeljali projekt Špinerbal –litijski ples predilcev, v okviru kateregaso naredili raziskavo na terenu, izdelalivečerne kostume, pripravili glasbenepriredbe in koreografije plesov, sestaviliprimerno zasedbo ansambla inizdali promocijsko tiskano gradivo.24

Špinerbal, the ball of thespinning mill workers of LitijaŠpinerbal which after 1945 becamethe spinning mill workers’ ball wasamong the élite events in the townof Litija. Its beginnings go back tothe first quarter of the 20th centuryand are linked to the factory, SpinningMill Litija, which has been inoperation without interruptionssince 1886. Among the oldest inhabitants,the memories of theevent are still very much alive: theevent brought excitement to thetown and made numerous craftsmenbudge, from seamstresses totailors, furriers, shoemakers andhairdressers.Between the two wars “špinerbal” was agrand event with everybody working atthe mill taking part, i.e. among others,the workers, the upper classes and theinvited guests, and partners from otherplaces. The workers took special careas far as their attires were concerned inorder to be able to compete with thoseupper classes. It was understood that a“špinerbal” comprised drink and food,a music ensemble, a decorated hall,the reception of guests arriving fromLitija and faraway places, a cloakroom,waiting at tables, a speech, an openingdance and accompanying games. Theball was always organized in winter,usually a week before Carnival. If it wason “Carnival Saturday” masks werewelcome.The word “špinerbal” has its origins inGerman (spinnen – spin, Ball – a dance/ball with respect to the first word, otherwiseit means a ball as in sports). It is notknown when exactly they started to organizethe ball but it is thought to havebegun around 1928 when the spinningmill built the hall called Na Stavbahwhere the ball always took place. Theevent was opened by the director whoasked the oldest lady spinner, a workers’representative or a lady clerk. However,the female dancing partner was alwaysof Slovenian origin (the owner of thespinning mill was Mautner, a foreigner).Standard dances which were comingfrom America to Europe at the timewere danced. The young learnt newdances at dancing lessons. During theevening of the ball several games wereplayed, the “flower waltz” was danced,i.e. the male dancing partner gave hisfemale partner a carnation or a bunchof flowers and asked her to dance withhim. During the first dances the mostbeautiful lady dancer was chosen, Missof the Evening, who had the title fora year and enjoyed certain privilegesduring this time. The ball lasted until themorning hours. The good mood, musicand dancing encouraged even the shyindividuals and softened the affectedélite attitude. Towards the end of theball good singers sang a song or two.Even more than the ball itself, it wasthe dresses that stood out. All the ladyparticipants prepared what they weregoing to wear that evening in secret andsome of them had been saving moneyfor quite a long time so that they couldhave a new dress made. Young femaleworkers followed the example of thehigher class and it was not becoming towear the same dress the following year.Consequently, špinerbal was not only adancing event but a “real fashion” showas well.The Spinning Mill Litija still organizesan annual event for the employees;recently, however, only on the roundanniversaries, always before New Year –on 26 December, and sees to everythingfrom a cultural programme, the CEO’sopening speech, dinner to an ensemble,but not under the same name andwithout the grandeur of the “špinerbal”.The Cultural and Arts Society FolkloreGroup Javorje from Šmartno near Litijastrives to revive this heritage and linkup with the Spinning Mill Litija. This iswhy in the years 2009–2011 they carriedout the project Špinerbal – the ball ofspinning mill workers of Litija: withinthe framework of this they conducteda survey in the field, made eveningdresses, prepared music arrangementsand dance choreographies, made upan appropriate ensemble and publishedpromotional material.25

Šege ob poroki,postavljanje mlajev inšrangeDediščina življenjskih šeg in navad,med njimi poročnih, se je napodeželju ohranila vse do danes.Postavljanje mlajev in šrange obporoki se od vasi do vasi nekolikorazlikuje, bistvo in namen pa ostajataenaka.V Petelinjah pri Dolskem so mlaj postavljalimladi neporočeni fantje takoženinu kot nevesti, v nekaterih sosednjihvaseh pa so postavljali ženinule en mlaj. Mlajev niso vedno znovasekali, ampak so uporabili že stare.Pred ponovno uporabo so fantje mlajeprebarvali z belo barvo, pribili v vrhsvež vršac, obesili pod vrh smrekovvenec in državno zastavo, spodaj paso jih okrancljali s smrečjem. Vmes soprivezali tablo, na kateri je na eni stranipisalo Pozdravljena (ali živela) ženin innevesta, na drugi pa Bog daj mnogosreče v zakonu. Mlaji so se začeli prodajatišele po drugi svetovni vojni, sajso se mladi zaposlili v službah in nisoimeli vedno časa za stare poročnešege. Tako je ponekod prišlo v navado,da so fantje poračunali za nevesto žekar v petek namesto v soboto, na danporoke.Mlaji so imeli bolj simbolični pomen,saj so se ob tej priliki mladidružili, hkrati pa so pripravili nevestioziroma ženinu slovo od samskegastanu. Mlaji tako označujejo slovo odfantovske oziroma dekliške druščine,hkrati pa tudi slovo iz vasi, kjer stanevesta oziroma ženin živela. Mlajiso predstavljali slavolok, pod katerimje moral ženin nujno popeljatinevesto; če tega ne bi storil, bi jimato prineslo nesrečo v zakon. Danesponekod namesto neveste (ženina)prodajajo mlaje, kar pa ne izhaja iztradicionalnih šeg in navad. Mlajeradi postavljajo ženinu ali nevesti šedanes, čeprav se čedalje manj mladihtudi dejansko poroči. Tudi nekdanjepravilo, da lahko pri tem sodelujejole mladi neporočeni fantje, ne veljaveč, saj radi priskočijo na pomoč tudidekleta in posamezni starejši vaščanipa tudi sorodniki mladoporočencev.Tovrstnega vaškega druženja se namrečše danes vsi zelo veselijo, takomladi kot stari. Mlaj so po štirinajstihdneh podrli in ga včasih uporabiliza lestev.Ženinu oziroma nevesti se je šrangalole, če sta odhajala iz vasi. Fantje sošrangali odhajajočemu fantu, dekletapa nevesti. Ponekod so za šrangopostavili oviro na cesti. Ženin je plačalza nevesto odškodnino, ki je bilanavedena v pismu nevesti. Znesek jebil različen glede na socialni status neveste(ženina). Če je nevesta prihajala izbogate družine, je bil tudi znesek temuprimerno višji. Po daljšem prigovarjanju,šaljivkah in opravljenih nalogahje ženin odkupil nevesto. Staršem jezelo veliko pomenilo, če so lahko nevestoprodali, saj so s tem vaški fantjepokazali, da so jo imeli radi. Če nevestene bi prodali, bi bila to za starše velikažalitev. Ko se je enkrat to zgodilo nekjev Vinjah, so domači fantje sredi vasisežigali nevestine obleke in čevlje, daje po vsej vasi smrdelo. Kadar odhajadekle iz vasi, pripravijo fantje še danesženinu šrango z različnimi preizkušnjamiiz kmečkega življenja, ki jih danesfantje niso več tako zelo vajeni, zneskipa so ponavadi dogovorjeni oziromaenaki ne glede na socialni status. Mladivaščani s pridobljenim denarjem zaodkup ponavadi kupijo darilo za mladoporočencaali pa gredo skupaj navečerjo oziroma zabavo. Temu pravijo,da gredo »mlaje zapit«.26

Manners and customs onwedding days, erectingmaypoles and šrange(barriers placed on a road or path in order to make thegroom pay the young men of the village for the bride;translator’s note)The heritage of life manners andcustoms, including those relatingto weddings, has been preserved inthe country until this day. Erectingmaypoles and šrange on weddingdays differ somewhat from villageto village; however, the essence andpurpose remain the same.In Petelinje near Dolsko, maypoles wereerected by unmarried young men forthe bride and groom alike while in somenearby villages only one maypole waserected for the groom. Maypoles werenot felled every time, old maypoles wereused. Before a maypole was used againyoung men painted it white, hammereda small spruce or a top of a spruce tothe top of the maypole, hung a sprucegarland or national flag immediatelybeneath the top and decorated it withspruce branches at the bottom. Inbetween they tied a board with Greetings,bride and groom and God blessthe marriage with happiness. Maypolesstarted to sell only after World War II asthe young got jobs and did not alwayshave time for old wedding-relatedtraditions and customs. Thus in certainvillages it grew into a habit for youngmen to be paid for the bride already onFriday and not on Saturday, the day ofthe wedding.Maypoles had a more symbolic meaningas this was an occasion for theyoung to socialise and at the same timeprepare everything for the bride andgroom to say goodbye to their days ofbeing single. Thus maypoles mark afarewell from the men’s, namely, girls’company they kept and at the sametime a farewell to the village wherethe bride and groom lived. Maypolesrepresent a triumphal arch under whichthe groom had to take the bride; had henot done so this would have broughtunhappiness into their marriage. Nowadays,there are villages where maypolesare sold instead of a bride (a groom),which does not originate in traditionalmanners and customs. Maypoles areerected for brides and grooms eventoday although the number of youngcouples who actually get married is onthe decline. Also the former rule thatonly young unmarried men can takepart in erecting maypoles is no longerobserved: girls, individual older villagersand relatives of the newly-weds like tohelp. Nowadays, the young as well asthe old still look forward to this type ofsocialising. Two weeks after the weddingthe maypole was pulled down andsometimes used as a ladder.Barriers (šrange) were placed on aroad or path for the groom, to wit, thebride only if they were going to leavethe village. Young men placed barrierson the road for the outgoing groomand girls placed them for the outgoingbride. In certain villages they placed abarrier on the road. The groom paid acompensation for his bride, the formerhaving been stated in a letter to thebride. The amount varied in view of thesocial status of the bride (or groom). Ifthe bride came from a wealthy familythe amount was proportionally higher.After a lengthy discussion, some jokesand practical jobs the groom had tocarry out, he bought the bride. It meanta lot to the parents if they could sell thebride as this was a way of showing thatthe village young men cared for her. Ifthe bride could not be sold, this wouldbe a serious offence for the parents.When this happened once upon a time,somewhere in Vinje the local youngmen burnt the bride’s attire and shoesso that the foul smell spread throughoutthe village. When a girl is leaving hervillage the local young men prepare adifferent šranga: they test the groom bymaking him do various jobs which haveto do with life on a farm that men arenot used to any longer nowadays; theamounts to be paid are agreed upon,to wit, equal regardless of the socialstatus. Young villagers spend the moneyso obtained either to buy a present forthe newly-weds or to go for dinner ora party together. This is what they call“drink the maypole earnings”.27

»Freh« predgodovanjemV preteklosti so ljudje posvečalivečjo pozornost praznovanju godukot rojstnega dne. Slednje se je pojavilošele po drugi svetovni vojni.Praznovanje dneva svetnika, po kateremso dobili ime, je veliko starejšein sega že v antiko. Beseda god vstarocerkveni slovanščini pomeniuro, praznik, leto. Od tod izvirapomen godu kot obletnice ali priložnosti,ki jih najdemo v nekaterihslovanskih jezikih. Do današnjihdni se je ponekod na podeželjuohranila šega, da gredo sosedje navečer pred godom »ofirati«.Godovni zavetniki so imeli v preteklostizelo pomembno vlogo pri poimenovanjuotroka. Navadno so otrokunamenili ime svetnika, ki je godovalna dan njegovega rojstva ali pa v dnehokrog njega. Če je le bilo mogoče, soime povezali tudi s predniki in sorodniki,da se je določeno ime obdržaloiz roda v rod. Prvorojenec je dobil pravilomaime po svojem očetu, kakšnood deklet pa so navadno poimenovalipo mami ali stari mami.Zelo razširjena navada na podeželjuje bila, da so sosedje na večer predgodom pripravili »freh«, »ofreht«, »ofiranje«,»ofrah«, »tablanje« ali »rumplanje«.Beseda »ofrah« domnevnoprihaja iz nemške besede hofieren,ki pomeni dobrikati se komu, dvoriti.Poimenovanje »rumplanje« izhaja izdomače besede rumel, kar pomenihrup ali trušč.Zbrani sosedje, sorodniki ali prijatelji,mladi in stari, so se odpravili h godovniku,da bi mu pripravili freh. Že nekajdni prej so zbirali različne materiale inorodja za ropot: žlice, pokrovke, piskre,verige, žage, kose, ribežne, skodelice skamenčki, krožnike, kozarce, orglice …Po drugi svetovni vojni so na dan dogodkas seboj povabili tudi godca, najpogostejeharmonikarja, in se skupajpodali do godovnika. Na pragu vratali pod oknom so se ustavili ter muzapeli in zaigrali ljudsko pesem ali zgoljropotali. Ponekod so prišli prav potihodo vrat ali okna in šele nato počili skarbidom, spet drugje so že na dalečropotali. Trušč so zganjali, vse doklerse ni na vratih pojavil slavljenec ter jihpovabil v hišo, kjer jih je pogostil. V poletnihmesecih je pogostitev potekalapred hišo. Pogostitev je bila navadnoskromna, poudarek je bil na druženju.Pogosto sta freh in druženje trajalatudi vso noč. Ta navada se je ohranilaprav do današnjih dni, samo da jo vrazličnih krajih različno imenujejo.Danes je ta šega precej manj razširjena,predvsem zato, ker opuščamopraznovanje godov in spontanomedsosedsko druženje. Nekoč so siznali vzeti čas za takšna druženja, kiso ljudi povezovala med seboj ter jimobogatila vsakodnevno življenje nakmetiji. Ker ni bilo denarja za darila, patudi v navadi niso bila, so znali drugdrugega razveseliti na druge načine.Navadno so kakšen priboljšek (suhosadje, orehe) dobili le otroci, sicer pa seje družina na ta dan odpravila k maši,gospodinja pa je pripravila tudi maloboljše kosilo. Na veliko so godove sicerpraznovali bolj moški, ženske in otrocipa bolj v ožjem družinskem krogu.28

