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CROATIA PUTNI »ASOPIS n

INFLIGHT MAGAZINE

P U T N I

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P R O L J E Δ E

I N F L I G H T

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S P R I N G

PROLJEΔE

VA© VLASTITI PRIMJERAK

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M A G A Z I N E

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YOUR PERSONAL COPY

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SPRING 2010


D. FabijaniÊ

DOBRO DO©LI U ZRAKOPLOV!

Nakladnik/Publisher Croatia Airlines Hrvatska zrakoplovna tvrtka Bani 75b, Buzin 10 010 Zagreb, Croatia tel. +385-1-616-00-66 fax +385-1-616-01-53 E-mail: pr@croatiaairlines.hr URL: www.croatiaairlines.com Direktor/President & C.E.O. Ivan MiπetiÊ Glavna urednica/Editor-in-chief Ksenija Ælof Suradnici glavne urednice/ Editor-in-chief assistants Ana ∆ulumoviÊ i Davor JanuπiÊ Uredniπtvo/Editorial staff Silvana Jakuπ, –uro TomljenoviÊ, Ksenija ÆlofRoman Gebauer, Miljenkbravka Urednik fotografije/Photo editor Damir FabijaniÊ Dizajn/Design Ivana IvankoviÊ PrliÊ, Nenad VujoπeviÊ

Dragi put­ni­ci!

Dear passengers,

Z

A

adovoljstvo nam je πto ste i ovom prigodom za vaπe putovanje odabrali naπu kompaniju i nadam se da vam let s nama protjeËe ugodno. Ulazimo u ljetni red letenja, koji smo, kao i uvijek, nastojali prilagoditi vaπim potrebama. Stoga smo uveli dodatne veËernje letove na liniji Zagreb - Priπtina te jutarnje letove na liniji Priπtina - Zagreb, zatim nove izravne letove iz Rima u Dubrovnik, Split i Zagreb, kao i letove izmeu Splita i BeËa, Münchena, i Züricha te izmeu Dubrovnika i Züricha. Dok letite prema vaπim odrediπtima, vjerujem da Êete, ËitajuÊi naπ Ëasopis, pronaÊi teme πto vas zanimaju. U ovom broju moæete proËitati razgovor s naπom proslavljenom spisateljicom Vesnom KrmpotiÊ, Ëije nas misli, pretoËene u rijeËi, uvijek iznova oplemenjuju. U Zagrebu je nedavno otvoren i Muzej suvremene umjetnosti na novoj lokaciji. U kontinentalnoj Hrvatskoj vodimo vas u grad na Ëetiri rijeke - Karlovac, koji mnogi zovu i gradom pustolovom. Ovaj put idemo na otok Krk, prema rijeËima mnogih, zlatni otok koji se sa 2500 sunËanih sati na godinu ubraja u najsunËanije dijelove Europe. Predstavljamo vam i naπe novo odrediπte - Atenu, vjeËnu zavodnicu koja privlaËi posjetitelje u svako doba godine, ali, moæda je ipak najzanosnija u proljeÊe... A takoer po ekspoloziji proljetnih mirisa i prizora poznat je ameriËki jug.

Ivan MiπetiÊ

Prijelom/Layout Nenad VujoπeviÊ Lektorica/Proof reader Mirjana Miholek Prijevod na engleski/ English translation Lancon d.o.o. Oglaπavanje/Advertising Croatia Airlines Gabrijela Lochert tel. +385-1-616-00-17 E-mail: advertising@croatiaarlines.hr Promocija/Promotion Croatia Airlines tel. +385-1-616-01-26 Priprema/Photolitography

WELCOME ABOARD!

Malo dinamike i kontrapunka u naπ sadræaj unijet Êe i tekst o buri, vjetru koji puπe na Jadranu i koji nama zrakoplovcima katkad stvara teπkoÊe u prometu. Ali taj vjetar ima i mnogo dobrih strana, jer bez bure ne bi bilo ni prepoznatljivog okusa ukusnoga paπkog sira, janjetine i prπuta. Od ostalih zanimljivosti, izdvajamo i tekst o povratku profesora Baltazara, junaka crtanoga filma, koji je postao istinski hrvatski brand, a nosi poruku o rjeπavanju problema znanjem, a ne silom. Dakako, nije to sve, pa vjerujemo da Êete poneku temu i sami otkriti listajuÊi naπ Ëasopis. A drago nam je πto naπim zrakoplovima lete u Dubrovnik i mnogi znanstvenici svjetskoga glasa, koji Êe sudjelovati na uglednome znanstvenom skupu o biomagnetizmu. Cijenjeni putnici, æelim vam i sretne uskrsne blagdane. Hvala vam πto letite s nama.

s always, we are very happy to welcome you on board of a Croatia Airlines flight in the hope that your travel experience has been pleasant and enjoyable. We are about to introduce our new summer flight schedule. We have again tried to take into account your wishes and to adapt our flying timetable to your needs. That is why we have introduced additional evening flights en route from Zagreb to Prishtina as well as morning flights from Prishtina to Zagreb. There are also new direct flights connecting Rome with Dubrovnik, Split and Zagreb as well as those connecting Dubrovnik and Zurich. As you are flying towards your destinations, I hope that you will find something of interest in our inflight magazine to pass your time. This issue contains an interview with our much-loved writer, Ms. Vesna KrmpotiÊ, whose thoughts and words always inspire us. The Museum of Contemporary Art has recently opened its doors in a new building in Zagreb. We have selected a place in continental Croatia for you: Karlovac, a city on four rivers which many like to call a city of adventures. This time, our destination is Krk, a golden island with as many as 2,500 annual hours of sunshine which rank it among the sunniest places in Europe. We also write about our new destination, Athens, an external seductress which positively attracts visitors all year round, but is probably at its most enchanting in spring. The American south is also famed for an explosion of spring fragrances and scenes. The story about the Bora, a wind which blows on the Adriatic coasts and sometimes give us airline professionals a bit of a headache, presents a counterpoint to all the other stories and gives a different dynamics to this issue. However, that wind also has a good side to it as without it, the trademark flavours of the Pag cheese, lamb and prosciutto would not exist. Among all of the interesting texts we would like to draw your attention to the one about the return of Professor Balthazar, a cartoon hero who has become a veritable Croatian brand. He brings a message of peace and understanding, and teaches us that delicate situations can be resolved with knowledge and not with violence. The list of the topics does not stop there and we leave it to you to discover the rest of them by leafing through our magazine. We are certainly glad that, quite a few world renowned scientists will fly with us to Dubrovnik where they will attend a scientific gathering about biomagnetism. Dear passengers, I take this opportunity to wish you a very happy Easter and thank you for flying with us.

Zrinski d.d., »akovec Tisak/Print Zrinski d.d., »akovec

ISSN 1330-6278

Ivan MiπetiÊ President & C.E.O.


■ SADRÆAJ 6

Razgovor: Vesna KrmpotiÊ

GLOBALISTICA PRIJE GLOBALIZACIJE Poetesa koja spaja tradiciju i modernitet, Vesna KrmpotiÊ doima se kao putujuÊi pjevaË koji svojim stihovima rekreira ljudsku sudbinu u punoÊi njezinih uvijek novih i uvijek starih znaËenja. 16

Muzeji

Budu∆nost je ve∆ po»ela Projekt novog Muzeja suvremene umjetnosti Zagreb jedna je od najveÊih hrvatskih kulturnih investicija od osamostaljenja dræave, a od poËetka promiËe novu i drukËiju umjetnost te prati suvremena kretanja. 34

Kontinentalna Hrvatska

Karlovac, pustolov na »etiri rijeke Tajna utemeljenja Karlovca bila je u izvrsnome geografskom poloæaju, na razmei Podunavlja i Jadrana, pa nije sluËajno odabran kao ishodiπte triju najvaænijih cesta sagraenih u 18. i 19. stoljeÊu. 48

Otoci

Zlatni otok Krk Otok Krk ubraja se u najsunËanije dijelove Europe s 2500 sunËanih sati na godinu. Ugodna klima, topla, ne prevruÊa ljeta i blage zime odraæavaju se na bujnosti submediteranske vegetacije. 86

Naša odredišta

Vje»no zavodljiva Atena Atenu je najbolje posjetiti u proljeÊe, kad sve buja... Ali, ne zaboravimo, kad smo u Ateni, kreÊemo se po tlu ljudi koji su odredili æivot ne samo nekadaπnje GrËke, nego i cijele civilizacije zapadnog kruga. 98

Meridijani

Prolje∆e na ameri»kom jugu ProljeÊe je na ameriËkom Jugu, kao i bilo gdje drugdje, vrijeme ponovnog roenja. Ali proljeÊe na ameriËkom Jugu osobito je zbog bogatstva aromatiËnoga i cvatuÊeg bilja s eksplozijom mirisa i prizora. 106

Prirodni fenomeni

Snaga bure Bez bure, hladnoga i suhog vjetra koji puπe na Jadranu, ne bi bilo ni poznatnog prπuta ili paπkog sira, a u kombinaciji s aromatiËnim travama tamoπnjoj janjetini daje nezamjenjiv okus. 122 Umjetnost

Povratak profesora Baltazara U filmovima o profesoru Baltazaru maπta i moÊ pozitivnog miπljenja pobjeuju laæ, ideologiju i manipulaciju, uz univerzalnu poruku o rjeπavanju problema znanjem, a ne silom. 2

CROATIA AIRLINES

ProljeÊe/Spring 2010

www.croatiaairlines.com


CROATIA AIRLINES

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■ CONTENTS 6

Interview: Vesna KrmpotiÊ

A Globalist Even Before Globalization A poetess who spans tradition and modernity, Vesna KrmpotiÊ appears as a travelling singer who uses verse to recreate human destiny in the fullness of its meanings, always new and always old 16 Museums

The future has already begun The project of the new Museum of Contemporary Art in Zagreb is one of the biggest Croatian culture investments since the independence. Since its very beginnings, it strived to promote a new and different kind of art and keep pace with contemporary tendencies 34 Inland Croatia

Karlovac, the Adventurer on Four Rivers The secret of Karlovac lay in its excellent geographical position between Danube and the Adriatic. Therefore, it was no accident that it was choosen as the departure point for the three most important roads built in the 18th and 19th century. 48 Islands

Krk, the Golden Island The island of Krk is among Europe’s sunniest places, with 2,500 hours of sun per year. The pleasant climate with warm but not too hot summers and mild winters gives rise to lush submediterranean vegetation 86 Our destinations

The beguiLing Athens The best time to visit Athens is in spring when everything flourishes... But we must not forget, when we are in Athens, that we tread in the footsteps of those who laid down the foundations of life that was known not only in Greece of the time, but in the entire Western civilization 98 Meridians

Spring in the American South Spring in the American South, like anywhere else, is a time of rebirth. But springtime in the American South is special because of the sheer multitude of aromatic and blooming plants that fill the air with an explosion of scents and sights. 106 Natural phenomena

The Power of the Bora wind Without the Bora wind that blows in the Adriatic area, there would be no famous prosciutto or cheese from the island of Pag. Combined with aromatic herbs it gives the local lamb its fabulous taste. 122 Art

Professor Balthazar Returns In the Professor Balthazar cartoons, imagination and the power of positive thinking reign supreme over lies, ideologies and manipulation together with the universal message that knowledge and not force is true power 4

CROATIA AIRLINES

Ovo je vaπ vlastiti primjerak

This is your personal copy


CROATIA AIRLINES

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■ RAZGOVOR: Vesna Krmpoti∆

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CROATIA AIRLINES

Piπe/By Zdravko Zima


Fotografije/Photos Damir FabijaniÊ

INTERVIEW: Vesna KRMPOTI∆ ■

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Kako najkraÊe opisati Vesnu KrmpotiÊ? Kao spisateljicu s diplomom psihologije i engleskoga (u New Delhiju je diplomirala i bengalski jezik), koja je tijekom desetljeÊa svog rada objavila takvu koliËinu knjiga πto bi bila dovoljna za nekoliko knjiæevnih biografija. How does one most succinctly describe Vesna KrmpotiÊ? She is a writer with degrees in psychology and English (with another degree in Bengali from the University of New Delhi) who has been so prolific during her writing career that her works could easily fill up the combined biographies of several authors.

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ripadajuÊi isprva krugovaπkoj generaciji hrvatskih pjesnika, postupno je nadilazila generacijska i druga ishodiπta, upijajuÊi dalekoistoËne tradicije i pokazujuÊi svojim knjigama da je nutrina pravi izgled svijeta. Njezin knjiæevni put obiljeæili su Plamen i svijeÊa, Dijamantni faraon, »as je, Ozirise, Jednina i dvojina, Orfelija, Koπulja sretnog Ëovjeka, Plamen neupaljene svijeÊe, Brdo iznad oblaka, Bhagavatar, Stotinu i osam, Put jednote i drugi naslovi koji izmiËu konvencionalnim kabinetskim tumaËenjima. Ponajprije poetesa koja spaja tradiciju i modernitet, Vesna KrmpotiÊ doima se kao rapsod, putujuÊi pjevaË koji svojim stihovima rekreira ljudsku sudbinu u punoÊi njezinih uvijek novih i uvijek starih znaËenja. ■ Iz Vaπih zbirki stihova i Vaπih proza, iz knjiga koje ste prevodili i knjiga koje ste na svoj naËin predstavljali, uvijek se sluti isto. Naime, u poËetku i na kraju otkriva se ljubav. Ljubav, ako se tako moæe reÊi, kao najvaæniji Ëovjekov zadatak! Kako izbjeÊi njezinu profanaciju, pogotovo u svijetu koji je tako neopozivo komercijaliziran i kontaminiran novcem? - Ako smo dodirnuli i bili dodirnuti ljubavlju, onda nas profanacije, pojednostavljenja, suæavanja tog pojma neÊe ugroziti, Ëak ni dotaknuti. Osim svojevrsnim osjeÊajem æaljenja, pa i saæaljenja. Voljeti neπto, prianjati uz nekoga ili neπto zbog toga πto pogoduje egu, πto donosi uskotraËnu korist, prolaznu sigurnost, πto je odobrena znaËka da smo in, to znaËi voljeti upravo svoj ego. A ego je nezasitan πto se tiËe primanja, i svijet za koji ste rekli da je neopozivo komercijaliziran, njegovo je (egovo) radno mjesto. Ljubav o kojoj bi trebala biti rijeË, ne pita, ne vaæe, ne prekopava ni proπlost ni buduÊnost. Njoj je vrhunski dovoljno da ona jest. Rekla bih joπ neπto. Ona je svoj vlastiti uzvrat. ■ Vaπa prva indijska iskustva datiraju otprije nekoliko desetljeÊa, πto je prepoznatljivo u knjigama u kojima ste sa sebi svojstvenom inventivnoπÊu vezivali tradicije Istoka i Zapada. ZnaËi da ste bili globalistica prije globalizacije. Uostalom, svijet je jedan i jedinstven kao πto je Bog jedan i jedinstven. No, kako izbjeÊi pogubne posljedice globalizacije, oËite ponajprije u svoenju na opÊeprihvaÊene standarde (miπljenja, ponaπanja i tako dalje), koje svojim unificirajuÊim aspektom nijeËu bogatstvo razliËitih tradicija, nudeÊi se kao brzopotezni fast food kojemu se Ëoporativno klanjamo? - Oduvijek sam se divila i Ëudila raznolikosti Ëovjekova kreativnog iskazivanja te jedne neopisive magije: stvarnosti. To raznoliËje

podsjeÊa na raπiren paunov rep, gdje je oko svakog pera zagledano u neki drugi prizor, a sva pera izviru iz istog mjesta. Priroda oko nas podjeÊa na nas. I Ëovjek je tisuÊljeÊima osluπkivao, otkrivao svoj posebni vidik, zvuk, kretnju, rijeË, boju. Svoditi livadu na samo jednu vrstu cvijeÊa, a zbog lakπeg baratanja njezinom livadnoπÊu, kratkovidno je i bolesno. Sami ste u pitanju zgrnuli sve pridjeve i imenice koje idu uz takav pokuπaj; brzopotezni fast food, Ëoporativno klanjanje, unificirajuÊi aspekt. To je put u jednoliËnost, u antistvaralaËki stav koji se ne usuuje mijenjati zadani kanon. Kao vaæno upozorenje istaknula bih drugu misao: temeljni zakon jest jednota. Ali jednota nije i jednoliËnost. Jednota se krije u korijenu svakoga onoga paunova pera. Jednota je temelj, razlike i raznosti njezini su katovi, svaki sa svojim osobitim vidikom. ■ Vi ste prije svega poetesa u znaËenju gotovo iskonskome i inicijalnome. Ipak, veÊ godinama doimate se kao hodoËasnica koja svijetom pronosi duh pjesniËkog jedinstva i univerzalnog bratstva. ZnaËi li to da ono drugo proizlazi iz prvoga, odnosno, znaËi li to da je rijeË ta koja je sve stvorila i da ima supstancijalnu moÊ? - ReËeno je, zar ne, da u poËetku bijaπe RijeË. Indijci kaæu da je zvuk prvo oËitovanje Neizrecivoga. Da, poezija mu je najbliæa, tomu Neizrecivomu. Ona uporno hoÊe i hoÊe izgovoriti neπto πto je nadilazi. U tome je, rekla bih, njezina ljepota, u toj dirljivoj (ne)moÊi. Neumorni taj pokuπaj praÊen je straπÊu, pa i ponekadnim stapanjem s onim πto se hoÊe kliknuti ili πapnuti. Ja ne vidim nikakvu bitnu razliku izmeu stiha i priËe. Oboje su poezija. Kad ih Neopisivo natjera da ga joπ jedanput pokuπaju izreÊi, i kad oni joπ jedanput pristanu na nemoguÊe. Bio to Rilke, pjesme Eskima, purane ili rabija. ■ U mnogim Vaπim knjigama Ëuenje se pokazuje kao osnovni pokretaË. S obzirom na eru u kojoj se uspostavljaju banke plodnosti (pitanje je dana kad Êe roditelji birati osobine svoje joπ neroene djece), ta osobina gotovo je zakræljala. Kako oËuvati sposobnost Ëuenja ili, u krajnjoj liniji, kako oËuvati ËistoÊu, a da Ëovjek istog Ëasa ne zavrπi u taboru primitivaca i infantilaca? - Ha, ha! Pa πto nedostaje taboru primitivaca? Bar se do mile volje moæemo Ëuditi i diviti. Pojmu Ëuenja dodala bih joπ taj pridjevak: udivljenje. Svijet, stvarnost, i vanjska i unutarnja, katkad nas tako zabljesne da je Ëuenjei-divljenje jedini istinski odgovor. I dodala bih joπ neπto Ëuenju-divljenju: radost, uæitak. Morali bismo gledati djecu, kako oni to umiju