“Freh” on the eve of a name’sday celebration(“Freh”: supposedly from the german word hofierenmeaning to flatter, to court someone; translator’s note)In the past people paid much moreattention to the celebration of theirname’s days that their birthdays.Celebrating birthdays began onlyafter World War II. Celebrating theday of the patron saint they havebeen named after is much older;it originates in the period beforeChrist. The word god (name’s day;translator’s note) meant hour,holiday, year in the Old ChurchSlavonic. These are the roots ofthe meaning of name’s day as ananniversary or occasion which isfound in some Slavonic languages.In certain communities in the countrythe custom has been preserveduntil this day, namely the customof the neighbours going to flatter/court someone (See above: hofieren,ofirati) in the evening beforesomeone’s name’s day.In the past patron saints played a veryimportant role in naming a child. Usuallythe child was named after theparton saint whose name’s day wascelebrated on the day of the child’sbirthday or around that day. If it wasat all possible the name was also linkedwith the ancestors and relatives so thata certain name was kept in the familyfrom generation to generation. As a rulethe first-born was named after his father,one of the girls was usually namedafter her mother or grand-mother.There was a widely-spread custom inthe country that in the evening beforesomeone’s name’s day the neighboursprepared “freh”, “ofreht”, “ofiranje”,“ofrah”, “tablanje” or “rumplanje” (Seeabove). The word “ofrah” is supposed tocome from the German word hofierenwhich means to flatter, court someone.The word “rumplanje” originates in thespoken language word rumel whichmeans noise or racket.The gathered neighbours, relatives orfriends, young and old, went to theperson celebrating their name’s day inorder to prepare them freh. Already afew days before they collected variousmaterials and tools to make a noisesuch as spoons, pans, chains, saws,scythes, graters, cups with pebbles,plates, glasses, harmonicas and thelike. After World War II they also inviteda musician, usually an accordionist, toaccompany them to the person celebratingtheir name’s day. They stoppedat the threshold of the door or under awindow to sing a folk song or simplyto make a noise. In certain villages theycame to the door or window as quietlyas possible and only then they made adeafening noise by means of carbide,in other villages they were raising anoise on their way to the house. Theykicked up a tremendous racket untilthe person celebrating their name’s dayappeared at the door and invited themin where they wined and dined them. Insummer they were wined and dined infront of the house. The drink and foodwere modest, it was the socialising thatcounted. Very often freh and socialisingwent on till the next morning. Thiscustom has been preserved to this dayalthough it is called differently in differentplaces.Nowadays this custom is not so widespreadmainly because we are givingup not only the celebration of name’sdays but the spontaneous socialising ofneighbours as well. In old times peopletook their time to socialise, which madethem closer to each other and enrichedtheir everyday lives on the farms. Sincethere was no money to buy presentsthey were able to find other ways torejoice. Usually it was only the childrenwho were given something extra (driedfruit, nuts), otherwise the family went tochurch when their member celebratedtheir name’s day and the mistress of thehouse prepared a slightly better lunch.It was the men who celebrated theirname’s day in a large company whilewomen and children did so in the companyof their families.29

PritrkavanjeV preteklosti so bili ljudje mnogobolj kot danes povezani z zvonjenjemv svojih župnijskih in podružničnihcerkvah. Poleg rednegaurnega določanja časa in najmanjtrikratnega zvonjenja čez dan jebilo pomembno tudi prazničnopritrkavanje, ki so ga izvajali bodisivešči cerkovniki ali krajevni ljubiteljipritrkavanja. Še danes se obposebnih priložnostih v mnogihkrajih in vaseh osrednje Slovenijezdružujejo ljubitelji pritrkavanja, kis svojim znanjem in ustvarjanjemmelodij razveseljujejo domačine.Pritrkavanje je bilo v večini krajev žeod nekdaj zelo cenjeno opravilo. Zvonilose je pred največjimi cerkvenimiprazniki, kot so velika noč, binkošti,veliki šmaren, božič, pa tudi predžupnijskim proščenjem (žegnanjem),birmo, obhajilom in podobnim. Pravilomaso pritrkovalci s pritrkavanjemcerkveni praznik slovesno naznaniliže dan prej, pozimi ob treh, poleti obštirih, lahko pa tudi pozneje. Na danpraznika so pritrkavali od petnajst dodvajset minut pred mašnim obredom,približno pol ure po obredu ter medprocesijo, kadar je bila ta del obreda.Precej razširjena je bila tudi navada,imenovana dan zvonit, kar je pomenilopritrkavanje zgodaj zjutraj (budnica)ob štirih na dan praznika ali že v nočipred praznikom. Nekoč se je povsodzvonilo s kemblji (podolgovat, odebeljenkovinski predmet, gibljivo pritrjenv zvon), pri čemer so bili zvonovi nepremičniali pa je eden od njih nihal. Vzačetku devetdesetih let 20. stoletja sopostopoma začeli uvajati elektronskopritrkavanje. Kljub temu je še danesveliko pritrkovalcev, mladih in starih.Ponavadi so pritrkavali pred večjimiprazniki le v farni cerkvah, na podružnicahpa pred žegnanjem. Pritrkavaliso v glavnem mladi fantje, vodja paje bil navadno cerkovnik (mežnar).Znanje o pritrkavanju se je prenašaloiz roda v rod. Fantje so pred pritrkavanjemv zvoniku že doma pridnovadili na pokrovke, ki so jih privezalina kakšen drog. Za velike cerkvenepraznike so pritrkovalci iz posameznihvasi med seboj tekmovali, kdo bozjutraj prej začel, in se ocenjevali, kdolepše pritrkava. Za pritrkavanje so bilizelo pomembni posluh, občutek zaritem in smisel za kolektivno delo.Pritrkovalci so znali zaigrati na zvonovenajrazličnejše viže.V Mengšu od leta 1997 deluje pritrkovalskasekcija Kulturnega društva Mihaelovsejem Mengeš. Vodi jo FrancBlejc, ki veščino pritrkavanja obvladaže 66 let. Učenje pod njegovim vodstvomin s pomočjo dveh študentov(Ana Pišek in Žiga Strmšek) poteka naminiaturnih šolskih zvonovih v Župnijskemdomu v Mengšu enkrat na tedenpred prazničnim pritrkavanjem, sicerpa tudi na različnih oratorijih. Francima trenutno dve starejši in tri mlajšeučenke.V župniji svete Helene v Dolskemdeluje skupina pritrkovalcev v sklopuKulturnega društva misijonarja dr.Janeza Janeža. Mentor manjši skupinimlajših fantov je Gregor Vode. Vadijona kovinskih ceveh, okvirno dvakratna mesec.Zelo dejavni pri pritrkavanju so tudi vobčini Šmartno pri Litiji, kjer trenutnodeluje skupina mladih pritrkovalcev,ki se srečujejo enkrat na teden. Tudina Brdu pri Lukovici imajo štiri pritrkovalskeskupine (starejši, mlajši okrog 40let, mladi do 20 let in osnovnošolci).Dobivajo se enkrat na teden, razenstarejši enkrat na mesec. Mentor inkoordinator je Anton Lebar, ki se z družinskotradicijo – pritrkavanjem ukvarjaže več kot petdeset let.30

ChimingIn the past people were much moreconnected with ringing in the succursaland parochial churches thanthey are today. In addition to clockstriking and ringing at least threetimes a day, holiday chiming wasalso important. It was performedby sacristans or local chiming devotees.Even today in many places andvillages in central Slovenia, chimingdevotees come together on specialoccasions and spread happinessamong the locals with their skillsand melody creations.Chiming has always been a muchrespected job in most places. The bellswere rung before major church holidayssuch as Easter, Pentecost, the Assumptionand Christmas; the bells were alsorung before a parish festival commemoratinga church’s patron saint, confirmation,Holy Communion and the like. Asa rule, a church festival was announcedby festive chiming one day before, inwinter 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 twentyminutes before mass was celebrated,approximately half an hour after theritual and during the procession whenthe latter made part of the ritual. Quitewidespread was the custom called toring the day, which meant chimingearly in the morning (wake-up call) at 4a.m. on the day of the festival or alreadyduring the night before the festival. Intimes past the tongues of a bell wereused to ring with the tongues of a bell(kemblji – oblong thickened metal objectsfastened into the bell so that theywere movable) whereas the bells wereeither immovable or one of them wasoscillating. In the beginning of the 1990selectronic chiming was introduced.Nevertheless, there are still many people,young and old, who enjoy chiming.Usually chiming was performed beforemajor festivals only in parochialchurches and in succursal churchesbefore the parish festival commemoratinga church’s patron saint. It wasmainly young men who chimed led bytheir sacristan. The knowledge of chimingwas transferred from generationto generation. Before chiming in thechurch tower, the young men practisedat home on pot lids they had suspendedon a pole. On the occasions of majorchurch holidays, the persons chimingfrom different villages competed forwho would start earlier in the morningand their chiming was appraised asto whose chiming was nicest. What isneeded if one wants to chime well? Anear for music, a sense of rhythm andteam work. Various melodies wereknown to have been chimed.Since 1997 there has been a chimingsection of the Cultural Society Mihael’sFair Mengeš. It is led by Franc Blejc whohas been a master of chiming for 66years. Learning under his leadershipand with the assisstance of two students(Ana Pišek and Žiga Strmšek) takes placeon miniature school bells in the ParishHouse in Mengeš once a week beforethe festive chiming and also in variousoratories. At the moment Franc hastwo older and three younger femalestudents.Within the framework of the CulturalSociety of the missionary Janez Janež,Ph.D., a group of chimers functionsin the parish of Saint Helen in Dolsko.Gregor Vode is a mentor to a smallgroup of younger boys. They practise onmetal pipes more or less twice a week.An intense chiming activity is presentin the municipality of Šmartno nearLitija where a group of young chimersfunctions and they meet once a week.Brdo near Lukovica boasts four chiminggroups (older chimers, younger onesaround 40 years, young up to 20 yearsof age and elementary school students).They meet once a week with the exceptionof the older group who meet oncea month. The mentor and coordinatoris Anton Lebar who has been involvedin chiming, that has grown into a familytradition, for over fifty years.31

Priprava velikonočnihoblatovZa velikonočni blagoslov jedi (žegen)na veliko soboto večinomagospodinje pripravijo umetelnopletene jerbase, košare in cekarjeter jih napolnijo z vzorci velikonočnihjedi. Na območju občine Dol priLjubljani, v Tuhinjski dolini in doliniČrni graben so ohranili navado, dajedem priložijo tudi posebne hostijeoziroma oblate.V košari so praviloma meso (šunka,klobasa ali danka), ki predstavlja Kristusovotelo, kolač, potica ali štrukljiso trnjeva krona, trije hreni pomenijožeblje, rdeči pirhi pa Kristusove rane alikaplje krvi. Dodajo še kvašen kruh, jabolka,kakšno pomarančo in ponekodtudi oblate. Košaro za blagoslov jedinato prekrijejo z vezenim ali čipkastimprtičem, ki je narejen in okrašen pravza to priložnost. Žene in dekleta so sinekoč zadale pripravljene jerbase naglavo, podložile pa so jih s svitkom. Taokrogla blazinica z luknjico v sredini seje lepo prilegla glavi in ublažila pritisktežkega jerbasa.V župniji svete Helene v Dolskemžegnu še vedno dodajo oblate. Oblatiso opresen oziroma nekvašen kruh,izdelani pa so kot velike ovalne hostije.Pripravljeni so iz moke in vode, zapeko pa se uporablja poseben pekač,ki pusti v končnem izdelku odtis Jezusovegamonograma. Okoli 1400 kosovoblatov se peče mesec dni. Pečejo se vposebnem pekaču, ki deluje samostojnona elektriko, za peko enega oblataje potrebna dobra minuta. Prvotno jeoblate pekel mežnar in si s tem prislužilkakšen dodaten denar za preživetje.Pozneje je to vlogo prevzela župnikovagospodinja, ko sta odšla z župnikomv drugo župnijo, pa nekaj časa oblatovni pekel nihče. V Dolskem danesdelajo oblate pri Borc (pri Bokalovih),poseben pekač so dobili v župnišču,ko se je pokvaril, pa so kupili novega vItaliji. Jože Bokal, ki peče oblate, je tudisicer mežnar v župniji, vendar je bilapobudnica za prevzetje naloge pekeoblatov njegova žena. Žal marsikjeprimanjkuje pekačev za peko, vendarJože Bokal iz Dolskega rad naučipeke oblatov vsakogar in tudi pekačz veseljem posodi na dom. Jožetupri peki oblatov pomagajo družinskičlani. Oblate razdelijo med farane predcerkvijo po mašah na cvetno nedeljo,nekateri pa jih pridejo iskat na domk Bokalovim. Navadno dajo ljudje zaoblate prostovoljne prispevke. Oblatiso zelo priljubljeni zlasti med otroki, sajso prijetnega blagega okusa in čvrstohrustajo.Jerbas (košaro, cekar) so po blagoslovuprinesli domov in ga postavili napraznično pogrnjeno mizo. Jedi so navadnopočakale kar v njem do naslednjegajutra, ko se je ob velikonočnemzajtrku zbrala vsa družina. Takrat sočlani družine na začetku obedovanjazaužili še oblate in vsakdo je dobil vsajen kos.V Tuhinjski dolini, v župniji Zgornji Tuhinj,ohranjajo tradicijo peke oblatov,ki jih med vernike razdelijo v tednupred veliko nočjo. Spečejo vsaj 900oblatov, za vsakega po enega. Enakošego ohranjajo v Blagovici, Krašnji in naVačah. Oblate pečejo tudi redovnicena Mali Loki pri Ihanu.32

Preparation of Easter wafersOn Holy Saturday the ladies of thehouse prepare food to be taken tochurch for Easter benediction inlarge woven wicker baskets and anarrow, two-handled bag, usuallyof straw. In the area of the municipalityof Dol near Ljubljana, in theValley of Tuhinj and the Črni grabenValley a special custom has beenpreserved, namely, to put specialhosts or wafers among the food.As a rule there is meat in the wickerbasket (a ham, sausage or a colon, i.e. afat sausage with the ingredients stuffedinto a colon) which represent the bodyof Christ, a cake, potica (a traditionalcake consisting of a sheet of pastryspread with a rich nut/poppy filling androlled up; translator’s note) or dumplingsstand for the thorn crown, three roots ofhorseradish stand for the nails, red-colouredeggs are Christ’s wounds or dropsof blood. Leavened bread, apples, anorange or two and wafers are added insome places. The wicker basket containingfood for benediction is then coveredwith an embroidered or lace napkinwhich has been made and decoratedfor this very occasion. Women and girlsused to put the prepared wicker basketson the head and padded them with acoil made of fabric. This round cushionwith a hole in the centre matched thehead beautifully and relieved the pressureof the heavy basket.In the parish of Saint Helen in Dolskothey always add wafers to the food tobe taken to benediction. The wafersare basically unleavened bread andare made as large oval hosts. They aremade from flour and water and theyare baked in a special baking pan whichleaves an impression of Christ’s monogramon the final product. About 1400pieces of wafers are baked over a periodof one month. They are baked in a specialelectric baking pan which functionsindependently and a good minute isnecessary for one wafer to be done.Originally it was the sacristan whobaked wafers thus earning some additionalmoney to make ends meet. Lateron the job of baking wafers was takenover by the sacristan’s housekeeper:When the priest and his housekeeper leftthe parish nobody baked wafers for awhile. Today, in Dolsko wafers are madeat the Bokals (informally: at Borc); theywere given a special baking pan in thepresbytery and when it broke down theybought a new one in Italy. Jože Bokalwho bakes wafers is also the sacristanbut the initiative for taking over bakingwafers was originally his wife’s. Unfortunatelyin many places baking pans arescarce, yet Jože Bokal from Dolsko likesto teach baking wafers to everyone andis happy to lend you his baking pan totake home. When baking wafers Jože ishelped by his family members. Wafersare distributed among the parishionersin front of the church after serviceson Palm Sunday, and many come tothe Bokals’ house to get them. Usually,people pay for the wafers by giving voluntarycontributions. Wafers are verypopular among children as they have adelicate taste and are very crunchy.After the benediction, a wicker basket(a narrow, two-handled bag, usually ofstraw) was brought home and placedon the festively set table. Usually, foodwas left in there until next morningwhen the entire family gathered forEaster breakfast. It was then that thefamily members ate wafers, too, andeverybody got at least one wafer.In the Valley of Tuhinj, in the parishZgornji Tuhinj, people have been preservingthe tradition of baking waferswhich are distributed among the faithfulduring the week before Easter. Atleast 900 are made, one for each parishioner.The locals of Blagovica, Krašnjaand Vače have been preserving thesame custom. Wafers are also made bynuns in Mala Loka near Ihan.33