bez smetnje i iskreno. I morali bismo nastojati da nam djeca saËuvaju tu sposobnost i takav stav, naime, da ne prihvaÊaju ljepotu i tajne stvarnosti matter-of-factly. U protivnome, tabor linearnog miπljenja raπirit Êe se kao gripa za koju je cjepivo namjerno i briæno zagubljeno. ■ Poznato je takoer da ste napisali jedinstvenu mamut-zbirku pod naslovom Stotinu i osam. Kao πto naslov sugerira, knjiga sadræava 108 zasebnih cjelina, a svaka od njih sadræava isto toliko pjesama. ZnaËi li to da se svijet moæe interpretirati kao sustav brojeva i da su u brojnim odnosima fiksirana neka izvanvremenska i aksiomatska obiljeæja? - Kao πto rekoste, knjiga sadræava 108 zasebnih cjelina, odnosno 11.664 pjesama. Nacionalna i sveuËiliπna knjiænica ustanovila je da je posrijedi najopseænija knjiga poezije u svjetskoj knjiæevnosti. Pisana je devet godina - u tramvaju, avionu, na autobusnoj stanici, u vlaku. Nije napisana, nego zapisana. Tako i piπe na naslovnici: zapisala Vesna KrmpotiÊ. Jer otpoËetka mi je bilo jasno da je rijeË o vrlo izravnom diktatu. No dobro. Pitali ste me o brojevima. Zar brojevi nisu u svakoj kompoziciji, skladbi, zar nisu i u samoj prirodi? Eto, uzmimo broj devet. On je broj sveprisutnosti. Zaπto? Pomnoæite bilo koji broj s devetkom i poslije zbrojite brojeve umnoπka. Uvijek Êete dobiti devet. Gdje je devet, ondje je uvijek devet! Nijedan drugi broj nema tu odliku. Cijela je knjiga 108x108 proæeta brojem devet. Svaka knjiga u njoj ima 108 pjesama. Datum zavrπetka takoer daje devet. I tako dalje. ZakljuËak ili odgovor na Vaπe pitanje: brojevi su svojevrsna slovnica ne samo kvantitete, nego i kvalitete. ■ U jednom Ëasu Vaπe karijere, ili Vaπe individualne misije, od poezije ste se gotovo spontano priklonili priËi. Je li se to dogodilo zato πto priËa, osim bajkovitosti i slikovitosti, nosi u sebi ono πto je iskonsko, pa je utoliko svojstveno svakomu ljudskom biÊu, neovisno o tradiciji ili konkretnom prostoru i vremenu? - VeÊ sam rekla da ne vidim nikakvu pravu razliku izmeu pjesme i priËe, pod uvjetom da su i jedne i druge poezija. Nije posrijedi igra rijeËima, preplet smisla, ritam, tema, asocijativne strelice, nego poniranje u uvijek iznova neosvojenu fantastiku i ljepotu stvari, stanja, zbivanja, sebe. Napisala sam devet (opet devet!) knjiga bajki pod zajedniËkim imenom Divni stranac, a svaka od knjiga sadræava 108 (opet devet!) priËa. Smatram ih poezijom. Dosad su objavljene tri. Osim toga, πirom svijeta ima bajki, anegdota, basni, legendi, mitova koji izravnije, priprostije i maπtovitije kazuju

teofilozofske ideje. Upravo mi se po glavi vrti jedna od njih - o kraljevoj izloæbi. Eto, kralj je priredio izloæbu svega blaga svoga kraljevstva; idole od zlata, od slonove kosti, biser-ogrlice, srebrne pehare, dragulj-ogledala i tako dalje. Kao kraljev dar posjetitelju, svakomu je bilo dopuπteno da izabere izloæak koji mu se najviπe svia. Dakako, bila je guæva i gurnjava. A neka starica nije se zadræavala ni pred jednom ponuenom krasotom. Ona je krenula ravno prema kralju, koji je sjedio na prijestolju i promatrao prizor. Rekla mu je da ona izabire njega. Jer, s tobom imam i sve πto ti imaπ, rekla je. Da, takve su priËe istinski nauk i za nepismene mase, jer pismenost nije uvijek jamstvo razumijevanja napisanoga. ■ NjemaËki filozof Hermann grof von Keyserling napisao je da najkraÊi put do samoga sebe vodi oko svijeta. »ini mi se da je i Vaπe iskustvo u znatnoj mjeri upravo takvo. Ali grof Xavier de Maistre, francuski knjiæevnik i slikar, putovao je u daleka prostranstva, ostajuÊi unutar zidova vlastite sobe, kao πto je i naπ veliki Tin UjeviÊ bio Hindu, iako nikad nije kroËio na indijsko tlo. Usuujem se tvrditi da prihvaÊate i potonju moguÊnost i da ona nije u kontradikciji s Keyserlingovom tvrdnjom? - O, ne, jedno s drugim nije u raskoraku. O, da, da, jest u raskoraku. Zapravo, sami odluËujemo o tome je li ili nije posrijedi raskorak. Uvijek smo mi ti koji putuju u svijet da bi traæili, vidjeli, uËili, saznali. O svijetu, o sebi. I uvijek smo mi ti koji putuju u sebe da dodirnu, vide, nauËe, da saznaju o sebi, sebe, to jest, o svemu drugom. Razlika je u prvosti ili drugosti sebe ili svijeta. Moæda postoji i paralelan pristup, kad i svijet i svijest imaju prednost. Je li naπ divni UjeviÊ bio takav paralelist? Ali kad se u prvom redu traæi sobost (sobost, UjeviÊeva rijeË), to jest, kad se traæi izvor, suπtina i prvost, onda je maloprije spomenuta priËica zrcalo toga stava. VeÊina bira izloæena djela na veleizloæbi svijeta: malo tko bira Autora. Ima trenutaka kad je takav izbor ili-ili. ■ Æivimo u vremenu policentriËnog uma koji je suprotan bilo kakvom etnocentrizmu. Nevjerojatno je da putnik moæe dospjeti u Los Angeles, ili neku njegovu Ëetvrt, i imati osjeÊaj kao da je u Seulu ili Ciudad de Méxicu. Tradicionalne kulture treÊeg svijeta spajaju se suvremenijim tehnologijama. Poslije svega, postoji li opasnost da se globalizam u svojoj obuhvatnosti pokaæe kao novi totalitarizam? - To ima veze s onim πto ste veÊ pitali, s globalizacijom u smislu pojednostavljivanja, ujednaËavanja, zbog lakπe kontrole i manipulacije. Pa to veÊ miriπe po totalitarizmu. Obrana od toga ne moæe biti niπta drugo nego

moral i nenasilje, ono πto je Gandhi nazvao satyagraha. Zasad smo bez oruæja. Spomenuli ste Los Angeles. Pa ako usred neke moÊne zapadnjaËke metropole naiem na curry, na minijature iz Brindavana, na tibetsku astrologiju, na kineski jelovnik, mene to raduje. Jednostavno zato πto je Istok sitnohodno poËeo dolaziti na Zapad, a ne obratno, kao πto je dosad bilo. Jednostavno zato πto mi o azijskim kulturama i znanostima znamo i malo i nesluæbeno. UnatoË tomu πto je helenska kultura bila dobrano zasuta otkriÊima stare Indije i πto se u danaπnjim πkolama joπ i danas uËi da je broj pi djelo Pitagore, a ne njegova indijskog preteËe, preteËe za jedno stoljeÊe. UnatoË tomu πto su i matematika i gramatika i astronomija, koje su u temelju zapadnjaËke znanosti, djelo drevnih uËenjaka Bharata, dakle, Indije. UnatoË tomu πto je prvo sveuËiliπte u povijesti indijska Taksila. UnatoË tomu... i joπ mnogoËemu. Toga radi, raduje me kad u nekome zapadnjaËkom gradu naiem na ulicu zamirisanu jasminom, lotosom, ambrom. ■

V

esna KrmpotiÊ initially belonged to the Circle movement (krugovaπi) of Croatian poets, but she slowly moved beyond the frame of her generation, and whatever other starting points she had set out from, as she gradually soaked in far-eastern traditions and demonstrated in her books that the true face of the world is what lies inside. Her writing path has been signposted by Flame and the Candle, A Diamond Pharaoh (Eyes of Eternity), The time has come, Ozyrys, Singular and Dual, Orphelia, A Shirt of a Happy Man, The Flame of the Unlit Candle, The Hill above Clouds, Bhagavatar, A Hundred and Eight, The Path of Oneness, and other titles which elude conventional academic interpretations. Primarily a poetess who spans tradition and modernity, Vesna KrmpotiÊ appears as a rhapsodist, a travelling singer who uses verse to recreate human destiny in the fullness of its meanings, always new and always old. ■ Your collections of poems, your prose, and the books you have translated and promoted in your own way always reveal the same thing: love at the beginning and love at the end. Love, if one may put it that way, as the most important human mission! How does one avoid its profanation, especially in a world so irrevocably commercialized and contaminated by money? - If we have ever touched or have been touched by love, then the possible profanation, simplification or tapering of that term CROATIA AIRLINES

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will not pose a threat; we will not be affected in the slightest. All we might experience is a certain feeling of regret, perhaps even pity. Loving somebody, clinging to somebody or something because that somebody or something flatters our ego, provides shortterm benefits, transitory safety; it is seen as a widely acknowledged signal that we are in, but all that this means is that we love our own ego. When it comes to receiving, the ego is insatiable and the world which you describe as being irrevocably commercialized is its (ego’s) place of work. The love that we should be talking about does not ask questions, it does not weigh and does not burrow through the past or through the future for that matter. It is supremely satisfied by just being. And let me say something else. It is its own reward. ■ Your first Indian experiences go back several decades, which is easy to trace in your books. You establish links between the Eastern and Western traditions using your own, very personal inventiveness. This means that you were a globalist even before globalization. Moreover, the world is the one and only, just like God is the one and only. But how does one avoid the dangerous consequences of globalization with everything being reduced to the generally approved standards (opinions, behaviour and so on)? The prevalent unifying aspect threatens to deprive the world of the wealth and diversity of traditions and instead offers itself to us as a fast food shortcut that is adored by the masses. - I have always admired and marvelled at how creative human beings are in their attempt to articulate that indescribable magic: reality. Their wealth of creative variety is reminiscent of a peacock’s tail where each eyespot is looking at a different scene, although all the tail feathers originate from the same place. Nature around us is a reflection of us. For millennia people have been listening, discovering their own views, sounds, movements, words and colours. It would be short-sighted and sick to reduce a meadow to just one kind of flowers just to be able to deal with its meadowness more easily. The adjectives and nouns in your question best describe such an attempt: fast food shortcut, adored by masses, a unifying aspect. This is a road to uniformity, to an anti-creative proposition which does not dare change the given benchmark. By way of warning, I would like to point out another thought: the fundamental law is indeed oneness. However, oneness is not uniformity. Oneness is hidden in the root of 10

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each of those peacock’s feathers. Oneness is the foundation; differences and varieties are its floors, and each of the floors commands a special view. ■ You are primarily a poetess, almost in the original and initial sense of the term. However, you have emerged as a pilgrim who has travelled all over the world for a number of years carrying the spirit of poetic unity and universal brotherhood. Does this mean that the latter stems from the former, or rather, does it imply that word has created everything and that it has a substantial power? - It has been said, has it not, that in the beginning there was the Word. For Indians, sound was the first expression of the unspeakable. Yes, poetry is the closest to it, to the Unspeakable. It is persistent in its will to utter something that is beyond itself. Therein lays its beauty, I would say, in this poignant (im)potence. The relentless effort is accompanied by passion, and occasionally coincides with what one wants to cry out or whisper. I do not see a major difference between a verse and a story. They are both poetry. When the Indescribable makes them express it again, and when they once again undertake the impossible mission. Be it Rilke’s, or the Eskimo, Purana or Rabia poetry. ■ In many of your books, wonderment appears to be the principal driving force. In view of the age when fertility banks are being established (it is just a matter of days when parents will be able to pick and choose the characteristics of their unborn children), this quality has been almost stumped. How does one preserve this ability to wonder, and ultimately, how does one preserve purity without the risk of being immediately relegated to the camp of primitive and infantile people? - Ha, ha! So what is wrong with the camp of primitives? At least we can wonder and marvel to our hearts content. I would like to add that latter qualifier - marvel, to the term wonderment. The world, reality, both external and internal, can sometimes strike us so strongly that wonderment - marvel is the only true response. And I would like to add something else to wonderment - marvel: joy - delight. We should be observing children to see how they are able to do it without any restraint, sincerely. And we should help our children preserve that ability and that view, namely, to not accept the beauty and secrets of reality so matter-of-factly. Otherwise, the camp of linear thinking will spread like a flu for which the vaccine has been intentionally and carefully lost.

■ You are also known as the author of a unique mammoth collection entitled One Hundred and Eight. As suggested by the title, the book contains 108 separate units, each of which contains an equal number of poems. Does that mean that the world may be interpreted as a system of numbers and that some extemporal and axiomatic characteristics are fixed in numerical relationships? - As you say, the book contains 108 separate units, or a total of 11,664 poems. The National and University Library has established this to be the most voluminous book of poetry in world literature. It took 9 years to write - on trams, planes, at bus stops, in trains. It was not written, it was recorded. That is what the title page says: recorded by Vesna KrmpotiÊ. From the very beginning it was clear that the exercise was nothing else but a straightforward dictation. Anyway, you have asked me about numbers. Are numbers not part of every composition, every piece of music, are they not part of nature itself? Take number nine for example. It is the number of omnipresence. Why? Multiply any number with nine and then add up the numbers in the product. It will always be nine. Once nine, always nine! There is no other number like that. The whole book, 108 x 108, is saturated with number nine. Every book in it has 108 poems. The date it was finished on also includes a nine. And so on. A conclusion, or the answer to your question, would be: numbers are a grammar book of sorts, not only of the quantity but of quality as well. ■ At one point of your career, or rather of your individual mission, you went from poetry to storytelling, almost spontaneously. Did it happen because, in addition to the fairytale qualities and picturesqueness, a story also contains all things primeval, which makes it generic to every human being, irrespective of their tradition or the specific space or time? - I have already told you that I do not see a real difference between a poem and a story, upon the condition that they are both poetry. This is not just about a play on words, about a transposition of meaning, a rhythm, a topic, associative arrows, but also about diving into yet unconquered fiction and the beauty of things, states, developments, oneself. I have written nine (again nine!) books of fairytales under the common name A Wonderful Stranger, and each of the books contains 108 (again nine!) tales. I consider them poetry. So far, three have been published. Besides, there are fairytales, anecdotes, fables, legends and


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myths worldwide which relay teophilosophical ideas more directly, more simply and more imaginatively. Even as we speak, one of them is spinning around in my head - about a king’s exhibition. Once upon a time, a king staged an exhibition to display all of his kingdom’s treasures: idols made of gold and ivory, pearl necklaces, silver goblets, bejewelled mirrors, and so on. As the king’s gift to the visitors each one was allowed to choose an exhibit that was to their liking. Of course, there was much pushing and shoving. There was one old lady who did not stop in front of any of the beautiful objects on offer. Instead, she made a beeline for the king, who was sitting on his throne observing the scene. She told him that she chose him. With you I have everything you have, she said to him. Yes, indeed, such tales are a true lesson for the illiterate masses because literacy is no guarantee that what has been written will always be properly understood. 12

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■ German count and philosopher Hermann Keyserling wrote If anything at all will lead me to myself, a digression round the world will do so. It seems to me that your experience is much the same. Xavier de Maistre, on the other hand, travelled afar, without leaving the four walls of his room, just like our great Tin UjeviÊ who was a Hindus without ever having set foot on the soil of India. I dare say that you would be inclined to accept the latter possibility, and that it is not in contradiction to Keyserling’s statement? - Oh no, there is no discrepancy between the two. Oh yes, yes, there is a discrepancy. As a matter of fact, it is up to us to decide whether there is a discrepancy or not. We are always the ones who travel the world to search, see, learn and find out. About the world, about ourselves. And we are always the ones who take a journey into ourselves to touch, see, learn and find out about ourselves, to find

ourselves, that is, to learn about everything else. The difference lies in the firstness or secondness of self or the world, respectively. There may be a parallel approach, when the world and the conscience both take priority. Was perhaps our wonderful UjeviÊ such a parallelist? However, when one primarily seeks to find one’s self, that is when one searches for the source, essence and firstness, than the little story that I have just told you mirrors that position. Most choose exhibits in the great exhibition of the world: few will choose the author. There are moments when the choice is either/or. ■ We are living in the time of a polycentric mind which is opposite to any ethnocentrism. It is quite incredible that a traveller can end up in a Los Angeles neighbourhood and have the feeling that they are in Seoul or Mexico City. The traditional Third World cultures blend in with the state-ofthe-art technologies. Is there a danger that globalism will turn out to be a new totalitarianism? - This has to do with what you have already asked me, globalization in the sense of simplification and unification with a view to exercising easier control and manipulation. Well, this does bode on totalitarianism. The only possible defence against those are morality and non-violence, Gandhi’s satyagraha. For the time being, we are without arms... You have mentioned Los Angeles. When I am in a great metropolis of the Western world and I come across a curry place, Brindavan miniatures, Tibetan astrology or a Chinese menu, I am truly filled with joy. The reason is quite simple. That means that the East has started making small steps into the West, and not the other way round as the case was in the past. To put it simply, we know little about Asian cultures and sciences, little and from unofficial sources. Despite the fact that Hellenic culture was quite well adorned by the discoveries made in Old India, and that modern schools still teach children that the Pi number is the brain-child of Pythagoras and not of his Indian precursor, who preceded him by one century. Despite the fact that mathematics, grammar and astronomy, the very fundaments of Western sciences, are due to the ancient scientists of Bharat, hence India. Despite the fact that the first university in history was the Indian Taksila. Despite that ... and much more. That is why I am glad when I find a street in a western city that is perfumed with jasmine, lotus or amber. ■


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HRVATSKA Republika

To je Hrvatska Re­pu­bli­ka Hrvat­ska smjeπte­na je uz istoË­ne oba­le Ja­dran­skog mo­ra i u nje­go­vu za­le­u. Pro­teæe se od obro­na­ka Al­pa na sje­ve­ro­za­pa­du do Pa­non­ske rav­ni­ce na isto­ku. Povrπina je nje­zi­na kop­na 56.542 Ëe­tvor­na ki­lo­me­tra, a povrπina te­ri­to­rijal­nog mo­ra 31.067 Ëe­tvor­nih ki­lo­me­ta­ra. U Hrvat­ skoj æivi, pre­ma po­pi­su iz 2001. go­di­ne, 4,437.460 lju­di. Duæina je mor­ske oba­le 5835 km za­jed­no s oto­ci­ma, oto­Ëi­Êi­ma i gre­be­ni­ma.

CROATIA Republic of

National parks Cro­a­tia has eig­ht na­ti­o­nal par­ks, fo­ur of which are lo­ca­ted in the mo­un­ta­in re­gi­on (Pa­kle­ni­ca, Pli­tvi­ce La­kes, Ri­snjak and Nor­thern Ve­le­bit), and fo­ur in the co­a­stal re­gi­on (Bri­ju­ni, Kor­na­ti, Krka and Mljet). Be­si­des the­se, cer­ta­in are­as un­der strict na­tu­re pro­tec­ti­on ∑ re­ser­ves, na­tu­ral mo­nu­men­ts and na­tu­ral par­ks ∑ sho­uld be men­ti­on ­ ed as a na­tu­ral he­ri­ta­ge of spe­ci­al va­lue. They ha­ve all con­tri­bu­

ZEMLJOVID HRVATSKE MAP OF CROATIA Izravne domaÊe linije Direct domestic routes Odrediπta Croatia Airlinesa Croatia Airlines’ destinations stalne / regular sezonske zimske / seasonal in winter

............................................ Oto­ka, oto­Ëi­Êa i gre­be­na ima 1185, a na­se­lje­no je 47 oto­ka. Sluæbe­ni je­zik je­st hrvat­ski, a pi­smo la­ti­niË­no. Nov­Ëa­na je­di­ni­ca - ku­na. Glav­ni je grad Za­greb (779.145 sta­nov­ni­ka), ko­ji je ujed­no ad­mi­ni­s­tra­tiv­no, kul­tur­no, aka­dem­sko i trgo­vaË­ko sre­diπte zem­lje. Ustav Re­pu­bli­ke Hrvat­ske iz­gla­san je 22. pro­sin­ca 1990., a me­u­na­rod­no je pri­zna­ta 15. si­jeË­nja 1992. go­di­ne.

This is Croatia The Re­pu­blic of Cro­a­tia li­es along the ea­st co­as­ t of the Adri­a­tic Sea and its hin­ter­land. It stret­ches from the slo­pes of the Al­ps in the nor­th-we­st to the Pan­no­ni­an Pla­in in the ea­st. Its land area is 56,542 km2 and the area of its ter­ri­to­ri­al sea is 31,067 km2. By the 2001 cen­sus, Cro­at­ia’s popu­ la­ti­on is 4,437,460. The len­gth of its sea co­a­st is 5835 km, in­clu­ding islan­ds, islets and re­efs. The­re are 1185 islan­ds, islets and re­efs, of which 47 islan­ds are in­ha­bi­ted. The of­fi­ci­al lan­gu­a­ge is Cro­a­ti­an, and the of­fic ­ i­al script is La­tin. The cur­ren­cy is the Ku­na. The ca­pi­tal is Za­greb (779,145 in­ha­bi­tan­ts), which is al­so the co­un­try’s ad­mi­ni­s­tra­ti­ve, cul­tu­ral, aca­ de­mic and eco­no­mic cen­ter. The Con­sti­tu­ti­on of the Re­pu­blic of Cro­a­tia was adop­ted on 22 De­cem­ber 1990, and the co­untry re­ce­i­ved in­ter­na­ti­o­nal re­cog­ni­ti­on on 15 Ja­nu­ary 1992. Nacionalni parkovi ­­Hrvat­ska ima osam na­ci­o­nal­nih par­ko­va, od kojih su Ëe­ti­ri u pla­nin­skom po­dru­Ëju (Pa­kle­ni­ca, Pli­tviËka je­ze­ra, Ri­snjak i Sje­ver­ni Ve­le­bit), a Ëe­ti­ri na obal­nom po­dru­Ëju (Bri­ju­ni, Kor­na­ti, Krka i Mljet). Nji­ ma, kao pro­stor oso­bi­to vri­jed­ne pri­rod­ne baπti­ne, tre­ba pri­do­da­ti i po­dru­Ëja pod stro­gom zaπti­tom pri­ro­de, re­zer­va­te, spo­me­ni­ke pri­ro­de, par­ko­ve pri­ ro­de. Zbog svih za­jed­no Hrvat­sku mno­gi sma­tra­ju jed­nim od naj­ljepπih eu­rop­skih vrto­va. 14

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ted to Cro­a­tia’s be­ing con­si­de­red one of the mo­st be­a­u­ti­ful gar­dens of Eu­ro­pe.

Proπlost za sadaπnjost Hrvat­ska obi­lu­je kul­tur­no-po­vi­je­snim spo­me­ ni­ci­ma iz svih ra­zdob­lja, zbog bur­nih po­vi­je­snih zbi­va­nja i pre­pli­ta­nja utje­ca­ja ra­zli­Ëi­tih kul­tu­ra. Nje­zi­nu oba­lu ka­rak­te­ri­zi­ra­ju utje­ca­ji me­di­te­ran­ ske kul­tu­re, mno­gi an­tiË­ki spo­me­ni­ci, spo­me­ ni­ci rim­skog ra­zdob­lja i ra­no­ga sred­njeg vi­je­ka, ro­ma­niË­ko sa­kral­na baπti­na, te niz oËu­va­nih ka­rak­te­ri­stiË­nih me­di­te­ran­skih ur­ba­nih cje­li­na. Kon­ti­nen­tal­na Hrvat­ska dio je sred­njo­eu ­ ­rop­sko­ ga kul­tur­nog kru­ga i isti­Ëe se mno­gim pra­po­vi­ je­snim na­la­zi­ma sv­jet­ske vaæno­sti, sta­rim gra­ do­vi­ma, utvrda­ma i dvor­ci­ma ka­sno­ga sred­njeg vi­je­ka i kul­tur­nim spo­me­ni­ci­ma i ar­hi­tek­tu­rom iz ra­zdob­lja ba­ro­ka. Tri hrvat­ske ur­ba­ne cje­li­ne i dva spo­me­niË­ka kom­plek­sa ima­ju sta­tus spo­me­ni­ka sv­jet­ske kul­tur­ne baπti­ne, ko­ji do­dje­lju­je Une­sco. To su ka­sno­an­tiË­ka Di­o­kle­ci­ja­no­va pa­la­Ëa, pre­gra­e­na ti­je­kom sto­lje­Êa u sred­njov­je­kov­ni Split, gra­do­vi Du­brov­nik i Tro­gir te Eu­fra­zi­je­va ba­zi­li­ka u Po­re­Ëu i ka­te­dra­la sv. Ja­ko­va u ©ibe­ni­ku. Na­ci­o­nal­ni park Pli­tviË­ka je­ze­ra, naj­ljepπi i najpozna­ti­ji hrvat­ski na­ci­o­nal­ni park, ta­ko­er je dio Une­sco­ve Sv­jet­ske baπti­ne.


A past for the present Cro­a­tia is rich in cul­tu­ral and hi­sto­ri­cal monuments from all eras, due to the tur­bu­lent even­ts of hi­story and the in­ter­la­cing of in­flu­en­ces of dif­fe­rent cul­tu­ res. Its co­a­st is cha­rac­te­ri­zed by the in­flu­ences of Me­di­ter­ra­ne­an cul­tu­re, nu­me­ro­us an­ci­ent re­ma­ins, mo­nu­men­ts of the Ro­man era and ear­ly Mid­dle Ages, a Ro­ma­ne­sque chur­ch he­ri­ta­ge and a num­ ber of di­stin­cti­ve Me­di­ter­ra­ne­an ur­ban en­ti­ti­es that ha­ve be­en pre­ser­ved. Inland Cro­a­tia is a part of the Cen­tral Eu­ro­pe­an cul­tu­ral circle and is di­stin­gu­i­shed by nu­me­ro­us

pre­hi­sto­ric fin­din­gs of wor­ld sig­ni­fi­cance, by old tow­ns, for­tre­sses and ca­s­tles da­ting from the la­te Mid­dle Ages, and cul­tu­ral mo­nu­men­ts and ar­chi­tec­tu­re from the Ba­ro­que era. Three Cro­a­ti­an ci­ti­es and two mo­nu­men­tal com­ple­xes ha­ve the sta­tus of mo­nu­men­ts of wor­ld cul­tu­ral he­ri­ta­ge ac­cor­ded by UNE­SCO. The­se are the La­te An­ti­que Pa­la­ce of Di­o­cle­ti­an, re­mo­ de­led thro­ugh the cen­tu­ri­es in­to the me­di­ev­ al city of Split, the ci­ti­es of Du­brov­nik and Tro­gir, the Ba­si­li­ca of Eup­hra­si­us in Po­reË and the Cat­he­dral of St. Jacob in ©ibe­nik. The na­ti­on ­ al park of the Pli­tvi­ce La­kes, Cro­a­tia’s mo­st be­au ­ ­ti­ful and ce­le­bra­ted na­ti­o­nal park, is al­so a part of UNE­SCO’s wor­ld he­ri­ta­ge.

Hrvatska - turistiËki hit na Sredozemlju Hrvat­ska je po­sljed­njih go­di­na - ocje­nju­ju meu­na­rod­ni tu­ri­stiË­ki znal­ci i sta­ti­sti­Ëa­ri - naj­ve­ Êe tu­ri­stiË­ko izne­na­e­nje te hit odre­di­πte na Sre­do­zem­lju. Niz us­pjeπnih go­di­na na­stav­lja se ∑ su­gla­sni su ana­li­ti­Ëa­ri tu­ri­stiË­kih pri­li­ka ∑ i u 2009. go­di­ni. Pre­ma po­da­ci­ma Dræav­nog za­vo­da za sta­ti­sti­ku, hrvat­ska je tu­ri­stiË­ka odre­diπta na oto­ci­ma, u pri­o­ba­lju te u kon­ti­ne­tal­nom di­je­lu zem­lje uk­lju­Ëu­ju­Êi i glav­ni grad Za­greb,

u 2009. go­di­ni po­sje­ti­lo oko 11 mi­li­ju­na tu­ri­sta od ko­jih je ino­zem­nih bi­lo oko 9,3 mi­li­ju­na. Os­tva­re­no je ukup­no oko 56,3 mi­li­ju­na no­Êe­nja. Pri­tom je broj ino­zem­nih no­Êe­nja bio oko 50,5 mi­li­ju­na. Tra­di­ci­on ­ al­no naj­broj­ni­ji go­sti, Ni­jem­ci, prvo su mje­sto za­dræa­li i u 2009. go­di­ni, a njih sli­je­de go­sti iz Slo­ve­ni­je, Italije, Austrije, »e­πke, Polj­ske, Nizozemske... Ho­te­li, tu­ri­stiË­ka na­se­lja, kam­po­vi i sve dru­ge vrste smjeπta­ja kao i mo­der­ni na­u­tiË­ki cen­tri oprem­lje­ni su u skla­du s me­u­na­rod­nim tu­ri­stiË­ kim stan­dar­di­ma. Bo­ga­ta kul­tur­- na po­nu­da, wel­lne­ss po­nu­da, spor­t- sko-re­kre­a­tiv­ni i za­bav­ni sa­dræaji, mno­gi ki­lo­me­tri ure­e­nih pjeπaË­kih sta­za ili pak vin­ske sta­ze, izle­ti ko­ji uk­lju­Ëu­ju ra­z­gle­da­va­nje pri­rod­nih i kul­tur­nih vri­jed­no­sti ili pak pra­vi spoj doæiv­lja­ja i avan­tu­rizma po­ve­Êa­va­ju adre­na­lin...

Hrvat­ska je bli­zu ne sa­mo zbog nje­zi­ne geograf­ske bli­zi­ne, ne­go i zbog mreæe zraË­nih lu­ka i kva­li­ tet­nih uslu­ga na­ci­o­nal­nog avi­o­pri­je­vo­zni­ka Croatia Air­li­ne­sa, kao i dru­gih zraË­nih pri­je­vo­zni­ka. Na te­me­lju mreæe au­to­ce­sta i po­lu­a­u­to­ce­sta, Hrvat­ska je i ce­stom bliæa ne­go ikad. Ako ste pak oda­bra­li od­mor na jed­no­me od mno­gih hrvat­skih oto­ka, pri­je­voz tra­jek­tom ili hi­dro­gli­se­rom s kop­na tra­jat Êe - i kad su po­sri­je­di oni na­ju­da­lje­ni­ji - ma­nje od 2 sa­ta. Ali nji­ho­va lje­po­ta i ne­po­sre­dan do­dir s iskon­ skom pri­ro­dom bit Êe ta­ko ne­za­bo­rav­ni kao da ste od sva­kod­ne­vi­ce mi­lja­ma i mi­lja­ma da­le­ko...

Croatia - a Mediterranean tourism success Cro­a­tia has be­en a hit de­sti­na­ti­on and the bigge­st to­u­ri­st sur­pri­se in the Me­di­ter­ra­ne­an in the pa­st few ye­ars, say sta­ti­sti­ci­ans and in­ter­na­ti­o­nal ex­ per­ts in to­u­ri­sm. To­u­ri­st anal­ysts are agre­ed that a se­ri­es of suc­ce­ s­sful ye­ars is due to con­ti­nue in 2009. Ac­cor­ding to da­ta pro­vi­ded by the Cro­a­ti­an Bu­ re­au of Sta­ti­stics, Cro­a­ti­an to­u­ri­st de­sti­na­ti­ons on the islan­ds, co­a­st and in the in­te­ri­or, in­clu­ding the ca­pi­tal Za­greb 2009 we­re vi­si­ted by nearly 11 million to­u­ri­sts, of whom 9.3 mil­li­on we­re fo­ re­ign gu­es­ ts. The to­tal num­ber of over­nig­ht stays was more than 56.3 mil­li­on, of which fo­re­ign vi­si­tors ac­ co­un­ted for 50.5 mil­li­on. The lar­ge­st number of fo­re­ign gu­e­sts ca­me from Ger­many, fol­lo­wed by Slo­ve­nia, Italy, Austria, the Czech Re­pu­blic, Po­land, the Net­her­lan­ds... Ho­tels, to­u­ri­st si­tes, cam­ps and ot­her types of ac­com­mo­da­ti­on, as well as mo­dern na­u­ti­cal cen­ters, are equ­ip­ped in li­ne with in­ter­na­ti­o­nal to­u­ri­sm stan­dar­ds. The­re is a rich cul­tu­ral of­ fer, to­get­her with wel­lne­ss, spor­ts, re­cre­at­i­o­nal and en­ter­ta­in­ment fa­ci­li­ti­es, many ki­lo­me­ters of

well-kept fo­ot­pat­hs or wi­ne ro­ads, ex­cur­si­ons in­clu­ding sig­ht-se­e­ing of na­tu­ral and cul­tu­ral tre­ a­su­res, or the right com­bi­na­ti­on of ex­pe­ri­en­ce and adven­tu­re to ra­i­se the adre­na­lin le­vel... Cro­a­tia is clo­se by, not ju­st ge­og ­ rap­hi­cal­ly, but thanks to its air­port net­work and the high-qu­al­ity ser­vi­ce of its na­ti­on ­ al air com­pany, Cro­a­tia Air­lines, be­si­des ot­her air com­pa­ni­es. The net­work of ne­wly bu­ilt fre­e­ways and se­mi-fre­ew ­ ays me­ans that Cro­a­tia is ea­si­er to re­ach by ro­ad than ever. If you ha­ve cho­sen to spend yo­ur va­ca­ti­on on one of Cro­a­tia’s many islan­ds, the cro­ssing by fer­ry or hydro­fo­il bo­at will ta­ke you ∑ even for the mo­st re­mo­te islan­ds ∑ le­ss than two ho­urs. Yet the­ir bea­uty and the im­me­di­a­te con­tact with vir­gin na­tu­re will be un­for­get­ta­ble, as if you we­re mi­les and mi­les away from the ever­yday wor­ld...

Novac i naËin plaÊanja Ku­na (kn) je na­ziv nov­Ëa­ne je­di­ni­ce Re­pu­bli­ke Hrvat­ske. U op­tje­ca­ju su nov­Ëa­ni­ce ku­na i ko­va­ni no­vac ku­na i li­pa (lp) ∑ sto­ti dio ku­ne. Nov­Ëa­ni­ce su izda­ne u slje­de­Êim apo­e­ni­ma - 5, 10, 20, 50, 100, 200, 500 i 1000 ku­na, a ko­va­ni no­vac - 1, 2 i 5 ku­na, te 1, 2, 5, 10, 20 i 50 li­pa (100 li­pa = 1 ku­na). Mo­gu­Êe je pla­ Êa­nje kre­dit­nim kar­ti­ca­ma (Di­ners, Vi­sa, Ame­ri­can Ex­pre­ss, Eu­ro­card i Ma­ster­card) i eu­ro­Ëe­ko­vi­ma. No­vac se moæe po­di­za­ti i na ban­ko­ma­ti­ma. Currency and payment methods The cur­ren­cy of the Re­pu­blic of Cro­a­tia is cal­led the Ku­na (kn). In cir­cu­la­ti­on are ban­kno­tes in Ku­na and co­ins in Ku­na and Li­pa (lp) ∑ one hun­dred­th of a Ku­na. The ban­kno­tes are issu­ed in the fol­lo­wing de­no­mi­na­ti­ ons: 5, 10, 20, 50, 100, 200, 500 and 1000 Ku­na, whi­le the de­no­mi­na­ti­on struc­tu­re of the co­ins is 1, 2 and 5 Ku­na and 1, 2, 5, 10, 20 and 50 Li­pa (100 Li­pa = 1 Ku­na). Pay­men­ts can be ma­de by cre­dit card (Di­ners, Vi­sa, Ame­ri­can Ex­pre­ss, Eu­ro­card and Ma­ster­card), as well as eu­ro-chec­ks. Ca­sh can be wit­hdrawn from AT­Ms.