Štručke s pregretosmetano napušelšankihObčasni vinotoči, imenovani pušenšank,pušelšank (iz nem. Buschenschank,točilnica pod vejo),so bili v preteklosti razširjeni vMirenski dolini in so pomenili pomembendodaten vir zaslužkavinogradnikom, povečini kmetom.Obdržali so se do šestdesetih let20. stoletja, ko je po vaseh v okoliciŠentruperta delovalo več pušelšankov.Pozneje je oblast prepovedalaprosto prodajo vina. Na pušelšankihso prodajali predvsem vino,pogosto pa so ponudili tudi domačedobrote, kot so bile štručke spregreto smetano.Pušelšanki so delovali od spomladido jeseni. Poleg zaslužka je bil namensprazniti sode in tako pripraviti posodoza novo sezono. Na pušelšanke se jevabilo od ust do ust, preko sosedovpa tudi na trgu v Šentrupertu. Klicanjena trgu pred cerkvijo je bilo znanoše v šestdesetih letih 20. stoletja. Obnekdanji Pavlinovi hiši, v kateri sta bilitrgovina in posojilnica, je bila predposojilnico kamnita klop. Po jutranjihnedeljskih mašah so se Šentruperčanizadržali na »plac« in prisluhnili razglasom,ki so jih brali s te kamnite klopi.Na koncu klicanja je klicatelj povabilna pušelšank z besedami: »Pušelšankse vrši…« ter navedel kraj in dan.Pušelšanku so domačini rekli tudi napu za šenk – na pol zastonj. Vino je bilonamreč cenejše kot v gostilni. Odvijaliso se predvsem zvečer ob vikendih, patudi med tednom po kakem večjemdelu. Obiskovalci so bili vaščani, iz sosednjihvasi, včasih tudi hribci, kot pravijodomačini prebivalcem vasi višje vhribih. Sploh imenitni so bili pušelšankitakrat, ko sta bila v Šentrupertu ali naVeseli gori žegnanje in semenj. Prišli somoški in ženske, kar ni bilo nič sramotnega,otroci navadno ne. Odvijal se jekar v domači hiši, v osrednjem prostoru– hiši. Prodajali so predvsem vino,ki so ga sproti prinašali iz kleti v litrihrazličnih velikosti (posebnost sta bilapolič za dva litra štefan ter za tri janez).Ob pijači ni manjkalo hrane, obveznoso ponudili domač kruh pa kako suhoklobaso ali suha rebra. Včasih so ponudilitudi odlično poslastico - štručke, kiso bile narejene iz kruhovega testa inpregrete domače smetane.Štručke s pregreto smetano so nekevrsta potica. Narejene so iz kruhovegatesta in nadevane s pregreto smetano.Pri izdelavi najprej surovo mleko nalijemov nižjo in širšo posodo, pustimostati na hladnem en dan, nato papočasi spečemo v krušni peči, da sesmetana na vrhu zapeče – zarumeniin začne delati mehurčke. Nato jihvzamemo iz peči, odlijemo odvečnotekočino, ostane pa nam smetana. Narazvaljano testo so namazali pregretosmetano, včasih posuli s sladkorjem terzvili kot potico in spekli poleg kruha vkrušni peči. Pečeno so narezali s pomočjokolesc za rezanje.V letu 2011 je bila v sklopu občinskegapraznika občine Šentrupert v organizacijiEtno-družabnega društva Draga inv sodelovanju s strokovnjakom etnologomin društvi prvič izpeljana prireditev»Na pu za šenk« oziroma pušelšankv Dragi. Prireditev je zasnovana kotprikaz kmečkih opravil iz obdobja odkonca 19. stoletja do druge polovice20. stoletja ter pušelšanka. Dogajanjepo kmečkih opravilih se je prestavilo vsredišče vasi, poleg društvene hiše, kjerni manjkalo godcev, humornih vložkovin domače kulinarike, saj so gospodinjepripravile kruh, suhomesnate izdelkein tudi štručke s pregreto smetano.Prireditev, ki se bo po načrtih društvaodvijala vsako leto, skuša prikazati deloin družabno življenje na vasi v preteklosti,hkrati pa popestriti dogajanje vkraju, ga narediti turistično zanimivegain privabiti obiskovalce.34

Rolls with warmed cream atpušelšanksPeriodical wine selling pointscalled pušenšank, pušelšanks(from German: Buschenschank,a bar under a branch) used tobe widely spread in the MirnaRiver valley and represented animportant source of income forwinegrowers who were mostlyfarmers. Pušelšanks surviveduntil the 1960s when several ofthem were still active in the villagessurrounding Šentrupert.Later the authorities banned theuncontrolled selling of wine. Themain article in the bars under abranch was wine, however, homemadegoodies were also offered, forinstance rolls with warmed cream.Pušelšanks operated from spring to autumn.In addition to the earnings, theirpurpose was to empty the barrels andthus prepare containers for the new season.The invitation to pušelšanks spreadby word of mouth, by neighbours andalso at the square in Šentrupert. Callingat the square in front of the church wasstill known in the 1960s. Next to the formerPavlin’s house in which a shop anda savings bank which made loans werelocated there was a stone bench in frontof the savings bank. After the morningservices the inhabitants of Šentrupertstopped for a while on the “plac”(square; translator’s note) and lent anear to public proclamations which wereread from the very same stone bench. Atthe end of the proclamations the callerinvited everyone to a pušelšank by saying:“Pušelšank is taking place…” andgave the place and date.There was another expression usedfor pušelšank by the locals, namely,na pu za šenk – at half price. Wine atpušelšanks was cheaper than in the inn.They were held mainly in the eveningsat the end of the week and also duringthe week after some major work. Thevisitors were the villagers of the neighbouringvillages, sometimes also hribci(hillbillies; translator’s note) as the localrefer to the inhabitants of the villagesup in the hills. More prominent were thepušelšanks on the occasion of a parishfestival commemorating a church’s spatron saint and a fair in Šentrupertor on Vesela gora. Men and womencame, which was not to be ashamedof, children were usually not there.Pušelšank took place in the farm housein its central room called – hiša (a house;translator’s note). They sold mainly thewine which they were bringing fromthe cellar as it was being sold in litresof various amounts (quite distinctivewere those called štefan containing twolitres and janez containing three litres).Drink abounded and there was nevera lack of food, home-made bread, asmoke-dried sausage or ribs were amust. Sometimes an excellent daintywas offered - štručke – rolls, which weremade from bread dough and warmedhome-made cream.Rolls with warmed cream are a kindof potica. They are made from breaddough and filled with warmed cream.When preparing the rolls, we first pourraw milk into a low and wide container,leave it in a cold place for a day andthe we bake it slowly in a brick oven(extending into another room besidesthe kitchen; translator’s note) so that thecream at the top becomes a yellowishcrust and starts forming bubbles. Thenthey are taken from the brick oven, theexcess liquid is poured away and onlythe cream remains. Warmed cream wasspread on the rolled pastry, sometimessugar was sprinkled over it and then itwas rolled up as a potica and bakednext to the bread in the brick oven.When it was ready the pastry was cut upby means of pastry wheels. Within theframework of the municipality holidayof Šentrupert the Ethnological and SocialSociety Draga organized for the firsttime a social gathering called Na pu zašenk (at half price)”, namely, pušelšank.In doing so the Society was assisted byan expert ethnologist and other societies.It took place in Draga in 2011. Theevent was designed as a presentationof farm works over the period from theend of the 19th century through thesecond half of the 20th century, and ofpušelšank. The goings-on of the farmworks were transposed to the centre ofthe village next to the Society’s house;musicians were plenty and so werehumorous inputs and home-madeculinary products since the housewiveshad prepared bread, smoke-dried meatproducts and rolls with warmed cream,too. The event, which, according to theplans of the Society, will take place everyyear, tries to present the work and sociallife of the villagers in the past and atthe same time it aims to lend colour tothe things that go on in Draga, makingit interesting from the point of view oftourism and attracting visitors.35

Peka kruhav krušni pečiPeka kruha v domači krušni pečije bila nekoč skoraj nujno opravilovsake kmečke gospodinje, sajje domač kruh veljal za eno odglavnih jedi, večkrat tudi kot samostojnajed. Znanje o pripravi in pekikruha v krušni peči se je ohranilodo danes, za kar med drugim skrbijoprizadevne gospodinje in tudirazlična ljubiteljska društva.Peka kruha sega v 13. stoletje in se jeskozi čas spreminjala. Sprva so peklienostavni zmesni kruh iz pšenične,ovsene ali prosene moke, poznejetudi iz ajdove in koruzne. Nastajale sorazlične vrste kruhov, zelo razširjenisoržični in priljubljeni pšenični kruhpa tudi različne vrste boljših in dražjihprazničnih kruhov. Osnovno pravilopriprave testa za kruh je mešanjemoke z vodo in dodajanje vrelnihnastavkov, kakršne so bile v preteklostinajpogosteje droži (namesto kvasa),pripravljene iz prosene, ržene, redkejeiz koruzne moke.Medeja Kurent je zelo dejavna pri pekikruha na tradicionalni način, predvsemv okviru Društva podeželskih ženain deklet Šentrupertske šmarnice. Speko se ukvarja od leta 1997, pri tempa uporablja svojo veliko domačokrušno peč. Krušna peč navadno stojiv kmečki sobi, kuri pa se iz sosednjegaprostora. Peke se je Medeja naučilaod svojih staršev in od starejših žensk.Pravi, da je »za peko treba imeti dobromoko in veliko dobre volje«. Najprejna posebni mizi za mesenje – mentrgizamesi moko in vodo, nato doda šesol in kupljen kvas, ki pa ne smetapriti neposredno v stik. Testo moraza vzhajanje nekoliko počivati. Medtem časom pripravi brst in suha drva(bukova ali mešana) za krušno peč.Nato kurišče v peči večkrat premeša,da je dovolj vroče in razbeljeno povsej površini. Za mešanje peči uporabileseno grebljo. Ko je testo dovolj vzhajano,ga razporedi na hlebce v peharjein spet počaka, da vzhaja. Med temčasom meša peč in pripravi omelo,največkrat iz ličkanja, za pometanjepo peči. Ko je peč pripravljena in kruhdovolj vzhajan, hlebce testa na vrhupomoka in preloži na lesen lopar, natojih premaže z jajcem, naredi tri zarezein postavi v peč. Kruh nato med pekomalo premakne z loparjem. Peče približno60 minut. Pečen kruh z veslicoali železnim loparjem vzame iz peči,po spodnji strani potrka in tako preveri,ali kruh zadoni. Takrat ve, da je kruhdobro pečen.Medeja Kurent svoj beli, zmesni, ajdov,koruzni, pirin in ržen kruh prodaja natržnici v Trebnjem, sicer pa ima precejrednih strank, ki kruh kupujejo pri njejdoma. Največ naročil in dela ima v prazničnihčasih, ob veliki noči ter božiču,ko pripravi bolšji kruh, oblikovan v pletenice.Ta kruh je ob različnih praznikihsimbolično okrašen z detajli. V okvirudruštva se s svojo ponudbo vključuje vturistično ponudbo kraja, predvsem naraznih predstavitvah in sejmih.S peko in organizacijo kulinaričnihdelavnic za mlade se od leta 2007, koso na Jesenskem sejmu prikazali domačopeko kruha v krušni peči, ukvarjatudi Aktiv žena Plamen Dolsko. Podvodstvom Dore Škafar veselje do pekein ohranjanje kulinarične dediščinezdružuje več kot 40 mladih in starejšihčlanic. Delavnice peke kruha potekajov prostorih TIC Jurij Vega, kjer sicerpečejo v električni peč, ob posebnihpriložnostih pa uporabijo krušno peč,ki jo imajo nekatere članice društva nasvojem domu.36

Making bread ina brick ovenMaking bread in a brick oven usedto be an inevitable task of a housewifeat a farm since home-madebread was considered to be one ofthe main foodstuffs, frequently asan independent dish. The knowledgeof making bread and baking itin a brick oven has been preservedto this day, which is the result ofassiduous housewives and variousamateur societies.Baking bread dates back in the 13thcentury and has been changing withthe time. At first, plain bread was madefrom wheat flour, oatmeal or milletflour and later from buckwheat flourand corn flour. Various types of breademerged, the widely spread meslinbread and popular wheat flour bread,and also different types of better andmore expensive festive bread. The basicrule concerning the preparation of thebread dough is mixing flour with waterand adding additives that make thebread rise. The rising additives mostfrequently used in the past were droži (asurrogate of yeast, usually made frommillet flour and must; translator’s note)(instead of yeast). Sometimes rye flouror, more rarely, corn flour was also used.Medeja Kurent is very active in bakingbread in the traditional manner,mainly within the framework of theSociety of Country Women and Girlscalled Šentrupertske šmarnice. She hasbeen involved in baking bread since 1997using a large brick oven. A brick ovenis usually located in the hiša and a firein it is made from the (usually) kitchennext to it. Medeja learnt to bake breadfrom her parents and older women.She says that “baking requires goodflour and a lot of good will ”. First, on aspecial kneading table, called mentrga,she kneads flour and water, then sheadds salt and purchased yeast, yet thetwo must not come into direct contact.The pastry must rest a while to rise.During this time dry brushwood anddry chopped wood (beech or mixed) forthe brick oven is prepared. Then the fireplace in the oven is shuffled several timesso that it becomes hot enough and redhotall over the surface. Medeja uses awooden poker to shuffle the oven. Whenthe pastry has risen enough she dividesit into loaves and puts them into roundstraw baskets and waits again for themto rise. During this time she shuffles theoven and prepares a whisk which sheuses to sweep the interior of the oven.When the oven is ready and the breadhas risen enough she strews flour on topof the loaves of bread and places themonto a wooden oven-peel, smears themwith an egg, makes three cuts and putsthem into the brick oven. While the breadis in the brick oven she shifts it a little. Thebread remains in the oven for about 60minutes. Once it is baked, she takes it outby means of a veslica (an oar-like gadgetused for removing hot coals and ashesfrom an oven; translator’s note) and aniron oven-peel, knocks on the bottomof the bread thus checking if the breadresounds. She knows then that the breadis well baked.Medeja Kurent sells her white, mixedflour, corn, spelt, and rye bread in themarket in Trebnje. She has quite a fewregular customers who come to herhouse to buy her bread. She receivesnumerous orders and has most workto do in holiday seasons, i.e. Easterand Christmas when she better breadshaped in braids. This bread is decoratedwith details which depend on the festiveoccasion. Within the framework of thesociety, she makes part of the touristoffer of the place – mainly on the occasionsof various presentations and fairs.The Active of Women called PlamenDolsko has been involved in bakingand organizing culinary workshopsfor the young since 2007 when theyshowed how bread is baked at homein a brick oven at the autumn fair. Underthe leadership of Dora Škafar theyhave established that the enthusiasmover bread baking and preserving theculinary heritage brings together morethan 40 young and older members.Bread baking workshops take place onthe premises of the Jurij Vega Tourist InformationCentre where an electric ovenis used but on special occasions brickovens, which some society membershave at home, are used.37

Mengeški bizgecPisatelj in etnolog Janez Trdina jemladost preživel v Mengšu, zatoje zelo dobro poznal življenje innavade svojih rojakov. V pismih, kijih je pošiljal mengeškemu kaplanuAntonu Kolarju v letih 1888–1889,je podrobno opisal življenje Mengšanovv 19. stoletju. Dotaknil seje tudi prehranjevalnih navad. Venem od teh pisem omenja preprostojed bizgec.Učenci osnovne šole Mengeš so januarja2010 v okviru festivala Turizmupomaga lastna glava predstavili projektnonalogo z naslovom Trdinovaliterarno-etnološka pot. Etnološki krožek,ki sta ga vodili mentorici LjubicaRožman in Draga Železnikar, je večmesecev raziskoval Trdinovo etnološkodelo, ki se nanaša predvsem na Mengešin Mengšane.S pomočjo etnologa dr. Janeza Bogatajaso učenci odkrili, da je ta jed,ki je žal utonila v pozabo, sestavljenaiz kislega zelja, kisle repe, ječmenovekaše oziroma ješprenja in mesa. Trdinaje bizgec, ki je bil brez mesa in zabele,imenoval vražji bizgec. Gospa ZorkaPožar, predsednica Turističnega društvaMengeš, je pomagala pri odkrivanjurecepta za jed, pravih razmerij medsestavinami in načina priprave.S skupnimi močni so oživeli recept za20 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 pookusu. Ješprenjček čez noč namočimo,da se dobro napne. Dobro opranegadamo kuhat. Skupaj kuhamo kislozelje in repo. Ko zavre, vodo odlijemoin dodamo k ješprenjčku. Nato dodamoše ostale sestavine in meso. Ko jemeso že skoraj kuhano, ga narežemona kocke in ga proti koncu kuhanjadodamo jedi. Bizgec mora biti gosljatajed, zato ga po potrebi zalijemo z vodoali še bolje z jušno osnovo. Čas kuhanjaje približno dve do tri ure, jed pa lahkopripravijo le največji kuharski mojstri.Na predstavitvi Trdinove literarno--etnološke poti v osnovni šoli Mengeš,20. januarja 2010, je bil bizgec prvičpredstavljen širši javnost. Nad neverjetnopreprosto in okusno enolončnicoso bili vsi obiskovalci zelo navdušeni.Vsi sodelujoči pri tem projektu pa sobili nadvse veseli pohvale etnologadr. Janeza Bogataja. Vsekakor je željaTurističnega društva Mengeš, da bibizgec postal stalna kulinarična turističnaponudba. Do sedaj sta ga vsvojo ponudbo vključila dva gostinca,in sicer Mengeška koča na Gobavici inTrdinov hram. Domačini pa si želijo, dabi jed bizgec kot avtohtono mengeškojed uvrstili ob bok pristnim slovenskimjedem. S pomočjo občine, ki podpiratovrstna prizadevanja, verjamejo vuresničitev zastavljenih ciljev.38

Bizgec of Mengeš(Bizgec - a dish made of pickled cabbage, pickledturnip, barley groats, to wit, pot barley and meat;translator’s note)The writer and ethnologist JanezTrdina spent his youth in Mengeš,consequently he knew well the lifeand customs of his countrymen. Inthe letters he wrote to the chaplainof Mengeš, Anton Kolar, over theperiod of 1888–1889, he describedin great detail the life of the inhabitantsof Mengeš in the 19th century.He also tackled their eating habits.In one of these letters he mentions asimple dish called bizgec.In January 2010, the students of theMengeš elementary school presentedwithin the framework of the festivalcalled Turizmu pomaga lastna glava aproject task entitled Trdina’s literary andethnological way. For several monthsthe Ethnological Circle under the leadershipof the mentors Ljubica Rožman andDraga Železnikar researched Trdina’sethnological work which has to do primarilywith Mengeš and its inhabitants.With the assistance of the ethnologistJanez Bogataj, Ph.D., the students discoveredthat this dish, which has unfortunatelybeen forgotten, is made up ofpickled cabbage, pickled turnip, barleygrouts, to wit, pot barley and meat.Trdina called the bizgec which waswithout meat and lard devilish bizgec.Ms Zorka Požar, the chairwoman of theTourist Society Mengeš, has helped withuncovering the recipe for the dish, theproper ratios among the ingredientsand the manner of preparation of thedish itself.Working hand in hand they have reviveda recipe for 20 persons whichrequires: 40dag of pickled turnip, 40dagof pickled cabbage, 35dag of pot barley,50dag of smoke-dried pork, 10dag ofgrated carrots, minced fried lard, onion,garlic, salt and pepper in the quantitiesto your taste. Pot barley needs to soakin water overnight so that it absorbsenough water. After we have washed itwell we heat it up. The pickled cabbageand pickled turnip are cooked together.When it boils, the water is poured awayand added to the pot barley. Then weadd the rest of the ingredients and themeat. When the meat is almost cookedit is cut into cubes and added to the dishwhen the cooking is almost over. Bizgecmust be quite thickish, which is why weadd some water or, even better, broth.The dish takes about two to three hoursto cook and it can be prepared only bythe best of chefs.At the presentation of Trdina’s literaryand ethnological way at the Mengešelementary school on 20 June 2010 bizgecwas first introduced to the broaderpublic. All the guests were enthusiasticabout the simple and tasty stew. All theparties participating in the project wereextremely glad when they were complimentedon the dish by the ethnologistJanez Bogataj, Ph.D.. It is a strong wishof the Tourist Society Mengeš thatbizgec should become a part of a permanentculinary tourist offer. Until nowit has been included in their offer by tworestaurants, to wit, by Mengeška kočaon Gobavica and Trdinov hram. On theother hand, the locals wish that bizgecas an autochthonous Mengeš dishwould be placed next to the originalSlovenian dishes. They believe that withthe help of the municipality, who supportssuch endeavours, the goals theyhave set will become a reality.39

Sir »trnič« z Velike inMale planineTrniči so vrsta posušenih sirov zVelike in Male planine, ki so oblikovaniiz kislega sira in okrašeni terimajo ne le prehranjevalni, ampaktudi ritualno simbolni pomen.Domačini imenujejo tak sir »trnә č«.Znanje izdelovanja trničev se je vzelo omejenem številu ohranilo vdanašnji čas.O izvirih in razvoju te vrste sirov je razmeromamalo znanega. Vsi raziskovalciso enotnega mnenja, da lahko govorimoo razmeroma arhaični pojavniobliki, ki ne skriva le vprašanja o vlogiin pomenu medspolnih odnosov vt. i. tradicionalni družbi, ampak nasprivede tudi do hipotetičnih sklepanj opovezanosti s staroselskimi kulturamiin z antiko.Trniče so izdelovali iz posnetega kislegamleka. Tega so nekoliko bolj segreli,da so dobili bolj pust sir, to je skuto.Najprej so ga odcedili, nato osolili inmu primešali nekaj smetane, da je bilasirna zmes ustrezno voljna za oblikovanje.Z rokami so oblikovali hlebčkečebulastih oblik, na vrhu koničastih.V nekaterih primerih so na površinihlebčka naredili drobne bradavičasteizrastke. Po dve kepi takih sirov sookrasili z ornamenti, ki so jih vtisnili zreliefno izrezljanimi lesenimi paličicamiali »pisavami«. Ti hlebčki ali grude siraso bili v velikosti moške dlani. Po končanemoblikovanju in okraševanju sojih polagali na polico nad ognjiščem,kjer so se posušili, rahlo odimili intako konzervirali. Med sušenjem so naognjišču kurili le bukova drva. Po približnoštirinajstih dnevih so bili trniči žedovolj suhi, njihova masa pa je bila zapolovico manjša. Število izdelanih trničevje bilo vedno parno, saj so te sirepastirji podarjali ženam in dekletomkot darilo v znak zvestobe in ljubezni,pomenili pa so tudi obljubo zakona.Po nekaterih izjavah sogovornikov najbi bil par okrašenih trničev pravzapravpodoba ženskih dojk, saj so pastirjimenili, da »ima tudi ženska prsi v par«.Čeprav so mnoge obdarovanke tetrniče skrbno hranile dlje časa, tudi poveč let, je bila temeljnega pomena njihovauporabnost v prehranjevanju. Strniči seveda niso obdarovali le dekletin žensk, ampak tudi druge prebivalce.Posušene trniče so namreč pogostonamočili v toplem ali hladnem mleku,da so postali mehkejši in primerniza uživanje. V sodobnosti se trničipogosto uporabljajo tudi kot riban sirza začinjanje nekaterih testeninskih inmesnih jedi.Okrašeni darilni siri trniči z Velike inMale planine so brez dvoma ena odposebnosti pastirske dediščine in alpskekulture nasploh. Že etnolog ToneCevc je opozoril, da bi »z nekaj dobrevolje, razumevanja in iznajdljivostimogli oživiti in poživiti vsaj del skorajže pozabljenega izročila, če bi pospeševaliizvirno spominkarstvo. Le-to pabi moralo zajemati in črpati pobude izzakladnice velikoplaninskega pastirstva.[Cevc: 1993: 73]Danes trniče po stari recepturi izdelujeRezka Mali iz Godiča, ki znanje predajasvojim otrokom. V mladosti jo jepostopka izdelave naučila DebevčevaZefka, ki je bila tudi pastirica na Gojškiplanini, ki se nahaja v neposredni bližiniMale in Velike Planine.40

“Trnič” cheese from Velika andMala planinaThe trnič cheeses are a type of seasonedcheeses from Velika and Malaplanina. They are made from sourcheese and ornamented. They donot only have a nutritional symbolbut a ritually symbolic meaning aswell. Such cheeses are called “trnәč”by local inhabitants. Until today,the skill of making these cheeseshas been preserved to a very limitedextent.Relatively little is known in referencewith the origin and development ofthese types of cheeses. All those whohave researched agree that we canspeak about a relatively archaic form ofappearance which does not only hidethe question of the role and meaning ofthe relationships between the genders inso-called traditional society but it leadsus to hypothetical deductions in relationto the aboriginal culture and antiquity.These cheeses used to be made fromskimmed sour milk. The latter waswarmed a little so that more meagrecheese was obtained, i.e. cottage cheese.First the milk was strained, then saltedand some cream added in order to givethe cheese mixture adequate softnessto enable shaping. Onion-shaped smallloaves pointed towards the top wereshaped by hand. In some cases tinywarty bumps were made on the surfaceof the loaves. Pairs of lumps of suchcheeses were decorated with ornamentswhich were imprinted by means ofrelief-like carved wooden sticks or “writings”.These loaves or chunks of cheesewere the size of a man’s palm. After theyhave been shaped and ornamentedthey put them on a shelf above thehearth where they dried, slightly smokedand thus preserved. While the loaveswere drying only beech firewood wasused in the hearth. After approximatelytwo weeks trniči were dry enough andthey had shrunk by half. The number ofthe cheese loaves produced was alwayseven, as shepherds gave them to theirwives and girlfriends as a present anda token of fidelity and love; they alsomeant a promise of marriage. As someof the persons we have spoken to said,a pair of ornamented trniči is actuallyan image of a woman’s breasts: theshepherds thought that “a woman alsohas breasts in pairs”. Although manywomen and girls who were presentedwith the cheese kept the latter for along time, several years even, the essenceof its meaning was its usefulnessfor nutritional purposes. Not only girlsand women were presented with thesecheese but other locals as well. Seasonedtrniči were frequently soaked inhot or cold milk to make them becomesofter and suitable to eat. Nowadaysthese cheeses, trniči, are often usedas grated cheese to flavour pasta andmeat dishes.The ornamented trniči to be givenaway from Velika and Mala planina areundoubtedly one of the specialities ofthe shepherd ship heritage and Alpineculture in general. The ethnologist ToneCevc reminded us that “with some goodwill, understanding and ingenuity wecould revive and make alive at least apart of the almost forgotten traditionif we promoted original souvenirs making.This should comprise and drawfrom the initiatives from the treasurehouseof the Velika planina shepherdship.[Cevc: 1993: 73]Nowadays trniči are made according toan old recipe by Rezka Mali from Godičwho transfers her knowledge on to thechildren. When she way young she wastaught the process of making trničiby Debevčeva Zefka who used to be ashepherdess on Gojška planina situatedin the immediate vicinity of Velika andMala planina.41

Znanje in prakse o naravi in svetuKnowledge and practices relating to nature and the world43