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■ MUZEJI MUSEUMs

Piše/By Snježana PintariÊ Fotografije/Photos Damir FabijaniÊ

Muzej suvremene umjetnosti æivo je mjesto stvaranja, predstavljanja, interpretiranja i Ëuvanja suvremene umjetnosti u svim njezinim oblicima. Svrha mu je poticati i njegovati razumijevanje suvremenog stvaralaπtva inovativnim i maπtovitim koriπtenjem izloæaba i kolekcija, omoguÊujuÊi najrazliËitijim grupama posjetitelja uËenje preko kreativne zabave. The Museum of Contemporary Art is a living place of creation, presentation, interpretation and keeping of contemporary art in all its forms. Its purpose is to encourage and foster the understanding of contemporary art through innovative and imaginative presentation of exhibitions and collections, allowing the widest possible range of visitors to learn while being creative and having fun.

A

ktivnosti Muzeja suvremene umjetnosti u Zagrebu temelje se na razvijanju radnog procesa s umjetnicima i publikom, uz redovito i uobiËajeno predstavljanje recentnih i retrospektivnih izloæbenih projekata. Tako se najkraÊe moæe opisati naπa zadaÊa koju ostvarujemo u novom prostoru. Stoga

nova muzejska zgrada ne znaËi samo da javnost prvi put ima priliku vidjeti stalni postav suvremene umjetnosti od 1950. do danas, nego i da je otvoreno novo podruËje za kulturnu, druπtvenu i edukativnu misiju u æivotu suvremene Hrvatske. Otvaranje novog muzeja, prvoga velikoga i namjenski sagraenog muzeja u Zagrebu nakon viπe od sto godina,

vaæno je u kontekstu tematizacije i muzealizacije suvremene umjetnosti, ali vjerujemo da uspjeh naπe misije moæe postati mjerljiv kriterij za sve buduÊe sliËne projekte muzeja u Hrvatskoj, posebice πto se tiËe zanimanja javnosti, stupnja posjeÊenosti i kulturnoekonomske relevantnosti na nacionalnoj i meunarodnoj razini. CROATIA AIRLINES

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TisuÊe i tisuÊe posjetitelja koje su u protekla dva mjeseca posjetile muzej - stalni postav te izloæbe Akvizicije i Retrospektivnu izloæbu Aleksandra Srneca (spomenimo od toga samo trideset i tri tisuÊe u NoÊi muzeja 29. sijeËnja), stotine zainteresiranih koje su posjetile predstave Eurokaza u dvorani Gorgona, te djeca, njihovi roditelji i stanovnici Zagreba, koji su proteklih tjedana sudjelovali u naπim radionicama, razgovorima, predstavljanjima i okruglim stolovima, naπa su publika s kojom dijelimo prve dojmove, Ëije komentare sluπamo i s kojom raspravljamo o nizu pitanja koja pred nas postavljaju umjetnici Ëija djela izlaæemo. A upravo smo takav muzej æeljeli! Muzej kao mjesto komunikacije, muzej otvoren za razliËite grupe posjetitelja razliËitih dobnih skupina i razliËitih predznanja, muzej kao dnevni boravak ZagrepËana, u kojemu se ugodno moæe boraviti tijekom cijelog dana sa spoznajom da Êemo mi za njih uvijek organizirati atraktivna dogaanja. Projekt novog Muzeja suvremene umjetnosti Zagreb jedna je od najveÊih hrvatskih kulturnih investicija od osamostaljenja dræave 1991. godine. Tomu je prethodila burna i duga povijest koja je poËela 7. prosinca 1954., kad je odlukom Narodnog odbora Grada Zagreba utemeljena Gradska galerija

suvremene umjetnosti, sa zadatkom da: a) sabire, prouËava i izlaæe suvremena djela likovnih umjetnosti, b) da vrπi otkup umjetnina za ustanovu, c) da vrπi izbor umjetnina koje otkupljuje Grad Zagreb za svoje potrebe i za potrebe svojih ustanova. NajveÊi dio povijesti ustanove obiljeæen je nazivom Galerije grada Zagreba, koja je djelovala na Gornjem gradu, na Katarinskom trgu 2, u baroknoj palaËi grofa Kulmera, gdje je bio smjeπten izloæbeni prostor, te na adresi HabdeliÊeva 2, na kojoj su bile knjiænica, dokumentacijski arhiv i uprava. Muzej svoj danaπnji naziv nosi od 13. svibnja 1998. godine. Promjena imena u tom je trenutku bila veoma vaæna za buduÊe razvojne planove, jer preimenovanje institucije u muzej znaËilo je ujedno i priznanje dosadaπnjeg rada i otvaranje puta k projektima za gradnju nove zgrade. Usporedno s povijeπÊu Muzeja, nastanka i formiranja njegovih zbirki te razgranavanja djelatnosti, piπe se i duga kronologija traæenja odgovarajuÊeg prostora ili pak lokacije za novu zgradu. No, osvrnimo se samo na vaæne trenutke nastanka nove zgrade. Lokacija je izabrana 1996. godine kad je UrbanistiËki zavod u dogovoru s Gradom Zagrebom i Muzejom izradio projekt valorizacije Ëetiriju moguÊih lokacija. Razmiπljalo se o Paromlinu,

Trnjanskoj, Aveniji Dubrovnik-Resselova ul., te raskriæju Avenije VeÊeslava Holjevca i Avenije Dubrovnik. Na temelju popriliËno odmjeravanja i odvagivanja mnogih elemenata, odabrana je upravo ova posljednja. OdluËivπi se za tu lokaciju, Muzej Ëini pionirski pothvat u prekoraËenju Save kao prva velika kulturna institucija koja svoje sjediπte premjeπta u dio grada πto je potpuno nastao u razdoblju nakon Drugoga svjetskog rata, u doba socijalistiËke gradnje, i poznat tek kao gradska spavaonica. Ali, dræeÊi se osi sjever−jug, Muzej istodobno nastavlja i produæuje ideju genijalnog urbanista Lenucija, koji je uzduæ te osi od Trga bana JelaËiÊa do Glavnog kolodvora smjestio vaæne kulturne i znanstvene institucije, Ëiju su liniju u drugoj polovici 20. stoljeÊa nastavile Koncertna dvorana Vatroslava Lisinskog te Nacionalna i sveuËiliπna knjiænica. Godine 1999. raspisan je arhitektonsko-urbanistiËki natjeËaj za novu zgradu Muzeja suvremene umjetnosti. Pristiglo je osamdeset i pet projekata, a prvu je nagradu dobio projekt arhitekta Igora FraniÊa. OcjenjivaËki sud tada je zakljuËio: Projekt svojom urbanom koncepcijom poπtuje autoritet naglaπenog kriæanja jakih magistrala, a kompozicijom svojih arhitektonskih masa ostaje suzdræan i CROATIA AIRLINES

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stvara harmoniju Ëistih kubiËnih volumena... koristeÊi koncepciju dvaju lebdeÊih krila, autor je ostvario razmjerno veliku natkritu povrπinu multifunkcionalnih moguÊnosti koja istodobno predstavlja kontinuitet slobodnog prostora parcele... Oblikovno rjeπenje je sreeno i pruæa istaknuti arhitektonski motiv koji dominira kako jasnoÊom korpusa, tako i transparentnoπÊu svoje raπËlambe. Radovi na gradnji poËeli su u studenome 2003., a Muzej je sveËano otvoren 11. prosinca 2009. u prisutnosti mnogobrojnih uzvanika te je u medijskim anketama potkraj prosinca proglaπen kulturnim dogaajem godine. Projekt Igora FraniÊa pripada grupi muzejskih zgrada koje odmah, na prvi pogled, za razliku od zatvorenih jednosloænih volumena, odaju kompoziciju arhitektonskih masa temeljenu na jasnoj podjeli muzeoloπkih funkcija. Form follows function! dobro je poznata uzreËica koju bismo mogli primijeniti i u ovom sluËaju. Osim izrazite funkcionalnosti zgrade, struËnjaci istiËu kao osobite kvalitete njezinu transparentnost, realizaciju zaπtiÊenoga javnog prostora koji potiËe na okupljanje i druæenje te demokratiËnost u izboru materijala i generiranju vlastitog urbanizma na ovoj prometnoj i otvorenoj parceli. FraniÊev suzdræan arhitektonski izriËaj pruæa nam idealan okvir za naπu djelatnost u duhu vremena, a zbog svoje otvorenosti i nedogmatiËnog pristupa ostavlja dovoljno slobode za prihvaÊanje novih tehnologija i novih muzeoloπkih imperativa s kojima Êemo se i ubuduÊe suoËavati. Nova muzeoloπka praksa pokazuje kao izraziti trend da muzeji, odnosno upravo muzeji suvremene umjetnosti, sve viπe postaju kulturni centri s kompleksnom programskom djelatnoπÊu. Upravo stoga i mi smo u naπoj multimedijalnoj dvorani uveli i kino i kazaliπni program, uz knjiænicu postoji i Ëitaonica i medijateka, uza stalni postav uvedene su edukativne toËke, a izvrsno opremljen audiovizualni studio omoguÊuje produkciju radova za potrebe edukacije, kao i za realizaciju umjetniËkih projekata. Tu su, dakako, i muzejska prodavaonica i café-restoran kao nezaobilazna mjesta prigodom svakog posjeta muzeju. Muzej suvremene umjetnosti u Zagrebu nastojao je veÊ od poËetka promicati novu i drukËiju umjetnost, pratiti suvremena kretanja i na domaÊoj i na inozemnoj likovnoj sceni i u skladu s time stvarao je svoje zbirke i razvijao djelatnost. Kako je Muzej rastao i razvijao se, formirale su se i mijenjale zbirke i odjeli te danas, nakon svih institucionalnih promjena, zbirke obuhvaÊaju 4354 djela hrvatskih i stranih umjetnika upisanih u

jedinstvenu Inventarnu knjigu. Prikupljena umjetniËka djela, bilo otkupljena ili darovana, nastala su preteæito nakon 1950. godine, iako Muzej posjeduje i djela s kraja 19. stoljeÊa. Kao jedno od najranijih djela valja istaknuti apstraktni kolaæ Pafama iz 1922. godine, slikara i arhitekta Josipa Seissela, sliku koja je postala zaπtitnim znakom Muzeja, a najmlaa je autorica koju izlaæemo u stalnom postavu Lala RaπËiÊ s radom Sve je povezano iz 2007. godine. Vaæno je spomenuti da je u fundusu zastupljeno ukupno devetsto umjetnica i umjetnika, od kojih je πezdesetak posto inozemnih, a Ëetrdesetak posto hrvatskih. Spomenimo tek nekoliko vaænih imena: Ivan Picelj, Edo MurtiÊ, Oton Gliha, Vojin BakiÊ, Vladimir Kristl, Jesus Rafael Soto, Joseph Beuys, François Morellet, Tomislav Gotovac, Ines KrasiÊ, Dennis Adams, Slaven Tolj, Ivan Faktor, Ana OpaliÊ, Walter Leblanc, Jan Fabre... i mnogi, mnogi drugi. Fundus je podijeljen u sljedeÊe zbirke: Zbirka slikarstva, Zbirka skulpture i instalacija, Zbirka filma i videa, Zbirka fotografije, Zbirka crteæa i radova na papiru i Zbirka medijske umjetnosti. Osim toga, Muzej skrbi za: Zbirku Benka Horvata, donaciju svestranog kolekcionara koja sadræava 611 predmeta (grafika, slika, arheoloπkog materijala); Zbirku Vjenceslava Richtera i Nade-Kareπ Richter sa 182 predmeta (slika, skulptura, grafika i privatnom arhivom arhitekta Richtera) te kuÊom i parkom skulptura; donaciju Josipa Seissela i Silvane Seissel od 1368 Seisselovih radova; za fotografski Arhiv Toπe Dapca u prostoru samog atelijera s 252 880 negativa, fotografija i ostalih predmeta; Atelijer KoæariÊ, fascinantnu zbirku od 6000 predmeta. Svih tih godina i desetljeÊa, u vremenima nikad previπe sklonima kolekcioniranju djela suvremene umjetnosti, trebalo je pronaÊi najbolje naËine za popunu fundusa - otkupima, donacijama i dodjelom nagrada. Stalna muzejska izloæba pod nazivom Zbirke u pokretu u autorskoj koncepciji kustosa Nade Beroπ i Tihomira Milovca preko pet tematskih cjelina omoguÊuje uvid u pedeset godina skupljanja i kreiranja vrlo specifiËne zbirke - zbirke koja nije samo posebna po radovima πto ih posjeduje, nego i jedinstvena kao cjelina u usporedbi s muzejima u susjednim zemljama, ali i u usporedbi s europskim zbirkama. GledajuÊi u buduÊnost Muzeja suvremene umjetnosti, upravo je fundus najbolji temelj za razvoj buduÊe djelatnosti u novoj zgradi. Prezentacijom stalnog postava i organizacijom retrospektivnih, tematskih, monografskih i studijskih izloæaba, te otvaranjem moguÊnosti uvida u dokumentacijsku grau, Muzej danas ima sve preduvjete ispunjavanja CROATIA AIRLINES

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svojih funkcija kao umjetniËke institucije u dinamiËnom druπtvenom okruæenju, s naglaskom na edukativni aspekt i uspostavljanje joπ πire i agilnije mreæe meunarodne suradnje. VeÊ ove godine moæemo najaviti intenzivan izloæbeni program - izbor radova za godiπnju Nagradu THT@msu.hr, meunarodnu izloæbu Par lijevih cipela u suradnji s muzejom u Bochumu, na kojoj Êemo predstaviti sedamnaest meunarodnih umjetnika - Nedka Solakova, Miroslava Balku, Jaana Toomika, Andreju KulunËiÊ, Sanju IvekoviÊ, Dalibora Martinisa, grupu ZupanËiË-Æivadinov-TurπiË, ©ejlu KameriÊ, Andreasa Fogarasija, Pavela Brailu, Milivoja BijeliÊa, Viu Lewandowsky, Davida MaljkoviÊa, Zlatka Kopljara i Mladena StilinoviÊa, zatim legende svjetske konceptualne umjetnosti, britanski dvojac Gilbert&George s njihovim najnovijim ciklusom Jacks Freak od lipnja do rujna, donaciju Ede MurtiÊa, velikoga hrvatskog slikara, kao i izloæbu Danice DakiÊ, nove zvijezde na europskoj sceni, te niz manjih projekata poput Dana fotografije Toπe Dapca i gostovanja cijenjenog autora raËunalne umjetnosti Edvarda Zajeca. n

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he activities in the Museum of Contemporary Art in Zagreb focus on the development of the working process with artists and audiences, along with the regular and conventional presentations of recent and retrospective exhibition projects. This would be the briefest way to describe the task, which is being fulfilled at our new facilities. The new museum building, therefore, does not only allow visitors to see the permanent contemporary arts exhibition from 1950 to the present, but has also opened a new field for a cultural, social and educational mission in the modern Croatian state. The inauguration of the new museum building, the first large and purposefully built museum facility in Zagreb in more than one hundred years, is important in the context of thematization and musealisation of contemporary art, but I believe that the success of our mission can become a measurable criterion for all future similar museum projects in Croatia, especially with regard to the public response, number of visitors and cultural and economical importance at national and international levels. Thousands and thousands of visitors who visited the Museum in the past two months - to see the permanent exhibition, the Acquisitions exhibitions and the Aleksandar Srnec retrospective (to mention only the thirty three thousand people in the Night of Museums, on 29 January), the hundreds in the audiences of the Eurokaz plays at the Gorgona auditorium, as well as children and their parents, the citi-

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zens of Zagreb, who have been taking part in our workshops, discussions, presentations and round tables, they are our audience who share with us their first impressions, comments and discussions on various issues that the presented artists are facing us with. And that is the kind of museum we wanted to create! A museum as a place of communication, a museum open to different groups of visitors of different age and education, a museum as a living room for the Zagreb citizens, in which they can spend time during the day, knowing they can always count on us to organize attractive events. The project of the new Museum of Contemporary Art in Zagreb is one of the biggest Croatian culture investments since the 1991 independence. It was preceded by a long and turbulent history beginning on 7 December, 1954, when the City of Zagreb People’s Committee founded the City Gallery of Contemporary Art, with the task to: a) collect, study and present contemporary art exhibits, b) purchase artwork for the said institution, c) select artwork purchased by the City of Zagreb for its own needs and for the needs of its institutions. For the most part of its history, the institution carried the name of Zagreb City Galleries, with exhibitions set in the Upper Town, Katarinski Square 2, in the baroque mansion of count Kulmer, and at HabdeliÊeva Street 2, which housed the library, the archives and administration offices. The current name was given to the museum on 13 May, 1998. The change of name was at that point extremely important for the future development plans, because assigning the institution the title of museum meant both an acknowledgement of the past work and the setting of a path to the projects for the construction of the new building. Parallel to the Museum history, the founding and shaping of its collections and the expanding of its activities, there is the long chronology of the efforts to find adequate facilities or the location for a new building. Let us only recall the crucial moments on this path towards the new museum building. The location was selected in 1996, when the City Department of Spatial Planning in coordination with the City of Zagreb and the Museum drew up a valorisation project for four potential locations. The options were Paromlin, Tranjanska, Avenija Dubrovnik-Resselova and the Avenija VeÊeslava Holjevca and Avenija Dubrovnik junction. After much deliberation and the examination of many elements, the last location was selected. By opting for this location, the Museum made a pioneering step and crossed the Sava River,


as the first big cultural institution to move its seat to the part of the city that sprung out entirely after the Second World War, in the era of socialist housing, better known only as the city’s largest sleeping quarters. However, by keeping to the north-south axis, the Museum carries on and takes over the idea of the genius spatial planner Lenuci, who had set this axes, from the Ban JelaËiÊ Square to the Main Railway Station, to locate important cultural and scientific institutions. In the second half of the 20th century, the axes was followed again by the Vatroslav Lisinski concert hall and the National and University Library. In 1999, a tender was announced for an architectural and spatial planning solution for the new Museum of Contemporary Art building. Eighty five projects were received and the first prize was won by architect Igor FraniÊ. The jury concluded that: With its urban concept, the project acknowledges the authority of the imposing junction of two major roads, and in the composition of its architectural mass it remains restrained, creating the harmony of pure cubic volumes... by using the concept of two floating wings, the author creates a relatively large covered multifunctional area, at the same time allowing the free flow of the space around it... The design is compact, generating a remarkable architectural motif dominating both by the clarity of its body and by the transparency of its unfolding pattern. Construction works began in November, 2003, and the grand opening of the Museum took place on 11 December, 2009, in the presence of numerous guests. The end of the year media surveys marked this as the number one cultural event of the year. Igor FraniÊ’s work is one of the museum buildings which, unlike closed single-volume constructions, immediately, at first sight, reveal a composition of architectural masses based on the clear division of museological functions. Form follows function, is a well known saying which could be applied in this case. When enumerating the extraordinary characteristics of the building, experts mention its extreme functionality, but also point out its transparency, the realization of a sheltered public place inviting for gathering and socializing, as well as the democratic selection of materials and the ability to generate an urbanism of its own on this busy and open plot of land. FraniÊ’s discrete architectural language provides an ideal framework for our activity in keeping with the spirit of the times, while its openness and the non-dogmatic approach leave enough space to adopt new technologies and new museological imperatives we are to be faced with in the future.