OglarjenjeNa Dolah pri Litiji je še danes prisotnaže skoraj izginula stara obrt inspretnost – oglarstvo. Tradicijo kuhanjaoglja so pred več kot 100 letiv te kraje prenesli italijanski oglarji.Priprava kope in pridobivanje ogljana tradicionalni način je postopek,ki ga že vrsto let ohranjajo domačini,ki so zelo povezani z gozdomin življenjem ob njem. Na območjudeluje okoli 25 oglarjev, ki letnoskuhajo okoli 30 kop, kar znesemed 150 in 200 ton kakovostnegaoglja.Tehniko kuhanja oglja in poogljevanjav pokončnih kopah so v te krajezanesli Italijani v sredini 19. stoletja.Med drugo svetovno vojno je bilooglarjenje prekinjeno, saj je bila večinaprebivalstva izseljena v Nemčijo. Povojni se je oglarjenje nadaljevalo še vvečjem obsegu. Oglje so po vojni izvažalipredvsem v Italijo, med domačimiporabniki pa sta bila velika odjemalcaljubljanski Litostroj in Strojna tovarnaTrbovlje. V zadnjem času se oglje večinomauporablja za pripravo jedi nažaru, manjše količine pa tudi v kemičniindustriji, gumarstvu, pri spajkanjubakrene in pocinkane pločevine terza proizvodnjo specialnega jekla vželezarstvu. Kakovostno oglje uporabljajoumetniki tudi za risanje, nekaterizdravniki pa tudi za lajšanje želodčnihtežav in celo beljenje zob.Izdelava oglarske kope je zahtevnoopravilo, postopek pa je povezan spripravo kopišča, pripravo lesa, zlaganjemin pokrivanjem kope, kuhanjemali oglenitvijo in na koncu razdiranjemkope. Oglar za celoten postopekporabi pri povprečno veliki kopi okoli43 dni. Pri večjih kopah, ki dajejo doosem ton oglja, pa okrog 47 dni. Deloopravlja večinoma oglar sam z družino,le pri črnjenju si oglarji pomagajo medseboj. Skupino največkrat sestavljajotrije do štirje oglarji in povprečno velikokopo v enem dnevu tudi razdrejo.Oglje se v enem dnevu oziroma čeznoč ohladi in je naslednji dan pripravljenoza polnjenje v vreče. Pripravaoglja za prodajo, od razdiranja kope dopakiranja, traja od tri do šest dni.Na območju Dol danes kuha oglješe 12 oglarskih domačij, nekatere sopripravljene tudi sprejeti obiskovalcein jim predstaviti tradicijo oglarjenja.Oglarska domačija Brinovec ponujaprikaz oglarjenja, ponudbo oglja, sprejemskupin in izobraževanje za mlade.Na kmetiji oglar z veseljem pove vse ooglarjenju in izdelavi kope ter ponudioglarsko malico. Ob domačiji vodiOglarska pot, ki pripelje tudi do oglarskedomačije Medved, kjer ravno takoprikazujejo kuhanje oglja na tradicionalennačin. Povezani oglarji na Dolahpri Litiji se danes predstavljajo podznamko Oglarska dežela, ki je zaživelatako med domačini kot obiskovalciobmočja.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!44

Charcoal productionEven today Dole near Litija boaststhe presence of an almost disappearedold craft, i.e. charcoal production.The tradition of burningcharcoal was brought to these placesby Italian charcoal burners overone hundred years ago. The preparationof a clamp and producingcharcoal in the traditional methodis a procedure that has been preservedby local charcoal burnersover years; they are very close tothe forests and life next to them.Twenty-five charcoal burners workin the area and they burn around30 clamps, which amounts to 150 to200 tons of quality charcoal.The technique of charcoal burningand producing it in upright clampswas brought to these places by Italiancharcoal burners in the middle ofthe 19th century. During World War IIcharcoal production was discontinuedsince the majority of the population wasdeported to Germany. After World WarII charcoal production picked up again.After the war, charcoal was exportedmainly to Italy while the most importantamong national users were LitostrojLjubljana and Strojna tovarna Trbovlje.Recently, charcoal has mostly beenused for the preparation of grilled foodand smaller quantities are required bythe chemical industry, rubber production,in soldering copper and zinc sheetmetal and for the production of specialsteel in the ironwork industry. Qualitycharcoal is used by artists for drawing,some doctors treat stomach disorderswith it; charcoal is also used for whiteningteeth.The preparation of a charcoal clampis a demanding task, the procedure isconnected with the preparation of theclamp area, wood, and it involves pilingand covering the pile, burning or charcoalingand finally undoing the pile. Acharcoal burner needs about 43 daysfor the entire procedure with an averagecharcoal pile. With larger piles whichgenerate up to eight tons of charcoal heneeds around 47 days. The work is donemostly by a charcoal burner and hisfamily; it is only when backening thatcharcoal burners help each other bymonitoring the clamp in turns. A groupis most frequently composed of three tofour charcoal burners and they undo anaverage-sized clamp in one day. In oneday, to wit, overnight, charcoal coolsdown and the next day it is ready to bebagged. The preparation of charcoalfor selling, from undoing the clamp topacking requires three to six days.In the area of Dole, today 12 charcoalfarms burn charcoal, some of them welcomevisitors and present the traditionof charcoal production. The charcoalfarm Brinovec offers a presentation ofcharcoal production, an assortment ofcharcoal, receives groups and educationaltraining for the young. The charcoalburner at the farm is glad to telleverything about charcoal production,preparation of a clamp and offers youa charcoal meal. There is Oglarska pot(Charcoal Way; translator’s note) alongthe farm which brings you to the charcoalfarm Medved where at this momentthey are demonstrating burningof charcoal in the traditional manner.The interconnected charcoal burners atDole near Litija appear today under thebrand Oglarska dežela (Charcoal Land;translator’s note) which has rubbed offnot only on the locals but on the visitorsto 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!45

ZeliščarstvoZeliščarstvo so prakse, znanje inveščine nabiranja, vzgajanja teruporabe različnih rastlin in njihovihizvlečkov za zdravilne namene. Naobmočju Ivančne Gorice se je tudina podlagi znanja in delovanja stiškegasamostana razvilo in ohraniloveliko tega znanja iz preteklostivse do današnjih dni.Tradicija sloni na praksi znanega patraSimona Ašiča (1906–1992), ki je svojezeliščarsko znanje pridobival s študijemin dopolnjeval z lastnimi izkušnjami.Od leta 2000 v samostanu izdelujejoizdelke po Ašičevih recepturahin jih prodajajo pod lastno blagovnoznamko. Za to je zaslužen predvsemstrokovnjak Jože Kukman, ki je nekočsodeloval s patrom. Vpliv patra je bilmočan tudi na lokalno prebivalstvo, kise zaveda pomena rastlin za zdravilnenamene. Veliko se jih je zato v prostemčasu usmerilo v tovrstno dejavnost,nekateri celo tako zelo, da se z dejavnostjoukvarjajo poklicno.Na ekološki kmetiji Bioplavica v Zagradcuživi in dela z družino AndrejMajes, ki izdeluje čajne mešanice Plavica.Pridelujejo veliko zdravilnih rastlin,predvsem ročno in na način, kot so todelali naši dedki in babice. Andrej jemed drugim priznani terapevt Maharišiajurvede. Andreja je za delo navdušiloče Jože Majes, ki je veliko teoretskegaznanja pridobil v samostanu Stična.Poleg tega je zasnoval zeliščarskokmetijo Plavica v okolici DolenjskihToplic, na kateri raste okoli 450 vrstzdravilnih rastlin.V Šentvidu pri Stični na svoji domačijis permakulturnim vrtom ustvarja in vdelavnicah predaja znanje Meta Maček.Njeno vodilo delovanja je ohranitevnarave in dediščine z biološko pridelavoin predelavo zdravilnih rastlinin zelišč. Z rastlinami se ukvarja že odmalega. Pravi, da »imajo nekateri talentza glasbo, ona pa za delo z rastlinami«.Za to sprva ni potrebovala izobraževanja,pozneje, ko se je odločila, da boznanje predajala naprej, pa je moralasvoje praktične izkušnje podkrepiti steorijo. Opozori, da je v zeliščarstvuzelo tanka meja med zdravilnim učinkomin zastrupitvijo. Veliko rastlin imana svojem vrtu, v naravi nabira samotisto, kar je višek, saj moramo ohranitinaravo, kakršna je.V okolici Ivančne Gorice prideluje innabira zdravilna zelišča Otilija Grad Barle,in sicer v vasi Temenica. Posebnostnjene kmetije je gozdni vrt po načelihpermakulture. Ima veliko znanja okmetovanju brez kemičnih sredstev.Skupaj zaseje in sadi rastline, ki se dobromedsosedsko prenašajo in koristijodruga drugi. Tako rastline ne obolevajoin tudi škodljivcev je manj. Na ekološkitržnici v Ljubljani ponuja zeliščna žganja,posušena zelišča, mazila, zeliščnikis, vzglavnike z žitnimi luščinami …Z zeliščarstvom se v občini IvančnaGorica ukvarja tudi upokojena JasnaZajc iz Zagradca, ki si je na svoji domačijina dnu bližnje vrtače ustvarila njivoz zelenjavo in zelišči. Rastline puščarasti v sožitju, plevela ne iztreblja in neuporablja umetnih gnojil. Zdravilnerastline ima predvsem na obrobju vrtačein med sadnim drevjem, veliko pajih najde tudi v bližnjem gozdu. Polegmešanic za čaje iz rastlin izdeluje tudimarmelade, namaze in zeliščne kruhke.Največ pridela in predela poprovemete, indijanske koprive ali zlate melise.Nad rastlinami jo je že v mladostinavdušil oče, ko jo je vodil na izlete ponaravi in ji kazal zdravilne rože.Znanje in izkušnje ljudi, ki se ukvarjajoz zelišči, se prepletajo z izročilom prednikov,dediščino patra Simona Ašiča inlastnimi izkušnjami na tem področju.Ohranjeno vedenje z delavnicamiodlično prenašajo na starejšo in mlajšogeneracijo. Kot dobro prakso lahkopoudarimo tudi aktivno povezovanjezeliščarstva v okviru turizma in podjetništva.46

HerbalismHerbalism is the practice, knowledgeand skill of harvesting, cultivating andusing various plants and their extractsfor medicinal purposes. In the areaof Ivančna Gorica, vast knowledgefrom the past has been developed andpreserved to this day on the basis ofthe knowledge and operation of theCistercian monastery located in thevillage of Stična.The tradition is based on the practices ofthe renowned friar Simon Ašič (1906–1992)who obtained his herbalism-related knowledgeby studying and supplemented it byhis own experience. Since 2000, productsper friar Ašič’s formulas have been producedin the monastery and sold undertheir own brand. It is to the expert JožeKukman, who used to work with friar Ašič,that the merit for this can be ascribed. Theinfluence of the friar was strong over thelocal inhabitants who were aware of theimportance of the plants for medicinalpurposes. Consequently, many of themhave focused on this activity in their freetime, some of them even so seriously thatthey perform the activity professionally.Andrej Majes works and lives with his familyat the ecological farm called Bioplavicain Zagradec; he makes herbal tea mixturesunder the brand Plavica (cornflower; translator’snote). They grow many medicinalherbs; the work is mainly done by handand in a manner that was known by ourgrand-mothers and grand-fathers. Amongother things Andrej is a renowned therapistof Maharishi ayurveda. Andrej was madeenthusiastic for the work by his father JožeMajes who had obtained a lot of theoreticalknowledge in the Stična Monastery. Inaddition, he designed the herb farm Plavicawith about 450 species of medicinal plantsin the surroundings of Dolenjske Toplice.In Šentvid near Stična, Meta Maček createsand transfers knowledge in the workshopson her home farm with a permaculturalgarden. The motto of her operationis the preservation of nature and heritagethrough biological cultivation and processingof medicinal plants and herbs. She hasbeen involved plants since she was a child.She says that “some people have a talentfor music, I have a talent for working withplants”. At the beginning she did not needtraining, but later, when she decided shewas going to transfer her knowledge, shehad to reinforce her practical experiencewith theory. She calls attention to the factthat in herbalism there is a very thin linebetween a medicinal effect and poisoning.She has many plants in her garden, sheonly harvests in nature what is surplus sincewe have to preserve nature the way it is.In the surroundings of Ivančna Gorica,Otilija Grad Barle cultivates and harvestsmedicinal herbs in the village of Temenica.The speciality of her farm is a forest gardenaccording to the principles of permaculture.She has vast knowledge on farmingwithout chemical agents. She sows andseeds together the plants which tolerateeach other and are useful to each other.Thus the plants do not get affected bydiseases and also pests are fewer. In theecological market in Ljubljana she offersstrong herbal liquors, dried herbs, ointments,herbal vinegar, pillows filled withgrain husks…In the municipality of Ivančna Gorica, JasnaZajc from Zagradec, retired, and is engagedin herb-related activities on her farm; locatedat the bottom of a nearby sinkholeshe has created a field with vegetablesand herbs. She lets her plants in symbiosis,she neither kills weeds nor uses chemicalfertilisers. She keeps her medicinal plantson the fringes of the sinkhole and amongfruit trees; she harvests many of them in thenearby forest. In addition to the mixtures ofteas she makes marmalades, spreads andherbal rolls. Her main crops are peppermint(Mentha x piperita), lemon balm (Melissaofficinalis ) and scarlet monarda (Monardadydima). When she was a child her fathermade her enthusiastic about plants: hetook her on trips in the countryside andshowed her medicinal flowers.The knowledge and experience of thepeople who are engaged in herbs are intertwinedwith the tradition of their ancestors,the heritage of fair Simon Ašič and his ownexperience in this field. The knowledgepreserved through workshops is superblytransferred to the older and the youngergeneration. Linking actively herbalismwithin the framework of tourism and entrepreneurshipas a good practice deservesto be emphasized.47

Tradicionalne obrtne in gospodarske veščineTraditional craftsmanship and economic skills49