It is a distinct trend in the new museological practice for museums, or rather contemporary arts museums, to increasingly develop into cultural centres offering complex programmes. For this very reason, our multimedia auditorium is also home to the cinema and theatre programme, the library is joined by a reading room and a mediatheque, the permanent exhibition includes educational points, and the excellent equipment of the audiovisual studio enables the realization of productions for educational and art projects alike. Of course, there is also a gift shop and a cafe-restaurant, the obligatory stops at any museum visit. Since its very beginnings, the Zagreb Contemporary Art Museum strived to promote a new and different kind of art, to follow domestic and international contemporary art developments and to create its collections and develop its activity accordingly. As the Museum grew and evolved, collections and departments shaped and changed. Today, after all institutional changes, collections include 4354 works of art by Croatian and foreign artists, all entered into a single Inventory. The majority of the artwork collected, either purchased or received as gifts, were created after 1950, even though the Museum has in its possession works dating from the late 19th century as well. To be pointed out as one of the oldest works is the 1922 abstract collage Pafama by painter and architect Josip Seissel, which has become the emblem of the Museum, whereas the youngest author represented in the permanent exhibition is Lala RaπËiÊ with her work All Is Connected, from 2007. It should be said that the museum holdings include nine hundred artists, sixty percent of whom are foreign artists and forty percent Croatian - just to mention some of the most significant names: Ivan Picelj, Edo MurtiÊ, Oton Gliha, Vojin BakiÊ, Vladimir Kristl, Jesus Rafael Soto, Joseph Beuys, Francois Morellet, Tomislav Gotovac, Ines KrasiÊ, Dennis Adams, Slaven Tolj, Ivan Faktor, Ana OpaliÊ, Walter Leblanc, Jan Fabre... and many, many others. The holdings are divided into the following collections: Collection of Paintings, Collection of Sculpture and Installations, Film and Video Collection, Photography Collection, Collection of Drawings and Art on Paper and Media Art Collection. The Museum is also in care of: the Benko Horvat Collection, a donation by a versatile collector consisting of 611 works (graphics, paintings, archaeological material); the Vjenceslav Richter and Nada Kraπ-Richter Collection consisting of 182 works (paintings, sculptures, graphics and CROATIA AIRLINES

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architect Richter’s private archives) and the sculpture house and park; the Josip Seissel and Silvana Seissel donation consisting of 1368 Josip Seissel’s works; the Toπo Dabac photographic archive situated in his studio and consisting of 252 880 negatives, photographs and objects; the KoæariÊ Studio, a fascinating collection of 6000 works. In all the years and decades past, in the times never much inclined to contemporary art collection, the best ways to obtain new works had to be found - through purchase, donations and granting awards. The authors of the permanent museum exhibition titled Moving Collections are curators Nada Beroπ and Tihomir Milovac, who divided it into five thematic units to offer insight into the fifty years of collecting and shaping of a very specific collection - a collection which is not special only for the works it consists of but is also unique as a whole, in comparison with the museums in the neighbouring countries, but also with the European collections. Looking into the future of the Contemporary Art Museum, it is its holdings that represent the best base for the development of future activities in the building. By presenting the permanent exhibition and organizing retrospective, thematic, monographic and study expositions, as well as offering insight into the documentation, the Museum has met all the requirements to fulfil its functions as an art institution in a dynamic social environment, stressing the educational aspect and establishing an even wider and livelier international cooperation network. I am happy that this year we can already announce a busy programme of exhibitions - the selection of works for the annual THT@msu.hr Award, international exhibition A Pair of Left Shoes in cooperation with the Bochum Museum, which will present seventeen international artists - Nedko Solakov, Miroslav Balka, Jaan Toomik, Andreja KulunËiÊ, Sanja IvekoviÊ, Dalibor Martinis, the ZupanËiË-ÆivadinovTurπiË group, ©ejla KameriÊ, Andreas Fogarasi, Pavel Braila, Milivoj BijeliÊ, Via Lewandowsky, David MaljkoviÊ, Zlatko Kopljar and Mladen StilinoviÊ, to be followed by the international legends of conceptual art, the British duo Gilbert&George with their latest cycle Jack Freak to be presented from June till September, and the donation of paintings by the great Croatian painter Edo MurtiÊ, as well as by the exhibition by Danica DakiÊ, the new star on the European scene, and numerous smaller projects, such as the Toπo Dabac Collection Day and the guest presentation of the renowned computer art author Edvard Zajec. n 32

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■ KONTINENTALNA HRVATSKA INLAND CROATIA

Piše/By Davorka Vukov ColiÊ

Karlovac je jedan od najmlaih hrvatskih gradova kojemu se zna

Fotografije/Photos Romeo IbriševiÊ

toËan datum roenja, 13. srpnja 1579. godine. Bio je jedna od najdomoljubljivijih sredina, gdje su ideje Hrvatskoga narodnog preporoda osobito snaæno zaæivjele. Karlovac je imao i najstariju glazbenu πkolu u Hrvatskoj, jednu od prvih Ëitaonica na hrvatskom jeziku, prvo hrvatsko pjevaËko druπtvo Zora, a jedan od najstarijih saËuvanih primjera stambene arhitekture tipa kurije iz prve polovine 17. stoljeÊa pretvoren je u Gradski muzej. Karlovac is one of the youngest Croatian towns, with a known birthday, 13 July, 1579. It proved to be an extremely fertile ground for the Croatian national revival ideas. Karlovac also had the first music school in Croatia, one of the first reading-rooms in the Croatian language, the first Croatian Choir, Zora, and one of the oldest remaining examples of a kurija-type family house, dating from the early 17th century, today the home of the Town Museum. CROATIA AIRLINES

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oæete li zamisliti putovanje od Petrograda do Pariza, i to pjeπice, potkraj devetnaestog stoljeÊa, po jedva prometnim cestama i uz rijetka naselja, kad vas udara sunce i pere kiπa? Slavnom istraæivaËu, KarlovËaninu Mirku Seljanu, za tih je 2609 kilometara trebalo stotinu dana hoda da postigne svjetski rekord i osvoji laskavu titulu Champion of Globetrotter, a na zemljopisnoj karti Europe velikim slovima upiπe svoj rodni Karlovac, grad pedeset πest kilometara jugozapadno od Zagreba. Dakako, ushiÊeni KarlovËani dostojno su proslavili nesvakidaπnji pothvat pustolovnog sugraanina, doËekavπi ga na povratku iz Pariza onako kako to priliËi velikim herojima, ne znajuÊi da je za Mirka Seljana i njegova brata Stjepana to bila uvertira u veliku pustolovinu - put oko svijeta. Doznavπi za pustolovni naum braÊe Seljana, mnogi su KarlovËani sumnjiËavo kimali, ne vjerujuÊi da Êe daleko stiÊi, bez prave logistike, opreme i s nedovoljno novca. Ali za njih je to bio izazov viπe, te put pod noge i opet pjeπice, ovaj put do Trsta, usred zime, u sijeËnju 1899. godine. Iz Trsta brodom u Afriku, a poπto su proπli kroz Egipat, Sudan i Keniju, poslije πest mjeseci stiæu u Addis Abebu. Poznanstvo s ocem kasnijeg cara Hailea Selassieja dovelo ih je do dvora tadaπnjega etiopskog cara Menelika II, koji je, ni manje, ni viπe, Mirka imenovao guvernerom juænih etiopskih provincija, a Stjepana njegovim zamjenikom. Kad su ovdje zaredali lokalni ratovi, vratili su se u Europu i na mnogobrojnim predavanjima oduπevljavali sluπatelje svojim afriËkim pothvatima. Ubrzo kreÊu ponovno u veliku pustolovinu, ovaj put u Juænu Ameriku, zaneseni grandioznom idejom o spajanju Atlantskoga i Tihog oceana preko divlje Amazone... Pustolovni æivot braÊe Seljan, zapeËaÊen tajanstvenom smrÊu Mirka, koji je tijekom ekspedicije skonËao u divljim bespuÊima amazonske peruanske praπume, kao da je ispao iz najmaπtovitijih romana Julesa Vernea ili hollywoodskih scenarija o pustolovnim potragama za zelenim dijamantom i gusarskim blagom. Ili su holywoodskog Indianu Jonesa nadahnule pustolovine naoËite braÊe Seljan? Svakako, KarlovËani su i danas ponosni na sugraane tako smionih ideja, πirokog duha, velike izobrazbe (Mirko je govorio petnaestak jezika!) i nadasve πirokih obzora. U gradu koji je nastao kao vojna utvrda, granica i πtit izmeu slobodne Europe i turske opasnosti, braÊa su Seljan dokazala da ne poznaju, i to doslovno, baπ nikakve granice. Moæda je na njihovu odvaænost utjecao duh i ozraËje grada koji je kao srediπte Hrvatsko-slavonske vojne krajine nauËio stoljeÊima æivjeti u vjeËitoj opasnosti 40

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od turskih napada, a duhovnu πirinu poslije izgradio razvijajuÊi se u vaæno trgovaËko, prometno i industrijsko srediπte. Jezgra Karlovca (danaπnja Zvijezda) nastala je na nepristupaËnome, moËvarnom podruËju sutoka Korane i Kupe, na posjedu obitelji Zrinski podno staroga grada Dubovca iz 13. stoljeÊa, nekadaπnjeg doma Frankopana i Zrinskih, i moæda ga nikad ne bi ni bilo da Turci nisu osvajali i prijetili Europi. Ovako, organizirajuÊi vojne krajine, vojna je vlast u BeËu u 16. stoljeÊu odluËila sagraditi veliku strategijsku utvrdu u sustavu pograniËnih straæa i utvrda s plaÊeniËkim posadama, πto se protezala od Drave do Jadranskog mora. Gradnju je povjerila πtajerskom nadvojvodi Karlu II Habsburπkom, po kojemu je i dobila ime. Karlovac je tako jedan od najmlaih hrvatskih gradova kojemu se zna toËan datum roenja, 13. srpnja 1579., kad je graditelj Matija Gambon poËeo s graevinskim radovima. Grad je postao i ostao srediπnja tvrava u sustavu utvrda za obranu od turskih provala na sjever prema BeËu, πtiteÊi prostor Hrvatske i Kranjske, te kao granica prema Osmanlijskom Carstvu na potezu od Siska do Senja. Graditelj Gamon gradio ga je po zamisli idealnoga renesansnoga grada u obliku πesterokrake zvijezde sa srediπnjim trgom i pravilnim geometrijskim rasterom ulica i gradskih blokova, okruæen obrambenim kanalima, zbog Ëega i jest odabran sutok dviju rijeka, πto je u to doba novih oruæja i novih druπtvenih odnosa bio vrhunac graditeljskog i fortifikacijskog umijeÊa. Sagraeni su bedemi obrambene utvrde, palaËe i trgovi, vojarnice, crkva (najstarija graevina Karlovca, a u 17. stoljeÊu nadograen je samostan) i podignut spomenik ærtvama kuge (Kuæni pil). Zanimljivo je da osim Karlovca samo joπ dva grada u Europi imaju takav tlocrt - Palmanova u Italiji i Novy Zamky u SlovaËkoj. Nakon tzv. KarlovaËkog mira 1699. godine prestaje neposredna turska opasnost te se grad poËinje slobodno πiriti izvan bedema. Izdvojen iz sastava Vojne krajine 1777., uskoro postaje kraljevski grad i dobiva grb, dojuËeraπnja se vojska okreÊe civilnim zanimanjima, a grad prikljuËuje graanskoj Hrvatskoj. Izvan prostora tvrave osvaja obale bistre Dobre i joπ bistrije Mreænice te je danas, sa πezdesetak tisuÊa stanovnika, ono po Ëemu ga svi znaju: grad na Ëetiri rijeke. A vjeËna vojna utvrda oËito se izvrsno snaπla u civilnom odijelu, jer u prvoj polovini osamnaestog stoljeÊa Karlovac je po veliËini veÊ bio drugi grad u tadaπnjoj Hrvatskoj, a u poËetku devetnaestoga po gospodarskoj moÊi i plaÊanju poreza - prvi. Tajna je bila u izvrsnome geografskom poloæaju,

na razmei Podunavlja i Jadrana, pa nije sluËajno odabran kao ishodiπte triju najvaænijih cesta sagraenih u 18. i 19. stoljeÊu, Karoline (Karlovac- Bakar), Jozefine (Karlovac- Senj) i Lujzijane (Karlovac- Rijeka). O vaænosti grada kao trgovaËkog i prometnog srediπta svjedoËi i Miljokaz na poËetku Jozefine s oznakama udaljenosti tada vaænih srediπta. Sve donedavno, dok suvremena autocesta nije zaobiπla grad, povezujuÊi srednju Europu i podunavske zemlje s Jadranom, jedini put iz Zagreba prema Jugu vodio je kroz srce grada, raËvajuÊi se negdje oko Autobusnog kolodvora prema Splitu i Rijeci, te se KarlovËani vjerojatno joπ i danas oporavljaju od smoga i tutnjave kamiona, autobusa i buke tisuÊa automobila na dan, osobito ljeti za vrijeme godiπnjih odmora. Gradnja æeljezniËke pruge dala je zamah industrijskom razvitku, pa otuda bogat, utjecajan i samosvjestan graanski sloj, koji je svoj grad pretvorio u kulturno srediπte i jednu od najdomoljubljivijih sredina, gdje su ideje Hrvatskoga narodnog preporoda osobito snaæno zaæivjele, a KarlovËanin biskup Maksimilijan Vrhovec bio jedan od idejnih zaËetnika pokreta. Bio je veliki intelektualac, domoljub, prosvjetitelj i Ëovjek velikih ideja, neumorno se zalagao za prikupljanje nacionalnoga duhovnog blaga i πirenje knjige u narodu, a sam je nabavljao sve πto bi moglo pridonijeti duhovnom probitku i razvoju znanosti u Hrvatskoj. U takvom ozraËju Karlovac je imao i najstariju glazbenu πkolu u Hrvatskoj, osnovanu joπ 1804.godine, jednu od prvih Ëitaonica na hrvatskom jeziku, prvo hrvatsko pjevaËko druπtvo Zora, koje je sagradilo Zorin dom, danaπnje gradsko kazaliπte, a jedan od najstarijih saËuvanih primjera stambene arhitekture tipa kurije iz prve polovine 17. stoljeÊa pretvoren je u Gradski muzej. Grad je oplemenjen parkovima, ureen je VrbaniÊev perivoj, zamiπljen kao botaniËki vrt otvorenoga tipa, u Marmontovoj zasaene platane, sagraen drveni paviljon Katzler kao jedna od nezaobilaznih toËki javnoga druπtvenog æivota. KarlovaËku gimnaziju pohaao je poznati izumitelj Nikola Tesla, Mirko Seljan, politiËari Stjepan i Antun RadiÊ, pjesnik Ivan Goran KovaËiÊ... Karlovac je dao tankoÊutnog slikara Vjekoslava Karasa i æivopisnu knjiæevnicu Dragojlu JarneviÊ, koja se, zanesena Ilirskim pokretom, potpisuje kao Ilirkinja iz Karlovca. Iza nje ostalo je viπe od tisuÊu stranica Dnevnika, objavljenoga tek 1958. godine, u kojemu opisuje i svoj alpinistiËki pothvat - plazenje uz juænu, nepristupaËnu stranu OkiÊa. Dragojla JarneviÊ bila je prva æena kojoj je to uspjelo, i to bosoj, sa suknjom pritegnutom u struku i bez danaπnje alpinistiËke opreme, pa su joj