PečarstvoPečarstvo je stara obrt, ki se ukvarjaz izdelovanjem pečnic, zidanjemin izdelovanjem peči in štedilnikovter oblaganjem sten s keramičnimiploščicami. V Lukovici in okoliškihkrajih pečarska obrt živi že desetletja.Franc Avbelj se od otroštvaukvarja s pečarstvom, od leta 1984ima obrt tudi registrirano. Predtem se je s pečarstvom ukvarjalnjegov oče.Delavnica družine Avbelj ima že večkot 60-letno tradicijo. Franc je leta2005 svoje znanje potrdil z opravljenimmojstrskim izpitom, že pred tempa pridobil certifikat Sekcije za domačoin umetnostno obrt pri Obrtnizbornici Slovenije za izdelke, ki jih ročnoizdeluje v svoji delavnici. V podjetjuje proizvodnja pečnic za krušne pečiin kamine stalnica že od vsega začetkadelovanja delavnice, po letu 1980pa podjetje vse bolj slovi po svojemunikatnem izdelku, ročnem opečnemtlakovcu. Medtem ko večina podjetijročno delo opušča, Avbljevi skrbijoprav za njegovo ohranjanje, saj soprepričani, da strojno izdelani predmetnima toliko kakovosti in vsebinskihsporočil kot tisti, ki je izdelan ročno.Vsi njihovi izdelki so od nekdaj narejeniiz naravnih materialov, saj poudarjajotradicionalnost stare pečarije. Osnovaza izdelavo pečnic (kahel) je model izmavca, ta pa je odlit po leseni rezbarskimatrici. V model pečar vmesi sivo glino,da se odtisnejo vsi detajli in značilnavelikost. Nato surovo pečnico izločiod modela in jo postavi na polico, dase povsem posuši. Oblikovana mehkaglina se dva dni suši, da postane tolikosuha in trda, da jo lahko primejo vroke. Ne sme se kriviti. Nato polizdelekobdelajo na kamne, obrežejo innaredijo luknje v opore pečnice, zatoda se pozneje v peči veže. Pečnica senato počasi trdi okoli mesec dni. Šelenato je primerna za pečenje v pečarskipeči in krašenje z glazurnimi premazi.Pred žganjem dodajo še zeleno-rjavoali natur glazuro. Pečnica z glazuro sežge v peči, kjer so temperature do 900stopinj Celzija. Kakovostne pečnice pečarodbere za prodajo, slabše pa izločiin zdrobi za druge namene. Celotenpostopek traja tri mesece in v temčasu pečar vsak izdelek vzame v rokeokoli 50-krat.Material za izdelavo pečnic je sivaglina, ki jo kopljejo v komendskihgmajnah. Glino je treba skopati vsajdve leti pred uporabo, da čez zimopremrzne, saj je bolj krhka in gnetljivater boljše kakovosti. Glino nato sstrojem pregnetejo, da je povsem homogena.Če je preveč mastna, dodajomalo kremenčevega peska, ki povečatrdnost pečnic.Avbljevi večino svojih izdelkov delajopo naročilu, saj imajo ljudje zelorazlične želje. Izdelujejo tudi klasičnekmečke peči in krušne peči. Na terenusicer že vrsto let niso postavljali pečiin polagali tlakovce, raje priporočijopriznane pečarje postavljavce in polagalceopečnega materiala.Franc Avbelj ima naslednika, sina, ki seobrti že uči in mu v delavnici marljivopomaga. Sicer pa ima trenutno dvaredno zaposlena iz lokalnega območja.Zaveda se, da je njihovo znanjein ročno delo specifično, zato veščinne skriva, ampak jih z veseljem deli.Iz srednje gradbene, geodetske inekonomske šole Ljubljana sprejemain izobražuje vajence. Poleg tega senekajkrat na leto udeleži tematskihobrtnih sejmov, kjer predstavlja svojedelo in poklic, čeprav je ta oblika promocijeprecej draga.Franc Avbelj meni, da je pečarsko delolep in zahteven poklic, zato je trebadelavce spoštovati, predvsem njihovoopravljeno kakovostno delo. Ljudje, kise ukvarjajo z obrtjo in si z njo služijokruh, morajo biti precej potrpežljivi,široki, razgledani, obenem pa tudimarljivi.50

Stove-making tradeThe stove-making trade is an oldcraft which deals with manufacturingglazed tiles, building and manufacturingstoves and ovens and lining ofwalls with ceramic tiles. In Lukovicaand the surrounding places the stovemakingtrade has been alive for decades.Franc Avbelj has been engagedin stove-making since his childhoodand has been a registered craftsmansince 1984. Before that his father wasin the stove-making trade as well.The workshop of the Avbelj family boastsan over sixty-year tradition. In 2005, Franchad his knowledge confirmed by passinga master craftsman exam and even beforethat he received a certificate from theHome Crafts and Applied Art Section withthe Chamber of Craft of Slovenia for thearticles he makes by hand in his workshop.From the very beginning of the workshopthere has been a constant production ofglazed tiles for glazed tile stoves and fireplaces;moreover, since 1980 the businesshas been renowned for its unique article,i.e. manually-fired pavers. While mostbusinesses are giving manual work up theAvbelj’s see to it that it is preserved. Theyare firmly convinced that a mechanicallymanufactured product does not have thequality and messages of substance as ahand made product.All their products have always been madefrom natural materials since they emphasizethe traditionality of an old stove-makingbusiness. The basis for the productionof glazed tiles (kahel) is a mould made ofplaster; it is cast using a wooden engravingmatrix. The stove-maker kneads grey clayinto the mould so that all the details andthe characteristic size are impressed. Thenan unfired tile is taken from the mould andplaced on a shelf until it dries completely.The formed soft clay dries for two days sothat it becomes so dry and hard that it canbe held in hands. It must not bend. Thenthe semi-product is treated by means ofstones, cuts and holes are made into thesupports of the tile; this is necessary so thatlater on it binds in the oven. The glazed tilethen needs about one month to hardenslowly. Only then it becomes suitable forfiring in the stove-makers oven and forbeing ornamented by means of glazingcoatings. Before it is fired, the green-brokenor natural glazing is added. The tile withglazing is fired in the oven where the temperaturesrise up to 900 degrees Celsius.Quality glazed tiles are then selected whilethose of inferior quality are eliminated andcrushed for other purposes. The entire proceduretakes three months and during thistime the stove-maker takes each productin his hands about fifty times.The material for the production of glazedtiles is grey clay which is excavated in thecommons of Komenda. The clay needs tobe excavated at least two years prior to itbeing used so it freezes over during the winter,which makes it more fragile and kneadableand at the same time improves itsquality. The clay is then kneaded by meansof a machine so that it becomes absolutelyhomogeneous. If it is too greasy some silicasand is added as it makes glazed tiles firmer.The Avbelj’s make most of their productsto order as people’s wishes are left to theirimagination. They also make classic farmand brick ovens. They have not built astove or laid pavers in the field for severalyears now, they prefer recommending renownedstove-makers who build frombrick material and lay pavers.Franc Avbelj has a successor, a son who isalready getting familiar with the craft andhelps his father in the workshop. OtherwiseFranc Avbelj employs two local persons ona permanent basis. He is well aware of thefact that their knowledge and handicraft arespecific. Consequently, he does not hide theskills; moreover, he enjoys sharing them withothers. He receives and trains apprenticesfrom the Secondary School for Construction,Geodesy and Economy Ljubljana. Moreover,several times a year he participates in thematiccraftsmanship fairs where he presentshis work and profession although their formof promotion is rather expensive.Franc Avbelj thinks that the stove-makingtrade is beautiful, the respective work is anice and demanding profession, which iswhy workers must be respected, particularlythe quality work they have performed.People who are engaged in a craft andearn their living in this way must be verypatient, of wide horizons, open-mindedand industrious.51

PletarstvoPletarstvo sodi med najstarejšeobrti na Slovenskem. Pletarskoznanje se je širilo iz roda v rod, od19. stoletja tudi s pletarskimi tečajiin šolami. Danes je pletarstvo mednajbolje ohranjenimi in razširjenimidomačimi obrtmi, vendar delujezgolj na samouški in lokalni ravni. Vvelikonočnem času so pletarski izdelki,še posebej košare, zelo zaželeni.Med pletilci košar in cekarjevizstopa Tončka Jemec iz Petelinj priDolskem, ki še ohranja starodavnopletarsko tradicijo.Jemčeva Tončka ali po domače Jeršinovase je rodila v letu 1931 v vasi Petelinje,kjer živi še danes. Daleč naokoli jopoznajo po kakovostnih pletarskih izdelkih.Plete iz vrbe, česar se je naučilaod mame in očeta. Njena mama se jepletarskih veščin naučila od očeta, njenoče pa od bratov, ki so znanje osvojili vpletarski šoli v Dolskem, ustanovljeniokoli leta 1900. Tončka se spominja,da so bili nekoč najbolj iskani koši zana hrbet, saj je bilo »treba vse na rokepožet in nakosit pa domov znest«.Njen ded je pletel jerbase, »tiste, ki sojih včasih v žegen nosili na glavi, ali paza mleko, ko so v vozičkih v Ljubljanoženske vozile«. Pletene košare iz vrbeso potrebovali za vsakdanja opravila.Njeni izdelki so iz naravnih materialov.Nekaj šibja in viter Tončka narežedoma, nekaj pa ji jih prinesejo sosedi.Vrba je idealno gradivo, še posebej,če se poreže vsako leto, saj je za pletenjenajboljša enoletna palica, ki jebrez stranskih izrastkov. Vrba se režespomladi, nato jo pletar olupi, posušiin sortira po debelini. Že poleti ali najesen lahko debele palice cepi na vitre,na tri ali štiri dele. V ta namen Tončkauporablja stroj na ročni pogon. Doizdelave viter delo poteka »vse nasuho«, za samo pletenje pa je trebagradivo namočiti, da postane upogljivo.Tončka plete le pozimi. Takrat seusede na stol, vitre in palice da polegna tla in začne popletati. Z eno samokošaro je veliko dela. V zadnjem letu jenaredila precej košaric za šivalni pribor.Plete predvsem zase, včasih tudi ponaročilu. Najraje pa dela košarice zaveliko noč, teh ji vedno zmanjka. Ljudježelijo košare tudi za razna poročna injubilejna darila. Pri svojem delu je zeloinovativna, saj ji marsikatera želja predstavljapravi izziv za novo ustvarjanje,nemalokrat pa se ji nenavadna idejaporodi kar sama. Tradicionalno pletarstvotako ne le ohranja, pač pa ga tudirazvija in mu dodaja novosti.Od leta 1987 do 1994 je Tončka vosnovni šoli Dolsko vodila pletarskikrožek. Zanj je bilo veliko zanimanja,saj se je vsakič zbralo med 20 in 40učencev. Izdelovali so košarice, ki sojih potem tudi razstavili. Otroci so seredko lotili pletenja tudi doma, saj nisoimeli vseh pripomočkov (stroja za vitre,vrbovih palic itd.), ki so jih sicer dobilipri krožku. Leta 1990 je Tončka prejelapriznanje Obrtne zbornice Slovenje inpridobila naziv mojstrice domače obrti,nato pa leta 2000 še priznanje Zlatavitica. Vsekakor so na Tončko in njeneizdelke ponosi tudi domačini, zato jeza svoje delo prejela naziv častne občankeobčine Dol pri Ljubljani.Tončka pravi, »da v rokodelskem poklicuni zaslužka, s tega vidika se ne splača«.Zadnjih petdeset let in več so bilev Sloveniji obrti zanemarjene. Sedajse obrti sicer nekoliko oživljajo, ljudjepočasi pridobivajo več spoštovanja doročnih, kakovostnih in tradicionalnihizdelkov, tako da imajo tudi obrtnikinekoliko več spodbude za delo.52

PlaitingPlaiting belongs among the oldestcrafts in Slovenia. Plaiting-relatedknowledge spread from generationto generation and since the19th century this has been helpedby plaiting courses and schools.Today plaiting is among the bestpreserved and wide-spread homecrafts; nevertheless, it functionsexclusively at the self-taught andlocal levels. During the Easter holidays,plaiting products, in particularwicker baskets are most desired.Tončka Jemec from Petelinje nearDolsko plaits baskets and narrow,two-handled bags, usually of straw,and is famous among those whostill preserve the ancient plaitingtradition.Tončka Jemec or, informally, JeršinovaTončka, was born in 1931 in the villageof Petelinje where she has lived until thisday. She is known far and wide for herquality basketry. She plaits from willow,which she learnt from her motherand father. Her mother had learnt basketryskills from her father and the latterfrom his brothers who have gainedthe knowledge in the basketry schoolin Dolsko, established around 1900.Tončka remembers that in times pastthe most demanded products were thebaskets people carried on their backssince “everything had to be reaped andcut by hand and then carried home”.Her grand-father made baskets, “suchbaskets that used to be carried on thehead or for milk when women transportedit to Ljubljana on wooden carts”.Willow-plaited baskets were needed foreveryday jobs.Her products are made from naturalmaterials. Tončka cuts some materialand thin strips of wood at home, someare brought by her neighbours. Willow isan ideal material, in particular if it is cutevery year: one year old rods are the bestas it is without knots. Willow is cut inspring, then it is peeled, dried and sortedas to its thickness. Already in summeror autumn thick rods can be cleft intovitre, in three or four parts. Tončka uses ahand-operated machine to do this. Untilthe preparation of thin strips of wood, towit, vitre, the work is done “in dry”; however,plaiting required the material to bewet so that it became pliable. Tončkaplaits in winter only. She sits down ina chair, places vitre and rods on thefloor and starts plaiting. A single basketrequires plenty of work. Last year shemade a lot of small baskets for a sewingkit. She keeps her baskets for herself,sometimes she makes one or two perorder. Her favourites are the baskets forEaster, She is very innovative in her worksince there are always those specialwishes which she considers a challengeto her creativity, quite often she has anidea herself. Thus not only she preservestraditional plaiting but she develops itand fits it with new details as well.From 1987 to 1994 Tončka was a mentorof plaiting as an extracurricular activityat the elementary school of Dolsko. Theinterest was quite substantial: every time20 to 40 students gathered. They madebaskets which were later exhibited.Children took up plaiting but on rareoccasions, not even at home as theydid not have adequate tools at home(machines for thin strips of wood, willowrods etc.): children got those tools at theextracurricular activity. In 1990 Tončkawas awarded a top recognition by theChamber of Craft of Slovenia and wasgiven the title of master craftswomanof handicraft. In 2000, she was awardedanother recognition called gold tendril.Locals too, are proud of Tončka and herproducts. This is why she was made anhonorary citizen of the municipality ofDol near Ljubljana.Tončka says “that there is no profit in thecraftsman’s profession, it is not worthwhilefrom this point of view”. For thelast 50 years and more, crafts in Sloveniahave been neglected. Nowadays thecrafts are slowly reviving, people beginto respect hand made, quality andtraditional products more: thus, craftsmenare encouraged in their vocationalendeavours.53

Pletenje slamnatih kitPletenje slamnatih kit je osnova zaslamnikarsko obrt, ki se je v zadnjihdesetletjih tudi na Domžalskemskorajda povsem porazgubila.Slamniki so bili nekoč cenjena pokrivalarazličnih družbenih slojevin posebej poklicev, kakršen jena primer poklic solinarja v našihobmorskih solinah. 300-letna slamnikarskatradicija je predstavljenav edinstvenem Slamnikarskemmuzeju v Domžalah, kjer je po dogovorumožen tudi prikaz pletenjakit in šivanja slamnikov.Pletenje slamnatih kit se je kot značilnadomača obrt začela razvijati v 18. stoletjuna območju Ihana, v 19. stoletjupa se je razširila še v okoliške kraje naobmočju Domžal, Lukovice, Mengša,Kamnika, Dola pri Ljubljani, Moravčin Trzina. V hribovskih predelih sopretežno pletli kite, v ravninskem deluso šivali slamnike, v tovarnah pa so jihdokončno oblikovali in poslali na trg.Ker so bili končni izdelki zelo odvisniod polizdelkov, je bilo nujno trebanajprej ločiti pletenje kit ter šivanje inoblikovanje slamnikov. Danes se s tovrstnodejavnostjo ukvarjajo le nekateradruštva in posamezniki, vsekakor papletenje kit iz slame najbolj povezuječlanice Kulturno-umetniškega društvaFran Maselj Podlimbarski iz Krašnje priLukovici.Slamo za kite so nekoč odbirali poročni žetvi žit. Iz snopov so potegnilinajlepšo slamo, ji obtolkli pšeničnazrna in zvezali pušeljne, ki so jih natoposušili na soncu. Paziti je bilo treba,da se slama ni namakala na dežju, daje ostala čista, brez pik. Suhi slami seje nato porezalo klasje in ponavadiodložilo na podstrešje, vse do zime. Vzimskem času, ko ni bilo dela na polju,so predvsem ženske pletle v krogudružine, s sosedami, včasih pa so sezbrale pri eni doma in skupaj ustvarjaleslamnate kite.Pred pletenjem so slamo pripravili zapletenje tako, da so jo otrebili, jo odrezalipri prvem kolencu in jo razporedilipo debelini. Preden so začeli plesti, soslamo namočili. Pletenje ni prinašalovelikega zaslužka. Kite, spletene iz najtanjšihslamic, so bile najdražje. Največkit je bilo spletenih iz sedmih slamic,ker so iz teh izdelovali slamnike in cekarje.Kite so pletli še z več slamicami,tudi enaindvajsetimi. Spleteno kito sonavijali na deščico, ki so ji rekli komolec.Ko je bila kita dolga šestintridesetkomolcev ali osemnajst metrov, so josneli s komolca in jo povezali. Vsak tedenje prišel ponje kitar in jih odnesel vslamnikarske tovarne. Za en slamnik sopotrebovali eno kito, za večje tudi več.Leta 1985 so v Krašnji pri Lukovicipreko Kulturno-umetniškega društvaFran Maselj Podlimbarski na pobudoučiteljice Vere Beguš ponovno oživilipletenje kit. S tem so želeli prebuditizanimanje za nekdaj zelo razvito hišnoobrt in ljudi privabiti v društveno življenje.Danes je pletenje v Krašnji znovazelo priljubljeno, saj se veliko otrok naučipletenja v tamkajšnji osnovni šoli.Člani društva slame ne kupujejo, ampakjo pridobijo po starem postopku,z ročnim žetjem na okoliških njivah. Vdruštvu plete več kakor dvajset žensk,šestnajst od njih že vrsto let predstavljapletenje kit iz pšenične slame tudi narazličnih prireditvah in sejmih po Sloveniji.Pogosto se jim pridružijo otroci,ki so že dobro osvojili novo veščino.Društvenih prostorov sicer nimajo, vsise učijo v vaški osnovni šoli. Nastajajokite, takšne kot pred leti, ki jih natoodnesejo v Domžale, k upokojenislamnikarici Joži Košak, da izpod njenihspretnih prstov nastanejo cekarji,košarice in slamniki.54

Plaiting straw braidsPlaiting straw braids is the basis forthe straw-related craft which hasalmost disappeared in the area ofDomžale over the last ten years.Straw hats used to be highly appreciatedby various social classesand particularly professions suchas for example that of a salt-workerin our saltpans at the seaside. The300 year-old straw hat traditionis presented in the unique StrawHat Museum in Domžale, where ademonstration of plaiting and sewingof straw hats is possible by priorarrangement.Plaiting straw braids started to developas a characteristic home craft in the 18 thcentury in the area of Ihan, and in the19 th century it spread to the surroundingplaces in the areas of Domžale,Lukovica, Mengeš, Kamnik, Dol nearLjubljana, Moravče and Trzin. In the hillyareas braid plaiting dominated, whileon the plains straw hats were sewnand in the factories they were finalisedand sent to the market. Since the finalproducts depended considerably onthe semi-products it was necessary tofirst separate braid plaiting from sewingand shaping of straw hats. Today onlysome societies and some individualsare involved in this activity; plaitingstraw braids connects most closely thefemale members of the Cultural andArts Society Fran Maselj Podlimbarskifrom Krašnja near Lukovica.The straw for braids used to be selectedafter the crop had been hand-reaped.The best of straw was pulled out of thesheaves, then threshed to separate thestraw from the grains and sheavedpušeljne (i.e. sheaves; translator’ note)which they then put in the sun to dry.They had to be careful as the straw mustnot get wet because of rain otherwisespots would appear on it. After the strawhad dried the ears were cut off, it wasstored in the attic where it remaineduntil winter. In winter when there wasno field work to do mainly womenplaited surrounded by their families,with neighbours and sometimes oneof them hosted the others and togetherthey created straw braids.Before plaiting was begun, the strawwas prepared for plaiting in a certainmanner. It was cleaned, i.e. freed of anyimpurities, cut at the first kolenec (atthe first thickened part of the hollowstalk; translator’s note) and distributedaccording to its thickness. Before theystarted to plait, the straw was put intowater. Plaiting did not bring a lot ofmoney. The braids plaited from the thinneststraws were the most expensive.Most braids were made of seven strawsas these braids were use to make strawhats and narrow, two-handled bags.Braids were also of more straws, evenas many as twenty-one. The plaitedbraid was coiled around a small boardwhich was called a komolec (unit oflength – 44cm; translator’s note). Whena braid was thirty-six komolci or eighteenmetres long it was taken off thekomolec and tied. Every week a kitar (abraidman; translator’s note) came totake them to the factories where strawhats were made. One braid was neededfor a straw hat, for larger ones morebraids were used.In 1985 a teacher, Vera Beguš, gave theinitiative to revive the craft of plaitingbraids. This was done with the assistanceof the Cultural and Arts SocietyFran Maselj Podlimbarski. Thus theywanted to raise the interest for a homecraft which used to be highly developedand entice people to enjoy sociallife more. Today plaiting is again verypopular in Krašnja: many children learnthe craft at the local elementary school.The members of the Society do notbuy the straw, they obtain it accordingto the method, i.e. by hand-reaping inthe nearby fields. More than 20 womenin the Society plait, sixteen of themhave been demonstrating their craftat various events and fairs throughoutSlovenia. Children who have alreadylearnt the skill well often join them. TheSociety does not have premises of theirown, they all learn in the village elementaryschool. Braids are made, similar tothose of so many years ago; which arethen taken to Domžale to the retiredJoža Košak: her skilful fingers master thecraft of making baskets, narrow, twohandledbags and straw hats.55

Rezbarjenje lesenihjaslicRezbarjenje lesenih jaslic je žedobro stoletje ena od značilnostiMengša in bližnje okolice. Uveljavilose je ob koncu 19. stoletja in sekaj kmalu razvilo v donosno rokodelskodejavnost, ki so se je oprijelištevilni domači obrtniki. Sprva soza poskusne figure uporabljalistare modele iz mavca in v temgradivu ustvarjali kar nekaj let. Sčasomaso se rezbarji preizkusili tudiv lesu. K prepoznavanju mengeškihjaslic in rezbarjev je izdatno pripomoglaprva razstava jaslic po drugisvetovni vojni, ki jo je leta 1972 vMengšu postavil takratni mengeškižupnik, Štefan Babič.Ponovno je bila v Mengšu pripravljenarazstava jaslic leta 1995, ko so poprizadevanjih društev, aktivnih posameznikovin nekaterih strokovnjakovzopet opozorili na imenitno rezbarskoveščino. Takrat je na razstavi z izdelkisodelovalo 24 rezbarjev, med njimitudi zelo dejavna Miha Skok in MilanKosec, ki danes edina v kraju še ohranjatarezbarjenje lesenih jaslic.Milan Kosec (roj. 1936) si skupaj z ženoRozi (roj. 1937) že vrsto let zapolnjujeprosti čas z rezbarjenjem lesenih jaslic.V mladosti ga je navdušil stric, ki se jetakrat ukvarjal z rezbarjenjem. Milanje s svojimi štirinajstimi leti začel popouku zahajati v stričevo delavnico,kjer so se družili in ustvarjali mengeškimojstri jaslic. Opazoval jih je pri delu inkmalu poizkusil tudi sam, najprej z navadnimkuhinjskim nožkom. Od takratje ves svoj čas posvečal rezbarjenju, šeposebej po upokojitvi. Kmalu se mu jepri delu pridružila tudi žena Rozi. Milanje povedal, da ji je nekega dne dal koslesa in ji rekel: »Poizkusi tudi sama, dane boš samo gledala in komentirala!«Tako je počasi nastala tudi njena prvaizrezljana ovčka.Osnovni material za izdelavo lesenihjaslic je lipov les. Ta je najmehkejši,prožen in zato najprimernejši za rezbarjenje.Milan les kupi pri domačinih,ki imajo drevesa v okoliških gozdovih.Za samo rezljanje potrebuje tračnožago, dleta, primež, kladivo in rezbarskinožek. Milan z ženo ustvarja kar vkuhinji za mizo, kjer si je po svoje uredilumetniški kotiček. Jaslice izdeluje vseleto in jim nameni skoraj ves prostičas. Rad dela natančno in kakovostno,vendar je čas izdelave figurice odvisenod zahtevnosti lika: ovčice je mogočeizrezljati hitreje kot figuro pastirčka, kiga postopoma izdeluje tudi po mesecdni. Po končanem rezbarjenju jefigurico treba zaščititi še s premazom.Nekoč je bil zelo priljubljen čebelji vosek,vendar se je nanj zelo rad prijemalprah, zato danes uporablja predvsemvodotopen mat lak. Ker izdelava jasliczahteva veliko dela in časa, jih Milan neizdeluje za trg, temveč predvsem zase,za družino in ožje prijatelje. Jaslice jepred leti pogosto razstavljal na sejmihin razstavah po vsej Sloveniji, danespa gostuje le še na sejmih v okoliškihkrajih.Milan Kosec je že več kot deset letaktiven član Turističnega društva KanjaTrzin, kjer imajo posebno sekcijo zarezbarje. Društvo organizira tudi delavniceza rezbarjenje, na katerih je Milanrezbarskih spretnosti v lesu naučil ženekaj ljudi. Ko je v letu 2010 pridobilcertifikat o nacionalni poklicni kvalifikaciji,je tudi uradno postal rezbar. Zapridobitev naziva poklicni rezbar jetreba poleg teorije znati izdelati tudilesorez, plitke in globoke reliefe inskulpture.56

Carving of woodenchristmas cribsFor a century carving of Christmascribs has been one of the characteristicsof Mengeš and its nearbysurroundings. It was highly appreciatedin the 19th century andsoon developed into a profitablehandicraft activity which was takenup by many a craftsman. At first,trila figurines were made accordingto the old models made from plasterand worked with this material forseveral years. Eventually the carverstried to work with wood. The firstexhibition of Christmas cribs afterWorld War II contributed considerablyto the identification of the cribsfrom Mengeš and of the carvers.It was held in 1972 in Mengeš andwas put in place by the parish priestŠtefan Babič.Another exhibition of Christmas cribswas organized in Mengeš in 1995 whenthe endeavours of the societies, activeindividuals and some experts calledthe attention again to the remarkablecarving skill. Twenty-four carvers tookpart in that exhibition, among whichvery industrious Miha Skok and MilanKosec who today are the only persons inMengeš preserving the skill and craft ofcarving Christmas cribs.Milan Kosec, born in 1936, and his wifeRozi, born in 1937, have been spendingtheir free time carving Christmaswooden cribs. In his childhood Milanwas encouraged by his uncle who wasthen an active carver. When Milan wasfourteen he started going to his uncle’sworkshop after school. The mastersof the craft of carving cribs socialisedand created there. He watched themat work and soon tried himself, at firstwith a kitchen knife. Since then he hasbeen spending all his time carving, evenmore so after he retired. Before too longhis wife Rozi joined him. Milan told usthat one day he had given her a chunkof wood and said to her: “Try it yourselfso that you will not just watch and comment!”This is how her first carved sheepslowly came into being.The basic material for making woodencribs is the wood of a linden tree. It isthe softest wood there is, flexible andconsequently suitable for carving. Milanbuys wood from local people who havetrees in the surrounding forests. To carvethey need: a bandsaw, chisels, a vice,a hammer and a carving knife. Milanand his wife work in their kitchen atthe table where he has organized hisartistic work place. He carves cribs allthe year around and devotes all his freetime to them. He likes to be precise inhis work, he loves quality; yet, the timerequired for one figurine depends onhow demanding the figurine is. Sheepcan be carved much faster than a figurineof a shepherd which takes him upto a month to carve. After the figurinehas been carved, Milan has to apply acoating on it. Bee wax used to be verypopular but dust adheres to it too much:this is why today mainly water-solubleopaque varnish is used. Since it takesa lot of time to carve the cribs, Milandoes not make them for the market butmainly for himself, his family and closefriends. Years ago he exhibited his cribsquite often at fairs and events throughoutSlovenia. Today he only goes tothe fairs in the surrounding villages toexhibit his cribs.For over ten years Milan Kosec has beenan active member of the Tourist Societycalled Kanja Trzin which has a specialcarving section. The Society organizescarving workshops where Milanhas taught his carving skills to quite afew. When he obtained the certificate onthe national vocational qualification heofficially became a carver. If one wantsto get the title of a professional carver,theory alone does not suffice. One hasto make a woodcut, shallow and deepreliefs and sculptures.57