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na odvaænosti vjerojatno pozavidjeli mnogi muπkarci. A dvojica KarlovËana odluËujuÊe su utjecala na danaπnji izgled Zagreba. ZahvaljujuÊi Maksimilijanu Vrhovcu, hrvatska metropola danas se diËi Maksimirskim parkom, a za vrijeme najpoznatijega zagrebaËkoga gradonaËelnika VeÊeslava Holjevca Zagreb je preπao Savu. Karlovac se danas oporavlja od trauma Domovinskog rata i æestokoga granatiranja potkraj 1991. i u poËetku 1992., kad je poginulo zamalo tristo i ranjeno viπe od tisuÊu graana. Kad biste nakon zavrπetka rata, na putu u Split, prolazili Turnjem, tim juænim predgraem grada, starim koliko i Karlovac (nastao je istodobno kad i Zvijezda, a πtitio je mostove prema gradu i bio mu logistiËka potpora), nailazili biste na πokantne prizore sravnjenih i izreπetanih kuÊa, sablasno praznih. Danas viπe nema tragova æestokih borbi, zgrade su se ponovno digle i dobile vesela proËelja, a ljudi vratili. Ali na ratne dane podsjeÊa Muzej zbirke naoruæanja Domovinskog rata s izloπcima borbene tehnike i fortifikacijskih objekata koriπtenih prije nepuna dva desetljeÊa. A kao podsjeÊanje na davnu ratniËku proπlost, u gradu je nedavno ustrojena KarlovaËka husarska pukovnija. Ta postrojba lake konjice iz turskog doba, u æivopisnim uniformama opet jaπe na roendan grada, uz glazbu PuhaËkog orkestra Karlovac, praÊena pripadnicima drugih povijesnih postrojbi. U starom gradu Dubovcu svake se godine odræava Sajam vlastelinstva, na kojemu se predstavljaju srednjovjekovni zanati i jela, igre i obiËaji. Tradicionalni Dani karlovaËkog piva, taj hrvatski Oktoberfest, podsjeÊaju na to da je Karlovac odavno poznat po proizvodnji piva... To su tek neka dogaanja, kojima KarlovËani dokazuju da ne zaboravljaju proπlost i tradiciju, a u gradu slavnih Mirka i Stjepana, njihove ideje i danas æive. Na roendan mlaeg brata Stjepana osnovan je 1997. Centar za ekspedicionizam, istraæivanje i kulturu BraÊe Seljana, prvi hrvatski istraæivaËki klub koji preispituje æivot i pothvate proslavljenih KarlovËana. Dosad su mnogi putnici i pustolovi ponovili sva putovanja i pothvate Seljana, a jedan od njih, Boris VeliËan, poznat veÊ po mnogobrojnim avanturama diljem kontinenata, preπao je pjeπice prije nekoliko godina ponovno put od Petrograda do Pariza, skrativπi vrijeme na 86 dana. Suvremeni strastveni putnik VeliËan ne odustaje, kao πto nisu odustajala braÊa Seljan, pa namjerava ostvariti ono u Ëemu je smrt sprijeËila Mirka: uÊi u Rusiju preko Kanade, Aljaske i Sjevernog pola, te se preko Kine spustiti do Tibeta. Jer, kako reËe Mirko Seljan, s Karlovcem u srcu, a s nogama u svijetu: Imade u ljudskom æivotu navada kojih se Ëovjek 42

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teπko rijeπi. Koji imadu isti upliv na æivce, kao na morfinistu morfij, na puπaËa duhan. Jedna od tih navada jest i nagon za putovanjem, za poruku dalekih i nepoznatih krajeva... n

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an you imagine travelling from Sankt Petersburg to Paris, on foot, at the very end of the 19th century, on barely passable roads, with villages far apart, enduring the scorching sun and torrential rains? It took the famous explorer, Karlovacborn Mirko Seljan, one hundred days to walk across these 2,609 kilometres, setting a world record and winning the prestigious title of Champion Globetrotter and putting his hometown of Karlovac, fifty-six kilometres southwest of Zagreb, on the map in capital letters. The thrilled citizens of Karlovac, of course, did their best to celebrate this unusual exploit of their adventurous townsman, organizing a hero’s welcome on his return from Paris, unaware that this was only an introduction for the brothers’ Mirko and Stjepan Seljan’s big adventure - a trip around the world. Upon learning of the Seljan brothers’ daring plan, many Karlovac citizens looked at them askance, saying they wouldn’t make it far without logistical support and sufficient funding. But for the brothers this was an additional challenge and they took off to Trieste, on foot again, with the winter in full swing, in January, 1899. From Trieste they sailed to Africa, and, having passed through Egypt, Sudan and Kenya, they arrived in Addis Abeba six months later. Having made acquaintance with the father of the future emperor Haile Selassie, they gained access to the royal court of the then emperor of Ethiopia, Menelik II, who in turn appointed Mirko no less than Governor of the southern Ethiopian provinces and Stjepan his deputy. Upon the outbreak of many local wars, they returned to Europe and held numerous lectures to audiences fascinated by their African adventures. But a new big adventure was soon to follow, in South America this time, on the wings of the formidable idea of connecting the Atlantic and the Pacific oceans via the untamed Amazon River... The adventurous life of the Seljan brothers, sealed by the mysterious death of Mirko in the wilderness of the Amazonian rainforest during an expedition in Perú, seems like a story from the most fantastic of Jules Verne’s novels or from a Hollywood script on the reckless search for the green diamond or the pirates’ treasure. Or was the Indiana Jones story perhaps inspired by the adventures of the handsome Seljan brothers? In any event, the people of Karlovac are still proud of their fellow-citizens who harboured such bold ideas, a restless

spirit, elaborate erudition (Mirko could speak around fifteen languages!) and whose horizons extended far and wide. In a town built as a fortress, a borderline and defence between the free Europe and the Turkish threat, the Seljan brothers proved they knew no limits or borders. Their dauntless nature may have been inspired by the general atmosphere of the town which, as the capital of the Croatian-Slavonian Military Border Zone, had for centuries learned to live in constant danger of Turkish attacks and had proceeded to grow into an important centre of trade, transport and industry. The Karlovac town centre (today known as Zvijezda - The Star) was built in inaccessible marshland where the Korana and the Kupa rivers meet, on land owned by the Zrinski family below the 13th century Dubovac castle which was once home to the Frankopans and Zrinskis. It may never have been built had there not been for the constant threat of the Turkish thrust towards Europe. However, the military headquarters in Vienna started organizing military border zones and decided to erect a large strategic fort as part of the system of border checkpoints and forts manned by mercenaries and stretching from the Drava River to the Adriatic Sea. The construction was entrusted to the Styrian archduke Charles II. of Habsburg, after whom the fort was named. This made Karlovac one of the youngest Croatian towns, with a known birthday, 13 July, 1579, when architect Matija Gambon launched the construction works. Karlovac became and remained the central fort in the fortified defence system against Turkish raids northwards to Vienna, protecting the area of Croatia and Carniola and holding the border to the Ottoman Empire between Sisak and Senj. Gambon envisaged the town as an ideal Renaissance town shaped as a six-pointed star with a central square and a grid of geometrically set streets and town blocks, surrounded by moats, the latter being the reason for selecting an area between two rivers. At a time of the emergence of new weapons and new social layers, this was indeed the pinnacle of architectural and fortification-building skill. Walls and bastions were built, followed by palaces and squares, barracks and a church (Karlovac’s oldest building, with a monastery subsequently built in 17th century) and a monument, the Kuæni pil, was erected to the victims of the plague. Only two other towns in Europe were built in the six-pointed star shape - Palmanova in Italy and Novy Zamky in Slovakia. After the 1699 Karlovac Peace Treaty, the immediate Turkish threat was curbed and the town started to spread freely outside its walls. After 1777, it was no longer part of the


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Military Border Zone and soon obtained the title of Royal Town and was given a crest. The former soldiers turned to civilian work, and the town became like other towns in Croatia. Growing beyond its walls, it claimed the banks of the clear Dobra and Mreænica rivers and developed into what it is today, a city of around sixty thousand inhabitants: the town on four rivers. The eternal fort did well after taking off its uniform. In the first half of the 18th century, Karlovac was the second largest town in what was then Croatia, and in the early 19th century it was economically and tax-wise the most powerful town in the country. Its secret lay in its excellent geographical position between the Danube and the Adriatic, and it was therefore no accident that it was chosen as the departure point for the three most important roads built in the region in the18th and 19th centuries, the Karolina (Karlovac - Bakar), the Jozefina (Karlovac - Senj) and the Lujzijana (Karlovac Rijeka). The Milestone at the start of Jozefina, indicating the distances to the important cities of the age, bears witness to the trading and transport importance of Karlovac. Until recently, when a modern motorway found its way around the town, connecting Central Europe and the Danube countries with the Adriatic, the only way from Zagreb to the south was through the very centre of the town, with roads separating near the main Bus Station, one leg leading towards Split and the other towards Rijeka. Karlovac is probably still recovering from the smog and noise left behind daily by trucks, buses and thousands of cars, especially in the summer holiday months. The construction of the railway accelerated the development of industry, giving birth to a rich, influential and self-confident middle class that turned their town into a cultural hub and a patriotic community. Karlovac proved to be an extremely fertile ground for the Croatian national revival ideas, with Karlovac-born Bishop Maksimilijan Vrhovac as one of the instigators of the movement. He was a great intellectual, a patriot, an educator and a man of great ideas, a relentless supporter of saving the national heritage and popularizing books among the common people. He also acquired anything 44

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that could contribute to spiritual and scientific development in Croatia. Karlovac also had the first music school in Croatia (established in 1804), one of the first reading-rooms in the Croatian language, the first Croatian Choir, Zora, for whom Zorin Dom, today’s town theatre, was built, and one of the oldest remaining examples of a kurijatype family house, dating from the early 17th century, today the home of the Town Museum. The town was embellished by parks, such as the VrbaniÊ Park, envisaged as open-type botanical gardens, plane-trees were planted in Marmont Street, and the wooden Katzler pavilion was constructed to become one of the central points of the town’s social life. Among the pupils at the Karlovac high school were the famous inventor Nikola Tesla, Mirko Seljan, the politicians Stjepan and Antun RadiÊ, and the poet Ivan Goran KovaËiÊ. Karlovac was home to the gentle painter Vjekoslav Karas and the vivacious author Dragojla JarneviÊ who, fascinated by the Illyrian Movement, signed her name as the Illyrian of Karlovac. She left behind more than one thousand pages of The Diary, published only in 1958, in which she describes her mountaineering feat - crawling along the southern, remote side of OkiÊ mountain. She was the first woman to achieve this, barefoot, with her skirt wrapped around her waist and with none of the mountaineering equipment we use today, which is why many men must have envied her courage. Two men from Karlovac had a decisive influence on the present appearance of Zagreb: Maksimilijan Vrhovac, thanks to whom the Croatian capital today has Maksimir Park, and VeÊeslav Holjevac, the most famous of Zagreb’s mayors, who oversaw Zagreb’s expansion across the River Sava. Today, Karlovac is recovering from the trauma of the Homeland War and the severe shelling it suffered in late 1991 and early 1992, when almost three hundred citizens were killed and more than one thousand injured. After the war, on your way to Split through Turanj, the southern city suburb as old as the city itself (founded together with the Zvijezda to provide protection for the town access bridges and to serve as logistical support), you would come across devastating scenes of bullet-riddled houses razed to the ground, homes only to ghosts. Today, no trace of the heavy fighting remains; the houses have been rebuilt and painted in bright colours, and the people have returned. But to remind them of those days there is the Museum of the Homeland War Weapons Collection, exhibiting fighting techniques and fortifications used a mere two decades ago.

An echo of the ancient warrior past, the Karlovac Hussar Regiment, was re-established in the town recently, with this light cavalry unit in colourful Turkish-age uniforms riding again on the town’s anniversary, accompanied by the Karlovac Wind Orchestra and representatives of other historic military units. Every year, Dubovac Castle houses a Medieval Fair, presenting medieval crafts and food, games and customs. The traditional Karlovac Beer Festival, Croatia’s Oktoberfest, reminds us that Karlovac has long been known for its beer production. These are only some of the events that the people of Karlovac organize to prove they do not forget their history and tradition. Mirko and Stjepan Seljan are still an inspiration today. In 1997, the Seljan Brothers Centre for Expeditionism, Exploration and Culture was founded on the birthday of the younger of the Seljan brothers, Stjepan, as the first Croatian club to research the life and feats of these famous Karlovac citizens. Many travellers have retraced the steps of the Seljans. One of them, Boris VeliËan, well-known for his many adventures around the globe, hiked between Sankt Petersburg and Paris several years ago, making the trip in only 86 days. This contemporary passionate traveller does not give up, just like the Seljans didn’t, resolute to achieve what Mirko was hoping to do before he died: enter Russia via Canada, Alaska and the North Pole, then descend across China to Tibet. In the words of Mirko Seljan, who carried Karlovac in his heart even when his feet were elsewhere: There are some habits in life that are very difficult to shed. These affect one’s nerves just as morphine does to the morphine user, and tobacco to the smoker. One such habit is the urge to travel, to learn about lands far away and unknown... n


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■ OTOCI ISLANDS

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Piπe/By Dubravka Belas

Fotografije/Photos Damir FabijaniÊ

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Insula Aurea, zlatni otok, nazvahu ga joπ u antici. Jesu li pritom imali na umu zlatno maslinovo ulje, zlaÊani med pËela s endemskih cvjetnih paπnjaka, ili zlatni pijesak s dna njegovih uvala? Ili tekuÊe zlato vrbniËke ælahtine? Ili su ga samo vidjeli okupanoga zlatom sunca na zalasku... CROATIA AIRLINES

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Back in antiquity, people called it Insula Aurea, the golden island. Did they have in mind golden olive oil, the golden honey produced by the bees on Krk’s endemic flower fields, or the golden sand at the bottom of its coves? Or the liquid gold of the autochthonous wine vrbniËka ælahtina? Or did they see the island bathed in the golden light of the setting sun... CROATIA AIRLINES

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poËetku dvadesetog stoljeÊa zgodnim su ga lokalpatriotizmom nazvali πestim kontinentom. Poslije, kad se u πkolama uËilo da je na Zemlji πest kontinenata, taj je otok u Kvarnerskom zaljevu proglaπen sedmim. Nema to, dakako, nikakve veze s povrπinom kopnenih masa ili s geoloπkim osobitostima, ali ima s raznolikoπÊu prirodnih ljepota, vlastitim arhipelagom od dvadestak otoËiÊa, trima rjeËicama, dvama jezerima, s pedesetak πpilja i jednim slapom, malim, ali jedinim na jadranskim otocima, ima s bogatstvom biljnoga i æivotinjskog svijeta, ima s univerzalnim znaËenjem kulturoloπkog naslijea. Insula Aurea, zlatni otok, nazvahu ga joπ u antici. Jesu li pritom imali na umu zlatno maslinovo ulje koje joπ i danas proizvode vrijedne ruke KrËana i upravo tome æivotnom eliksiru pripisuju mnogo stogodiπnjaka na otoku? Jesu li mislili na zlaÊani med pËela s endemskih cvjetnih paπnjaka, ili na zlatni pijesak s dna njegovih uvala? Ili na tekuÊe zlato vrbniËke ælahtine, autohtonoga bijelog vina, koje je dobilo ime prema slavenskom pridjevu ælahten, plemenit, jednako kao πto je plemenito zlato s kojim to bistro vino voÊnih aroma dijeli svoju boju? Ili su ga samo vidjeli okupanoga zlatom sunca na zalasku, prizorom kakav se uporno, stoljeÊima, vraÊa svake ljetne veËeri... Ovaj sedmi kontinent, od svih hrvatskih 1185 otoka i otoËiÊa najveÊi, i inaËe je pod znamenjem broja sedam. Nastanjenoga od prapovijesti, u sedmome ga stoljeÊu naseljavaju Hrvati, koji Êe ovdje postupno postati veÊinskim narodom. Sedam je na Krku plesova, narodnih noπnji i obiËaja. KrËki tanac πete paπi, kako mu i ime govori, sastoji se od sedam koraka. Danaπnjih sedam upravnih jedinica - Krk, Omiπalj, Malinska, Punat, Baπka, Vrnik i Dobrinj - razvilo se na mjestu sedam starih otoËkih kaπtela. Na otoku se moæe Ëuti i sedam varijanti Ëakavskog narjeËja hrvatskog jezika. Legenda kaæe da se Krk sedam puta uspjeπno obranio od gusara i da njegov posljednji knez Frankopan bijaπe - treba li reÊi - sedmi po redu. Sedam oduvijek simbolizira sveukupnost prostora i vremena, jer, sedam je vrlina, sedam je duginih boja, sedam je broj dovrπenosti i potpunosti, pa πto viπe pristaje Krku nego ta tajanstvena veza sa sedmicom. Prvi stanovnici otoka o kojima se poneπto zna bila su ilirska plemena Japoda, poslije istisnuta Liburnima, vjeπtim brodograditeljima i dobrim pomorcima, koji uspostavljaju trgovaËke veze s Grcima na jantarskom putu izmeu Baltika i Sredozemlja. I danaπnji naziv otoka potjeËe od liburnskog imena Kurik ili Karikt, πto znaËi otok od kamena. GrËko-latinska izvedenica bila je Curycta, Curicum, pa se i za Kourete, koje

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u Ilijadi spominje Homer, misli da su upravo KrËani. Hrvati su cijelu stvar pojednostavili, izbacili samoglasnike i dobili danaπnje strancima teπko izgovorljivo ime, Krk. Ali bizantski car Konstantin Porfirogenet spominje ga u svojim zapisima kao Veclu, odakle mletaËki naziv Veglia, kako ga i dalje zovu Talijani, a lokalno ga stanovniπtvo, prema talijanskome nazivu, Ëesto naziva Veja. Kurikta, dakle, otok od kamena. Kamena, s kojim se Ëovjek ovdje raa i umire, postojani simbol zaustavljanja na ovome prelijepome mjestu, toËki odabira i smirenja, konaËnog odrediπta svake hrvatske seobe, koje zaustavlja samo more. Kamena, koji oskvrnjujemo da bismo ostavili za sobom trajni trag i utjehu naπoj prolaznosti, da nam Ëuva proπlost i prenosi naπe poruke kroz vrijeme. Kamenom je opasan taj sjajni grad o Ëijim zidinama iz prvog stoljeÊa prije Krista govori rimski zapis − suhoparno biljeæeÊi da su produæene u duæini od 111 i visini od 20 stopa. Njihovi su ostaci, uglavnom uz franjevaËki samostan i kaπtel, danas uklopljeni u srednjovjekovne zidine, kao πto su i Rimljani osvojeni grad preuredili poπtujuÊi njegov dotadaπnji æivot i raspored, samo dodajuÊi svoje zakone i obiËaje, sagradivπi ceste, podigavπi hramove i terme. Rimljani su sagradili i dva grada koji danas viπe ne postoje: Fulfinum, u uvali Sepen kod Omiπlja, te Corinthiju u blizini danaπnje Baπke. Fulfinum je danas prvorazredno arheoloπko nalaziπte, joπ neistraæeno do kraja. U prvome je stoljeÊu sagraen za potrebe rimskih veterana sa svim urbanim sadræajima - vodovodom, termama, lukom, forumom i bazilikom. Nedaleko, na lokalitetu Mirine, saËuvani su ostaci velike ranokrπÊanske bazilike iz 5. stoljeÊa, koja je danas pod zaπtitom Unesca. Nakon pada Rima u petom stoljeÊu, romanizirani se Liburni na otocima uspijevaju odræati vrlo dugo. Donedavno poluromanski govori u gradu Krku, ali i u gradu Rabu na susjednom istoimenom otoku, upozoravaju na njihovu otpornost slaviziranju, a neki izvori tvrde da se na Krku oËuvao i predslavenski neromanski rjeËnik Liburna, i to u pradijalektima stanovnika krËkih brdskih naselja. Zanimljivo je i da neka biogenetiËka istraæivanja upozoravaju na razlikovanje genoma stanovnika Kvarnera od onih u ostatku Hrvatske. Ali vojna osvajanja nisu uvijek razumijevala i posvemaπnje pokoravanje stanovniπtva. Tako su se ovdje oËuvali govor, narodni obiËaji i liturgija na narodnom jeziku. Krk je ostao srediπtem glagoljaπke pismenosti i onda kad je stanovniπtvo sluæbeno moralo komunicirati na latinskom ili, za vladavine Venecije, na talijanskom jeziku. Narod je nastavio po svome, saËuvavπi svoj jezik u crkvenome, javnome i 74