SkodlarstvoLesena strešna kritina je bila na Slovenskemskupaj s slamnato kritinosplošno razširjena vsaj do srede 20.stoletja, nato pa je njen obseg začelupadati zaradi uveljavljanja industrijskoizdelanih kritin. Najpogostejeso bile s klanimi skodlami aližaganimi deskami prekrite stavbev višje ležečih hribovskih območjih,znani pa so primeri kritja z lesomv nekaterih nižinskih mestih. Danesje lesene kritine najpogostejeopaziti ponekod na Koroškem inGorenjskem, na nekaterih cerkvenihstrehah po Sloveniji, predvsempa na pastirskih kočah in turističnihstavbah na Veliki planini.Na območju Kamniške Bistrice ohranjaalpsko skodlarsko in krovsko dediščinoBojan Koželj iz Stahovice, ki se sskodlarstvom ukvarja od leta 1987, koje uradno registriral obrt. Danes so vpodjetju trije zaposleni, poleti, ko jeveliko dela, na pomoč priskoči še nekajljudi. Veščine in znanje je Bojan prevzelod očeta in deda, danes mu pomagajonjegovi otroci. Dokazi njegoveusposobljenosti, znanja in veščineobdelovanja lesa so številni strokovnoobnovljeni kulturni spomeniki po vsejSloveniji.Postopek izdelave skodel se začne poznojeseni, ko se po gozdovih Slovenijev senčnih legah na višini nad 800 mišče macesnov in smrekov »resonančni«les. Resonančni pomeni, da imales ravne in goste letnice, ki so edenod pokazateljev kakovosti. Les morabiti kar se da raven in brez grč. Izbranadrevesa se potem posekajo okoli decembra(t. i. stari mesec), ko drevesa nimajov sebi sokov. Po prvem zapadlemsnegu se hlodovina spravi v dolino, daostane nepoškodovana. Hlodi se svežerazrežejo na poljubno dolge kose, kise razcepijo okvirno na osem delovali krhljev. Sredina oziroma srce se odstrani,ker ta del lesa ni dober. Nato seodstrani še lubje in krhlji so pripravljenina ročno obdelavo – cepljenje skodel.Za cepljene deščice poznamo večkrajevnih imen: šinkl (Gorenjska), šikl(Štajerska), šinktl (Koroška), šindra (Notranjskain Kočevsko), bolj knjižno paje skodla. Debelina skodel je okvirnodo 14 milimetrov, širina pa je različna,od 10 do 17 cm. Skodle so lahko tudirazlično dolge, kar je odvisno od željanaročnikov in predvsem od tradicijekritja v krajih, kamor so namenjeneKoželjeve skodle. Nacepljene skodle setakoj povežejo v snope z žico, zložijovodoravno in primerno obtežijo terna zraku pustijo sušiti vsaj eno leto. Zavgraditev so primerne od spomladi dopozne jeseni, ko se strehe prekrivajo sskodlami. Bojan uporablja dva načinakritja, dvoslojno in trislojno prekrivanje,kar pa je odvisno od želja naročnikovoziroma njihovega gmotnega položaja,saj kritje z lesom sodi med najdražjeprekrivanje streh.Za izdelavo skodel so potrebna različnaorodja: sekira šinklarca, sekira zaizločanje sredine, različne sekire za cepljenjelesa, klavnica za razcep krhljev,leseni bat, capin, rezalnik, motornažaga in žaga amerikanka. Cepljenjeskodel je naporno opravilo, ki traja poves dan, od šestih zjutraj do poznihvečernih ur. Na dan Koželj izdela tudido 800 skodel, kar pomeni, da bi znjimi lahko prekril 20 m 2 strešne površine,saj za en kvadratni meter strehepotrebuje kar 40 skodel. Številka pa sepodvoji ali celo potroji, če krije v trehplasteh. Bojan Koželj jamči, da njegovemacesnove skodle zdržijo na strehitudi do 60 let, pozna pa tudi primere,ko so nekatere kritine na cerkvah zdržaletudi 100 let.Družinsko podjetje se danes predstavljana različnih sejmih po Sloveniji,načrtujejo pa tudi predstavitve natujem trgu, saj želijo za tovrstni poklicnavdušiti še več ljudi in povečati svojodejavnost. Bojan Koželj ima v načrtutudi organizacijo šolskih učnih prikazovizdelave skodel, saj se zaveda, daje prenos znanja na mlajše generaciješe kako pomemben.58

Shingle makingWooden shingles used for roof-claddingand straw roof-cladding werethe most wide-spread method ofroofing in Slovenia at least until themiddle of the 20th century. Thenits importance began to diminishbecause industrial roofing startedto emerge. Most frequently housesin the higher hilly area were coveredwith cleft shingles or sawn boards;but there are examples of roofs coveredin wood in certain places locatedmuch lower. Today wooden claddingsare most often seen in Carinthia andUpper Carniola, on some church roofsall over Slovenia and on shepherd’scabins and tourist buildings on Velikaplanina.Bojan Koželj has been preserving Alpineshingle making and the roofing-relatedheritage in the area of Kamniška Bistrica.He has been engaged in shingle makingsince 1987 when he officially registered hiscraft. Today he employs three persons andin summer when there is a lot of work hischildren help him. Numerous professionallyreconstructed cultural monumentsthroughout Slovenia are witness to hisprofessional competence, knowledge andskills in wood processing.The procedure of shingle making starts inlate autumn when larch and spruce “resonant”wood is sought in Slovenian forestsin shade areas at the height of above800m. Resonant means that such woodhas a straight and dense grain which isone of the wood quality indicators. Thewood has to be as straight as possibleand without any knots. The selected treesare then felled around December (the socalledold month) when trees no longercontain sap. After the first snow the timberis transported into the valley in such amanner that the wood remains undamaged.The timber is then cut into chunks ofarbitrary length; the chunks are cleft intoapproximately eight parts or krhlji (segments;translator’s note). The centre of theheart is removed because this part of thewood is not good. Then the bark is also removedand the segments are prepared formanual processing - cleaving of shingles.There are several local names known forthe cleft boards: šinkl (Upper carniola) šikl(Styria), šinktl (Carniola), šindra (Inner Carniolaand the area of Kočevje). A shingle isa more literary word. Shingles are aboutup to 14mm thick, their width varies from10 to 17cm. Shingles can be of variouslengths, depending on the wishes of individualclients and most of all on the traditionof roof-cladding in the places wherethe shingles of Koželj are going to go. Thecleft shingles are immediately sheaved bymeans of wires, piled horizontally and adequatelyweighted to be left in the air for atleast a year to dry. Roofs can be clad withshingles from spring to late autumn whenthe roofs are being clad with shingles.Bojan uses two methods of cladding, towit, double layer and triple layer overlapping,which depends on the wishes ofthe clients, i.e. on their financial situation,since wood-cladding is one of the mostexpensive roof-covering methods.Various tools are required for makingshingles: an axe called šinklarca, anotheraxe to eliminate the centre of the timber,various axes for cleaving wood, a cleaverto cleave the segments, a wooden mallet,a cutter, a power saw and a saw calledamerikanka (American; translator’s note).Cleaving shingles is a tiring job whichtakes all day from 6.00a.m. to late in theevening. Koželj makes up to 800 shinglesa day, which means that he could cover20m 2 of roof surface: one square metrerequires as many as 40 shingles. This numberdoubles or even triples if a three-layercladding is applied. Bojan Koželj guaranteesthat his larch shingles can stay on aroof up to 60 years. He knows of cases inwhich some claddings on churches havelasted for one hundred years.The family business is presented at variousfairs in Slovenia but they are planning toplace and present themselves in foreignmarkets. They would like to encourageeven more people for their professionand expand their business. Bojan Koželjis going to organize the presentation ofhis shingles in schools, i.e. make learningpresentations of how shingles are madeas he is well aware of the importance ofthe transfer of knowledge on to youngergenerations.59

TesarstvoTesarstvo velja za eno od najstarejšihobrti, njegove prve pojavneoblike pa segajo več kot pet tisočlet v preteklost. Zaradi potrebepo gradnji varnih bivališč so seljudje že v zgodnjih obdobjih kovinsrečali z obdelavo lesa na različnenačine in tako so nastajale različnestanovanjske in gospodarskestavbe, brvi, mostovi in drugiuporabni objekti. Tesarstvo je kotpomembna obrtniška dejavnostmočno zaznamovalo zlasti območjeMirenske doline, ki je poznanapredvsem po gradnji kozolcev.Prav tu so nastale velike tesarskemojstrovine z najbolj slikovitoolepšanimi kozolci.Tesarstvo zahteva tudi veliko znanja inizkušenj, zato so bili tesarski mojstri odnekdaj predvsem izkušeni starejši moški.Dejavnost je danes še povsod zeloživa, saj je praviloma večina ostrešij ševedno izdelana iz lesa. V preteklosti soiz lesa tudi v Mirenski dolini izdelovalilesene stavbe, torej stene, zelo razširilopa se je zlasti v 19. in prvi polovici 20.stoletja postavljanje lesenih toplarjev.Prvi enojni kozolci v Mirenski dolini sose pojavili že sredi 17. stoletja, kar dokazujejoslikovna gradiva tistega časa,razvoj novih kmetijskih tehnologijpa je od tesarjev terjal nove tesarskerešitve in tako so v drugi polovici 18.stoletja tudi v Mirenski dolini nastajaliprvi toplarji, ki so razcvet dosegli vtridesetih letih 20. stoletja. Takrat soizkušeni dolenjski tesarji zgradili najimenitnejšein konstrukcijsko najzahtevnejšedvojne kozolce – toplarje. Vtistem času je bilo aktivnih kar sedemtesarjev, ki so se med seboj razlikovalipo različni izvedbi detajlov na kozolcih.Najuglednejši tesarski mojstri so bili JanezKarlič mlajši z Velikega Cirnika, JožeKafol iz Trebelnega in Janko Gregorčičiz Slovenske vasi pri Šentrupertu. Slednjije izdelal znani Simončičev toplarna Bistrici pri Šentrupertu, ki je edinikozolec na Slovenskem s statusomkulturnega spomenika državnegapomena.Osnovna pogoja za dobro tesarstvosta dobro orodje, s katerim so tesali, indobro pripravljen les. Tesarska sezonaje potekala od pomladi pa tja do jeseni.V zimskem času so posekali les, ki jebil večinoma smrekov, za glavne delekozolca (npr. nosilne stebre) pa je bilnamenjen hrastov les. Les se je sušil dopomladi, ko so začeli s tesanjem lesain nato z vezavo posameznih sklopovkonstrukcije na tleh, da so preveriliustreznost obdelave in vezave lesa.Nato so te konstrukcije postopomarazdrli in jih sestavili v celoto, kozolec.Za tesarskega mojstra je bilo trebaopraviti pripravništvo, kar je zajemalopraktično učenje od učnih mojstrov.Pripravništvo je bil čas, ko so se vajencinaučili obdelovati les in zakonitosti,ki veljajo pri gradnji lesenih objektov.Pozneje so tudi izkušeni mojstri obsvojem delu razmišljali in uvajali noverešitve, ki so jih usklajevali z naročnikom.Danes posreduje znanje invedenje o tesarski obrti na območjuMirenske doline Alojzij Gregorčič izSlovenske vasi pri Šentrupertu, ki jevečino znanja je prevzel od svojegaočeta Janka Gregorčiča.Tesarstvo daje Mirenski dolini velikpečat, saj preko kozolcev oblikujepodobo kulturne krajine in značilnoslikovitost podeželja. S projektom Muzejna prostem – kozolci v Šentrupertutesarstvo zopet pridobiva na veljavi,saj so njegova izhodišča in zakonitostipodlaga za postavitev muzeja. Polegtega so na območju v zadnjih letihzaradi prijetnosti bivanja in okoljskeprijaznosti v porastu tradicionalne tehnikegradnje in opremljanja z lesom.60

CarpentryCarpentry is considered to be oneof the oldest crafts. It first appearedmore than five thousand years ago.Owing to the necessity of buildingsafe housing structures, alreadyin the early metal periods peoplemet with various methods of woodprocessing: thus various residentialfacilities and estate buildings,wooden footbridges, bridges andother useful structures emerged.Carpentry as an important craftsmanactivity left a strong markin particular in the Mirna Rivervalley. The valley is known for theconstruction of its hayracks. It isin the very Valley that magnificentcarpentry masterpieces with themost picturesquely ornamentedhayracks have sprung up.Carpentry requires a lot of knowledgeand experience: consequently, mastercarpenters have always been mostlyexperienced elderly men. The activity isvery much alive everywhere today becauseas a rule most roof trusses are stillmade of wood. In the Mirna River valley,wooden buildings, i.e. walls, were manufacturedin the past. The constructionof wooden double hayracks boomedparticularly in the 19th and in the firsthalf of the 20th centuries. The firstsimple hayracks appeared in the MirnaRiver valley as early as in the middle ofthe 17th century, which is documentedin the pictorial documents of that time.The development of new farming technologiesrequired carpenters to find newcarpentry-related solutions: this is whythe first double hayracks appeared inthe Mirna River valley. Double hayrackswere in their prime in the 1930s. At thattime carpenters from Lower Carniolabuilt the most remarkable and construction-wisethe most demanding doublehayracks – toplarji. As many as sevencarpenters were active then and theydiffered from each other as to the executionof details on the hayracks. The mosteminent master carpenters were JanezKarlič Jr. from Veliki Cirnik, Jože Kafolfrom Trebelno and Janko Gregorčič fromSlovenska vas near Šentrupert. The lattermade the Simončič double hayrack inBistrica near Šentrupert: this is the onlyhayrack in Slovenia that boasts thestatus of a national cultural monument.Two basic conditions for good carpentryare good tools to hew with and wellpreparedwood. The carpentry seasonlasted from spring to autumn. In winterwood was felled, it was predominantlyspruce wood, while oak was used forthe main parts of a hayrack (i.e. supportingpoles). The wood was then leftto dry until spring when they startedhewing it. This was followed by bindingtogether individual assemblies of theconstruction on the ground to checkthe adequacy of the processing andbinding of the wood. These structureswere then completely disassembled andassembled into a whole, i.e. a hayrack.If someone wanted to become a mastercarpenter he had to go through anapprenticeship that comprised practicallearning by teaching masters. Theapprenticeship was a time when apprenticeslearnt to process wood andthe laws applying to the construction ofwooden facilities. Later on experiencedmasters, too, were thinking while workingand introduced new solutions forwhich they had to get the approval oftheir client. Alojzij Gregorčič, who gotmost of his knowledge from his fatherJanko Gregorič, from Slovenska vas nearŠentrupert, conveys his knowledge andknowingness about carpentry craftsmanshipto others in the area of theMirna River valley.Carpentry provides the Mirna Rivervalley with a strong feature – throughits hayracks it shapes the image of theman-made environment and the characteristicalpicturesqueness of the rurallandscape. The project Open-Air Museum– hayracks in Šentrupert returnscarpentry to the stand and position itdeserves, once again carpentry is gainingimportance, with its basic premisesand the laws being the foundation tobuild a museum. In addition, owing tothe pleasantness of living here and tothe friendly environment, traditionalbuilding techniques and the use ofwood have been on the increase.61

Viri in literaturaResources and literatureLiteratura/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 pogojihpodeljevanja 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 Znanstvenoraziskovalnegacentra 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 Šentrupert,marec 2003, str. 19.62

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, Zagradec63

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