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privatnom æivotu, nastavljanjem staroslavenskog bogosluæja i glagoljaπkim pismom. Na antiËkome nadgrobnom kamenu u Krku uklesan je natpis: Splendidissima civitas Curictarum - presjajni grad KrËana. I u antici je grad Krk bio glavnim gradom otoka, istiËuÊi se najËvrπÊim rimskim zidinama na istoËnoj obali Jadrana. Kao πto su nekad πtitile od napada osvajaËa, tako danas uËinkovito zaklanjaju od bure svoje uske kamene uliËice i poneko stablo æiæule (Zizyphus jujuba). Zanimljivo je da je ta lijepa voÊka ljekovitih plodova otporna i na suπu i na vlagu, na vruÊine i hladnoÊe, ali ne podnosi snaæne zimske vjetrove, pa je se izvan krËkih zidina ne moæe pronaÊi. Njima zaπtiÊena, ovdje otpuπta svoj slatki miris od kojega se, kaæu, mladi ljudi joπ lakπe zaljubljuju. Bilo da uplovljavate u zaπtiÊenu gradsku luku ili prilazite gradu cestom, svakom Êe gradskom vizurom gospodariti krËka katedrala. U grad se ulazi kroz Ëetvora vrata od kojih na obalu izlaze samo malena vrata iz 1398. godine. Iznad vrata ploËe su s likom sv. Kvirina, zaπtitnika grada. Stara vijeÊnica, sagraena za vrijeme mletaËke vladavine, dominira prostorom place od 16. stoljeÊa. Na vijeÊnici se nalazi jedinstven sat na kojemu su dnevni sati postavljeni u gornjem, a noÊni u donjem dijelu. U krËkoj se katedrali nalazi srebrna oltarna pala majstora Kolera, koju joj je darovao Ivan Frankopan 1477. godine, a osamdesetih je godina bila izloæena u Parizu, na izloæbi kulture bivπe zajedniËke dræave. Odmah uz katedralu nalazi se ranoromaniËka crkva sv. Kvirina. Njezina je neobiËnost i jedinstvenost na ovim prostorima u tome πto je sagraena na dvije razine, s prizemljem i katom. Navodno su u prizemlju sv. misi nekad nazoËili osuenici iz obliænje sudnice. Izvorno trobrodna crkva danas je dvobrodna, jer jedan je njezin brod pretvoren u prolaz. RanokrπÊanska bazilika izrasla je na mjestu rimskoga kupaliπta, πto je otkriveno kad su mozaici termi prenamijenjenih u krstionicu otkriveni prilikom obnove crkve. Kroz stoljeÊa, crkva je mijenjala izgled dodavanjem elemenata romanike, gotike, renesanse i baroka. Kapitelom na prvom stupu tako joπ i danas dominiraju ranokrπÊanski simboli - ptice koje jedu ribu. U pisanim se dokumentima prvi put spominje 1186. godine. Religija je oduvijek imala veliku ulogu u æivotu Ëitavog otoka, a grad Krk sjediπte je krËkih biskupa duæe od 1500 godina. Na zidu stubiπta kanoniËke kuÊe nalazi se jedan od najstarijih poznatih glagoljskih spomenika, tzv. KrËki natpis, kameni ulomak s uklesanim tekstom iz 11. stoljeÊa, koji govori o podizanju danas nepoznate graevine glagoljaπa benedikti-

naca, spominjuÊi tri stara hrvatska imena: Dobroslav, Radonja i Rugota. Joπ jedna vaæna gradska znamenitost jest Frankopanski kaπtel, takoer postupno nadograivan. Vanjski su mu zidovi visoki devet metara, s okruglom sjevernom kulom i Ëetverokutnom prema moru na istoËnoj strani, Ëetverokutnom sudnicom na zapadnoj strani i straæarnicom na treÊoj. I dok su stanovnici otoka bili orijentirani na ribarstvo, poljodjelstvo i stoËarstvo, u gradu su se razvijali razliËiti obrti. Tako je zabiljeæeno da je 1402. otvorena prva brijaËnica, a uslijedile su javna kruπna peÊ, kovaËnica, zlatarnica. U knjigama su zapisani i prvi krËki postolar, prvi krojaË i stolar. Danas, kad je lakπe i jeftinije kupiti gotove predmete, stare se majstorske vjeπtine uglavnom iscrpljuju u izradi suvenira ponuenih na mnogim πtandovima, u zlatarnicama i slastiËarnicama. Ljeti dobar posao rade i barkarioli, kapetani malih brodova koji nude jednodnevne izlete obilaska otoËkih uvala s mnogim usamljenim plaæama i krËkog arhipelaga. Prije pedesetak godina Ëeste su izletniËke ture povezivale Crikvenicu na kopnu i prema njemu istureno ©ilo, rutu koju je preplovila i prva trajektna veza na hrvatskoj obali Jadrana, uspostavljena 1959. drvenim trajektom Bodulka. ©ilo, ta najsjevernija toËka Krka, nazvano po πiljastome rtu koji kao da pokuπava dohvatiti Crikvenicu, jedno je od rijetkih otoËkih naselja koja se ne mogu pohvaliti staroπÊu. Naselje se poËelo razvijati u drugoj polovici 19. stoljeÊa, a moæe se podiËiti time πto je 1905. postalo sjediπtem tek osnovanoga Prvoga dioniËarskoga parobrodarskoga druπtva, odræavajuÊi svakodnevnu vezu otoka i kopna, sve do uspostave trajektne veze pola stoljeÊa poslije. Sada izletnici najËeπÊe obilaze otok PrviÊ, jedinstven botaniËki i ornitoloπki rezervat, a zatim Goli otok, nekadaπnji gulag Ëije napuπtene zatvorske zgrade nijemo svjedoËe o vjeËnoj tragici politiËkih zabluda, a popularni su i izleti na obliænji otok Rab. Turizam se na otoku poËeo razvijati joπ u 19. stoljeÊu. Prva kavana izvan BeËa u AustroUgarskoj sagraena je i registrirana upravo u gradu Krku 1824. godine. A 1887. u grad, radi lova, stiæe i prvi celebrity, austrougarski car Franjo Josip II osobno. U poËetku 20. stoljeÊa niËu prvi hoteli i gostionice za izletnike s kopna. TuristiËka se djelatnost na otoku uspjeπno razvija i polako postaje najvaænijom gospodarskom granom. Jedna je od najzanimljivijih manifestacija koju grad Krk pruæa svojim gostima viπednevna feπta LovreÊeva, trgovaËkog sajma s tradicijom duljom od pola tisuÊljeÊa - s korijenima iz davne 1524. godine. Na dan sv. Lovre, zaπtitnika trgovaca, grad se pretvara u pozornicu za


folklorne grupe Ëitavog otoka, gradsku puhaÊu glazbu osnovanu 1852. godine, s tezgama sa suvenirima i autohtonim otoËkim proizvodima te obvezatnim vatrometom kojim sveËanosti zavrπavaju. Vreva tad preplavi rivu, glavnu ulicu i trgove staroga grada, ispuni labirint uskih uliËica kojima se moæe i zalutati ne poznaje li se njihova tajna - do drugih ulica i vaπeg odrediπta odvest Êe vas samo one koje po sredini imaju uzduæ poloæene kamene ploËe. One koje ih nemaju, vjerojatno su slijepe i mogu vas odvesti najËeπÊe samo u neËije udaljeno i mirno dvoriπte. Za trajanja sajma mogu se upoznati stari zanati, kupiti njihovi proizvodi, od uporabnih predmeta do odjeÊe nadahnute proπloπÊu, kuπati finu ribu, domaÊi ovËji sir, kaπtradinu - preπan i na buri osuπen ovËji but, zatim prπut, maslinovo ulje, tradicionalna otoËka jela ukljuËujuÊi πurlice, lokalnu tjesteninu koja se izrauje omatanjem krpica tijesta oko pletaÊih igala, te presnac, slatki krËki kolaË od mladoga ovËjeg sira. Kaπtel na Kamplinu tada oæivi kao da su se doista vratili krËki knezovi Frankopani da uveliËaju to puËko slavlje. Tijekom ljeta na Krku se odræavaju mnoge priredbe i dogaanja: od veËeri klasiËne glazbe, jazz−festivala, do πkola glagoljice i sopela, roæenica.

Bogat je ljetnim manifestacijama i Punat, smjeπten u jednoj od najzaπtiÊenijih uvala na Jadranu, poznat po lijepim bijelim πljunËanim plaæama i po joπ jednom superlativu − jednoj od najopremljenijih i najveÊih jadranskih marina. S plodnom dolinom u zaleu, logiËno je da je osnovu gospodarstva ovoga gradiÊa, koji takoer svoje korijene vuËe iz antike, uz ribarstvo, trgovinu, promet i brodogradnju, tvorilo maslinarstvo, vinogradarstvo i ovËarstvo. U neposrednoj blizini Punta nalazi se πumoviti otoËiÊ Koπljun, lokalno zvan Mostir, s franjevaËkim samostanom, u kojemu se moæe razgledati vrijedna numizmatiËka zbirka i velika knjiænica s jednim od tri na svijetu saËuvana Ptolomejeva atlasa. ZnaËajna je i etnografska zbirka, sa slikovitim narodnim noπnjama i zanimljivim uporabnim predmetima iz svakodnevnog æivota. Izloæeno je kuÊno posue i keramika, pribor za tkanje i obradu vune, poljodjelske alatke, sirarski pribor, glazbala − sopele, drveni srednjovjekovni puhaËki instrument koji je u Europi gotovo posve nestao oko 1700. godine, a na Krku, ali i u Istri, njegov je prodorni zvuk i danas neodvojiv od svake krËke feπte. Zanimljiva je i zooloπka izloæba u kojoj se osobito istiËu zbirka πkoljaka i jedinstveni, neobiËni primjerci æivotinja, katkad

bizarni, poput jednookog janjeta. Na otoku se Ëuvaju i najstarije hrvatske jaslice. Prvorazredni spomenici starohrvatske arhitekture, sagraeni u ranoromaniËkom skladu, uz crkve u Ninu i Zadru, ljupki su sv. Dunat, uz more, na raskriæju putova prema Puntu, Krku, KorniÊu i Vrbniku, te lijep i usamljen sv. Krπevan iz 11. stoljeÊa, prema kojem vodi samo pjeπaËka staza, a nalazi se usred polja i paπnjaka sjeverozapadno od grada Krka. Joπ se jedan krËki gradiÊ, Baπka, odlikuje ljepotom svoje stare jezgre, obilujuÊi ostacima rimskih naselja te sakralnim spomenicima. Kolijevkom hrvatske kulture nazivaju je zbog glasovite BaπËanske ploËe pronaene u crkvi sv. Lucije u Jurandvoru, izmeu kamenih ploËa na podu. Original toga hrvatskoga nacionalnog spomenika iz 11. stoljeÊa, svjedoËanstva rane hrvatske pismenosti, Ëuva se u Zagrebu, a u crkvi se danas nalazi njegova kopija. Ovo nije jedini pisani spomenik iz toga doba, nije Ëak ni najstariji, ali svakako je tekst na njoj najduæi od svih dosad pronaenih i napisan Ëakavskim narjeËjem na glagoljici, starome hrvatskom pismu. Na ploËi opat Dræiha govori kako je zemljiπte za gradnju crkve darovao hrvatski kralj Zvonimir, a opat Dodrovit dodaje mu tekst o gradnji crkve. CROATIA AIRLINES

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Otok je Krk najvaænije mjesto na svijetu kad se govori o glagoljaπkoj ostavπtini, a njegova baπtina predmet mnogih znanstvenih istraæivanja. Uz to je vezana i vrlo æiva etnografska tradicija, osobito folklorna, sa svojom πesttonskom ljestvicom, zvucima sopela, pjesmama i plesom. No, Baπka je, uz baπtinu izloæenu u ZaviËajnome muzeju, i mjesto posve hedonistiËkog prepuπtanja prirodi, kristalno Ëistome moru te kilometrima dugim πljunËanim plaæama. Uostalom, najveÊi dio cjelokupne otoËne obalne linije, u duæini od 190 kilometara, ispresijecan je Ëudesnim uvalama s lijepim plaæama, od kojih su tzv. divlje moæda najljepπe, ali i one sluæbene, ovjenËane priznanjem Plave zastave, meunarodne ekoloπke nagrade za zaπtitu mora i priobalja. Plavom se zastavom diËi 14 takvih plaæa, ali i punatska marina, i to neprekidno od 1998. godine. Na sjeverozapadnoj strani otoka, sa svojih 85 metara visine, dominira gradiÊ Omiπalj, zbijenih kamenih ulica, jedno od najstarijih otoËkih mjesta i takoer vaæno glagoljaπko srediπte. UoËi katoliËkog blagdana Velike Gospe, puËki Stomorine, prema starome obiËaju, na glavnome trgu mladi plesaËi, tencuri, pleπu, kantaju i podiæu bandiru, s krunom na vrhu i facoletima koji leprπaju na vjetru. Bandira predstavlja uznesenje Gospino, a facoleti anele koji je na tom putu prate i πtite. Krenete li dalje na istoËnu obalu otoka, stiÊi Êete do joπ jednoga glagoljaπkog mjesta, skladnoga gradiÊa na visokoj klisuri koja izranja iz mora. Ovdje se stanovniπtvo oduvijek viπe bavilo poljodjelstvom, a najpoznatiji je plod teæaËkoga truda zlatna ælahtina, jedinstveno vino koje se uzgaja na ograniËenom podruËju od stotinjak hektara, πto nije sprijeËilo da vino postane nadaleko poznato. Nekad se ova loza uzgajala samo za vlastite potrebe, uz rubove polja zasijanih æitaricama, radi prehrane mnogoËlanih obitelji, prisjeÊaju se stariji mjeπtani. Vrbnik, joπ i danas netaknut masovnim turizmom, poznat je po osobito uskim uliËicama, pa nije neobiËno πto se upravo ovdje nalazi KlanËiÊ, najuæa ulica na svijetu, preporuËljiva samo doista, ali doista vitkim osobama. Kao na Ëitavom otoku, i oko Vrbnika nalaze se Ëarobne plaæe, od kojih su neke, u skrovitim uvalama, dostupne samo morskim putem. Ronite li, juæno od Vrbnika nalazi se pliÊ Tenki, popularna ronilaËka pozicija, gdje se u druπtvu hlapova, jastoga, πrpina, ugora i hobotnica, na dubini od petnaestak metara, nalazi bajkovito polje crvenih gorgonija (Paramuricea clavata). Nastavite li sjevernije prema ©ilu, pronaÊi Êete uvalu Soline, poznatu po predrimskim solanama, kao i lokalitet Meline, s ljekovitim blatom koje lijeËi kostobolju. Nedaleko od

©ila nalazi se joπ jedna ronilaËka atrakcija, potopljeni grËki brod Peltastis, potopljen πezdesetih godina proπlog stoljeÊa. Brod natovaren drvom bio je prvotno usidren u Jurjevu kod Crikvenice, ali zbog nevremena i snjeæne meÊave sedmoga je sijeËnja krenuo prema sigurnijem vezu u Rijeci. Jaka bura i snaæni valovi odvukli su ga, unatoË snaænim motorima, preko kanala i razbili na stijene pred ©ilom. Brodski sat zaustavljen je na 3 sata i 50 minuta, a s njim je stradao njegov kapetan i sedam mornara. Danas, obrastao algama, poËiva u mulju na 32 metra dubine, s vrhom jarbola na dubini od 10 metara, vidljivim s povrπine za mirnoga mora. Na ovoj, istoËnoj strani otoka, na breæuljku od dvjestotinjak metara, leæi lijepi gradiÊ Dobrinj, joπ jedno pradavno gnijezdo glagoljaπa i stari frankopanski kaπtel unutar Ëijih se zidina razvilo naselje. U blizini Dobrinja nalazi se Biserujka, jedina od svih otoËkih πpilja ureena za posjetioce, koje oËarava veliËinom i ljepotom podzemnih odaja. Ime je dobila prema gusarskom blagu koje je u njoj, kaæe legenda, bilo skriveno. Na otoku postoje i dva jezera i tri rjeËice, te nekoliko manjih potoka u omiπljanskom polju ureenome joπ u rimska vremena. Otok Krk ubraja se u najsunËanije dijelove Europe s 2500 sunËanih sati na godinu. Ugodna klima (otokom prolazi 45. paralela), topla, ne prevruÊa ljeta i blage zime, te obilje vode odraæavaju se na bujnosti submediteranske vegetacije − izmeu ostaloga, ovdje rastu smreka, bijeli i crni grab, crnika, hrast medunac. Otporno smilje i ljekovita kadulja otoku daju nezaboravnu mirisnu komponentu, a, dakako, uspijevaju i masline i loza te joπ 1400 biljnih vrsta. Jedna od njih, Borbaπeva lazarkinja (Asperula Borbasiana), na Ëitavom svijetu raste jedino u Baπki, a rezultanta klime i tla u okolici Baπke joπ je nekoliko biljnih endema i relikata. NeobiËno raznolik reljef, litice koje se strmoglavljuju u more nasuprot plodnim poljima i dolinama, usponi s najviπim vrhom Obzovi na 570 metara, guste πume i suhi, goli krπ, prirodno su bogatstvo Krka. Treba reÊi da su mnoge njegove znamenitosti povezane brojnim morskim πetnicama, pjeπaËkim, planinarskim i biciklistiËkim stazama. Samo je ovih posljednjih na otoku 300 kilometara. Po raznolikosti ne zaostaje ni krËka fauna - treba svakako istaknuti bjeloglavog supa, sokole i Êukove, Ëaplje, rode, labudove, divlje patke i lastavice, prepelice, sove i gnjurce. KrËke πume i polja prepuni su malih sisavaca, vjeverica i puhova, zeËeva, jeæeva i vidri, preko mnogobrojnih vrsta πiπmiπa, sve do mrkih medvjeda, lisica, vidri, srna, divljih svinja. A u moru, pak, moæe

se vidjeti mnogo dobrih dupina, koje moæete i posvojiti pri nekoj od ekoloπkih udruga, a zabiljeæeni su i susreti s rijetkom sredozemnom medvjedicom. Od viπe vrsta gmazova treba spomenuti zidne macakline, kraπke guπterice te dvanaest vrsta zmija. StvaralaËki dodir ljudske ruke osjeÊa se na svakom koraku. U otoËkim su krajolicima osobito vrijedne gromaËe - kameni suhozidi koji πtite krËke vrtove i podzidi terasastih polja te mrgari, suhozidne kamene graevine koje tlocrtno podsjeÊaju na cvjetove, a sluæe skupljanju i razvrstavanju ovaca razliËitih vlasnika, koje inaËe slobodno pasu izmijeπane meusobno. NajveÊi mrgari mogu primiti i po 1500 ovaca, koje pastiri zajedniËki, nekoliko puta na godinu, pregledavaju, odvajajuÊi vlastita stada u mrgariÊe, koji poput cvjetnih latica okruæuju velike. Ovi zanimljivi primjeri puËkoga graditeljstva, ukupno njih petnaestak, joπ su i danas u upotrebi, a nalaze se iskljuËivo na najjuænijem dijelu Krka te na nenastanjenom otoku PrviÊu. SliËne su graevine u Europi poznate joπ samo u Walesu u Velikoj Britaniji i na Islandu. Na otok Krk moæe se doÊi i morem i kopnom i zrakom. Najstarije su brodske i trajektne veze otoka, koje odræavaju dobru povezanost s kopnom, ali i susjednim kvarnerskim otocima. Kopnom, jer most je Krk pretvorio u poluotok i nepovratno na bolje promijenio æivot otoËana, pribliæivπi ih kopnu i oslobodivπi ih ovisnosti o plovidbenom redu. Sagraen 1980. godine, sastoji se od dva vitka i visoka betonska luka, koji se spajaju na otoËiÊu sv. Marko. U vrijeme kad je dovrπen, bio je ponos domaÊega graditeljstva. Njegov duæi luk sa svojih 390 metara bio je tada najduæi betonski luk na svijetu i tu je prednost, danas viπestruko premaπenu, zadræao punih 27 godina. Godine 1970. na visoravni otoka sagraena je zraËna luka Rijeka, ponajprije za potrebe grada Rijeke, trideset kilometara udaljenoga upravnoga, poslovnoga, industrijskoga i kulturnog srediπta. Ali otvorenje toga meunarodnog aerodroma, na koji mogu sletjeti najveÊi suvremeni avioni, znaËio je i veliku prekretnicu u turizmu Krka, ali i drugih kvarnerskih otoka, povezavπi ga najbræom moguÊom vezom s Ëitavim svijetom. Na kraju, zbog ovakve dobre prometne povezanosti doista nemate isprike da ne posjetite ovaj Ëudesan otok. Ali ona vam neÊe ni trebati, zar ne? ■

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n the early 20th century, it was given a charming local patriotic nickname: the Sixth Continent. Later, when children were taught in schools that there were six continents on Earth, this island in the Kvarner Bay was renamed the seventh continent. Of CROATIA AIRLINES

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course, it has nothing to do with its size or specific geological features but with the diversity of its natural beauties: its own archipelago containing some twenty islets, three rivers, two lakes, about fifty caves and one waterfall, which, though small, is unique in the Adriatic islands, an abundance of plant and animal species, and the universal significance of its cultural heritage. Back in antiquity, people called it Insula Aurea, the golden island. Did they have in mind golden olive oil, which is still day produced by the diligent hands of Krk’s inhabitants and, due to the large number of centenarians living on the island, is called an elixir of life? Or did they have in mind the golden honey produced by the bees on Krk’s endemic flower fields, or the golden sand at the bottom of its coves? Or did they mean the liquid gold of the autochthonous wine vrbniËka ælahtina, named after the Slavic adjective ælahten, noble, just as the gold which shares the colour of this clear, fruit-aroma wine? Or did they see the island bathed in the golden light of the setting sun, a scene has been returning every summer evening for centuries? This seventh continent, the largest of Croatia’s 1185 islands and islets, is marked by the number seven. Although it has been inhabited since prehistoric times, it was populated by Croats in the 7th century, who gradually became the majority nation on the island. There are seven dances, folk costumes and customs on Krk. Krk’s folk dance, πete paπi, as its name suggest, consists of seven steps. Today’s seven administrative units - Krk, Omiπalj, Malinska, Punat, Baπka, Vrbnik and Dobrinj - developed on the site of the island’s seven ancient fortresses. Seven variations of the »akavian dialect of Croatian can be heard on the island. Legend has it that Krk successfully fought off pirates seven times and that its last prince, Frankopan, was - needless to say - the seventh in line. The number seven has always symbolized the totality of space and time, as there are seven virtues, seven colours in the rainbow, and seven is the number of completeness and wholeness. Nothing more appropriate for Krk than this mysterious association with seven. The first inhabitants of the islands that we have record of were the Illyric tribes of Japods, later to be suppressed by Liburnians, skilled ship-builders and fine sailors, who established trading connections with Greeks on the Amber Road between the Baltic and the Mediterranean. The modern name of the island is derived from the Liburnian name Kurik or Karikt, which means stone island. The Greek-Latin derivative words were Curycta and Curicum, 78

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and therefore Kouretes, mentioned by Homer in the Iliad, are believed to be the inhabitants of Krk. Croats made things simpler, eliminating vowels, which resulted in the modern, hard to pronounce name, Krk. The Byzantine emperor Constantine Porphyrogenitus mentions the island in his scriptures as Vecla, hence the Venetian name Veglia, as Italians still call it, while locals often refer to it as Veja, which is derived from its Italian name. Kurikta, the stone island. Stone, the eternal backdrop for life in this beautiful place, a place of choice and peace, the final destination of the Croatian migrations which were halted only by the sea. Stone, which we desecrate to leave a permanent trace behind us as solace to our transience, to record our past and pass on our messages through time. Stone girdles this magnificent city, whose walls, dating back to the 1st century B.C., are mentioned in a Roman document that matterof-factly registers that they were extended to the length of 111 and height of 20 feet. Their remains, mostly near the Franciscan monastery and fortress, are today integrated into the Medieval walls, just as Romans had restructured the conquered city, taking into the account its previous life and arrangement, only adding their laws and customs, building roads, and erecting temples and thermae. The Romans also built two towns which no longer exist today: Fulfinum, in the Sepen cove near Omiπalj, and Corinthia, near today’s Baπka. Fulfinum is today a supreme archeological site, which is still not fully explored. In the 1st century, it was build for Roman veterans and equipped with all urban facilities − aqueduct, thermae, harbour, forum and basilica. Nearby, at the Mirine site, are the remains of an early Christian basilica dating from the 5th century, which are today under the protection of UNESCO. After the fall of Rome in the 5th century, Romanized Liburnians managed to remain on the islands for a long time. Semi-Romanian languages were spoken in the city of Krk until recently, and also in the city of Rab on the island of the same name, indicating their resistance to Slavonization, and some sources claim that the Liburnians’ pre-Slavic non-Romanic vocabulary has been preserved on Krk in the proto-dialects of the inhabitants of Krk’s hillside settlements. It is interesting that some biogenetic studies indicate that the Kvarner inhabitants’ genome is different than that of the rest of Croatia’s population. Military conquests did not always involve the total subjugation of population. Indeed, dialect, customs and liturgy in the native language were preserved here. Moreover, Krk

remained the centre of Glagolitic literacy even when its residents were obliged to communicate in Latin under Roman rule and in Italian under Venetian rule. People carried on with their way of life, preserving their language in the religious, public and private lives, continuing to worship in Old Church Slavonic and using Glagolitic script. An ancient tombstone in Krk bears the inscription: Splendidissima civitas Curictarum - the most splendid city of Krk inhabitants. In antiquity, the city of Krk was the island’s capital, set apart from others by the most solid Roman walls in the eastern part of the Adriatic. Just as they once protected from invaders, today they efficiently shield its narrow stone streets and an occasional jujube tree (Zizyphus jujuba) from the bora wind. This pretty tree bears healing fruit and is resistant to both drought and humidity, both heat and cold, but it cannot stand the strong winter winds and therefore cannot be found outside Krk’s walls. Protected by them, it emits a sweet smell which, they say, makes young people fall in love even more easily. Whether you reach the protected city harbour by boat or approach the city by road, Krk Cathedral dominates any view of the city. You can enter the city through four gates, of which only one small gate, dating from 1398, opens out to the shore. Above the gate are the plaques depicting St. Quirinus, the city’s patron saint. The old City Hall, built during the Venetian rule, dominates the 16th century city square. The City Hall boasts a unique clock with the hours of the day in the upper part and the hours of the night in the lower part. Krk Cathedral houses a silver altarpiece by Master Koler, donated by Ivan Frankopan in 1477, which was exhibited in Paris in the 1980s at an exhibition dedicated to the culture of the former common state. Next to the cathedral is the Early Romanesque Church of St. Quirinus. Its distinctive and unique feature is that it was built on two levels, with a ground floor and second floor. According to some, offenders from the nearby court attended the mass on the ground floor. Originally a three-nave church, today it has two naves, as one was converted into a passage. An Early Christian basilica was erected on the site of a Roman spa, which was discovered when mosaics depicting thermae, which were turned into a baptismal font, were found during the renovation of the church. The church changed its appearance over the centuries, as elements of Romanesque, Gothic, Renaissance and Baroque styles were added. The capital on the first pillar is still dominated by early Christian


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symbols - birds eating fish. It was first mentioned in documents in 1186. Religion has always played an important role in the life of the island, and the city of Krk has been the seat of Krk bishops for more than 1500 years. The wall of the canon house bears one of the oldest known Glagolitic texts, the Krk inscription, a stone fragment with a chiselled text dating from the 11th century that tells us about the construction of a today unknown building belonging to Glagolitic Benedictines, and mentioning three ancient Croatian names: Dobroslav, Radonja and Rugota. Another important city sight is the Frankopan fortress, which was also gradually expanded. Its outer walls are 9 metres high, with a round north tower and a square tower facing the sea on the eastern side, and with a rectangular courthouse on the western side and a sentry box on the third side. While the island residents were mostly fishermen, farmers or cattle-breeders, the city was home to various crafts. Thus it was recorded that the first barber’s shop was opened in 1402, followed by a public oven, a blacksmith’s shop and a goldsmith’s shop. The books also mention Krk’s first shoemaker and carpenter. Today, when it is easier and cheaper to buy finished products, the old master skills are mostly put to use in the making of souvenirs offered on many stands and in jewellery shops and pastry shops. Barkarioli, captains of small boats offering day trips to the island’s coves and their many secluded beaches and around the Krk archipelago, also make good business in the summer. Some fifty years ago, there were frequent excursions between the town of Crikvenica on the coast and the cape of ©ilo; this route was reduced by half by the first ferry line on the Croatian Adriatic, established in 1959, with the wooden ferryboat, Bodulka. ©ilo, Krk’s northernmost point, is named after the spiky cape which seems like it is trying to reach for Crikvenica. It is one of the island’s few settlements which cannot pride itself on a long tradition. The village started to develop in the second half of the 19th century but can boast the fact that, in 1905, it became the seat of the First Steamship Joint Stock Company, which maintained daily connections between the island and the mainland until the establishment of the ferry line half a century later. Today, excursion-makers most often visit the island of PrviÊ, a unique botanical and ornithological reserve, and Goli otok, once a Communist labour camp, whose deserted prison buildings bear silent witness to the eternal tragedy of political misconceptions. Excursions to the neighbouring island of Rab are also popular. 80

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The island began to develop tourism in the 19th century. The first coffee shop in the AustroHungarian Empire outside Vienna was built and registered in the city of Krk in 1824. In 1887, the city was visited by its first celebrity, the Austro-Hungarian emperor Francis Joseph II, who was on a hunting trip. In the early 20th century, the first hotels and inns for guests from the mainland started to emerge. Tourism developed successfully, slowly becoming the island’s most important line of business. One of the most interesting events offered by the city of Krk to its visitors is the LovreÊevo festival, which lasts for several days and has a tradition longer than half a millennium - its roots go back to 1524. On the day of St. Lawrence, the patron saint of traders, the city becomes a stage for folk ensembles from the entire island, as well as the city’s brass band, founded in 1852, with stalls offering souvenirs and local products, and the obligatory fireworks which mark the closing of the festivities. At that time, crowds pour onto the waterfront, the main street and the old town squares, filling the maze of narrow streets where you can lose your way if you are unfamiliar with their secret - that only the ones with stone tiles running down the middle will lead you to other streets and your destination. Those which don’t have them are probably blind alleys which will most often lead you to someone’s quiet and secluded courtyard. During the fair, you can get to know old crafts and buy their products, from useful objects to clothes inspired by the past, and taste delicious fish, local sheep cheese, kaπtradina - mutton ham, pressed and dried in the bora wind - followed by raw ham, olive oil, traditional island dishes including πurlice, local pasta made by wrapping the dough around knitting needles, and presnac, a sweet cake made with young sheep cheese. The fortress at Kamplin comes to life, as if Krk’s Frankopan princes have returned to make this folk festival even more splendid. During summer, various events and festivities are organized on the island, from classical music concerts and jazz festivals to schools teaching Glagolitic script and sopele. Punat also hosts summer events. Punat is located in one of the best protected coves in the Adriatic and is famous for its beautiful pebble beaches and also for one of the best equipped and largest Adriatic marinas. With a fertile valley in its background, it makes sense that the foundations of this small town’s economy date back to antiquity, with fishery, trade, traffic and shipbuilding, supported by olive-growing, wine-growing and sheepbreeding. Close to Punat is the woody islet of

Koπljun, locally called Mostir, with a Franciscan monastery where you can see a valuable numismatic collection and a large library with one of the world’s three preserved Ptolomeian atlases. There is also an ethnographic collection with picturesque folk costumes and interesting objects of everyday use. The exhibition includes dishes and pottery, weaving and wool-processing devices, farming tools, cheese-making utensils, and musical instruments - sopele, a woodwind Medieval instrument which almost disappeared in Europe around 1700 but whose sharp sound remains indispensable at any Krk festivity and also in Istria. The zoological exhibition houses a collection of seashells and unique, extraordinary animal specimens, sometimes bizarre, such as a one-eyed lamb. The oldest Croatian nativity crib is also kept on the island. First-rate examples of early Croatian architecture, built in Early Romanesque harmony in the style of the churches in Nin and Zadar, are the lovely St. Donatus Church, located next to the sea, at the crossroads between Punat, Krk, KorniÊ and Vrbnik, and the beautiful and lonely St. Grisogono’s Church, with only a footpath leading to it, located in the middle of the fields and pastures to the north-east of the city of Krk. Another small town on the island, Baπka, is distinct by the beauty of its old centre, with many remains of Roman settlements and sacral monuments. It has been named the cradle of Croatian culture because of the famous Baπka Tablet found among stone tablets on the floor in St. Lucy’s Church in Jurandvor. It dates from the 11th century and bears witness to early literacy in Croatia. The original is kept in Zagreb, while the church keeps a copy. This is not the only text from that era, or even the oldest, but it is the longest found so far and is written in the »akavian dialect in the old Croatian Glagolitic script. The tablet contains the testimony of Abbot Dræiha that the land for the construction of the church was donated by the Croatian king, Zvonimir, and Abbot Dodrovit added a text on the construction of the church. The island of Krk is the most important place when it comes to the Glagolitic heritage, which has been the subject of much research. A lively ethnographic tradition is related to this, with particular emphasis on folk music, with its hexatonic scale, the sounds of the sopele, songs and dances. However, Baπka is known not only for the cultural heritage exhibited in the local museum but also as a place of hedonistic surrender to nature, a crystal-clear sea and kilometres of pebble beaches. Most of the island’s 190 km coast line is indented


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with amazing coves with beautiful beaches. The wild beaches are probably the prettiest, but the official beaches have received recognition in the form of the Blue Flag, the international ecological award for the protection of sea and coast. Fourteen beaches have been adorned with the Blue Flag, and also the Punat marina, which has received this ward each year since 1998. The north-western side of the island, which is 85 metres high, is dominated by the small town of Omiπalj. It is one of the oldest settlements on the island, with narrow stone streets, and is also an important Glagolitic destination. On the eve of the Catholic holiday of the Assumption, which is locally called Stomorine according to an old custom, young dancers, tencuri, dance on the main square, sing and raise a flag, the bandira, with a crown on the top and facoleti flying in the wind. The bandira represents the assumption of Virgin Mary, while the facoleti represent the angels who follow her and protect her on her way. If you go further to the eastern side of the island, you will reach another Glagolitic centre, Vrbnik, a town on a steep cliff emerging from the sea. The locals have been mostly farmers since days of old, and the best known result of their labour is the golden Ælahtina, a unique wine produced in a limited area of some 100 hectares, which has become famous far and wide. This grapevine was once grown only for personal needs, along the edges of the fields of crops for feeding large families, as the older residents remember. Vrbnik, still untouched by mass tourism, is known for its very narrow streets, and it is no surprise that the narrowest street in the world, KlanËiÊ, is located here, recommended only for very, very slim people. Like the rest of the island, Vrbnik has magnificent beaches, some of which are nested in hidden coves that can only be reached by boat. If you like diving, south of Vrbnik are the Tenki shallows, a popular diver destination, where, in the company of lobsters, sculpins, European congers and octopuses, you can find a fabulous field of Paramuricea clavata at the depth of some 15 metres. If you continue to the north, towards ©ilo, you will find the cove of Soline, famous for pre-Roman salt pans, as well as the Meline site, with medicinal mud which heals gout. Near ©ilo is another diving attraction, the sunken Greek ship Peltastis, from the 1960s. The ship, carrying wood, was first anchored in Jurjevo near Crikvenica, but due to storm and blizzard, on 7 January, it sailed towards a safer dock in Rijeka. A strong bora wind and waves pulled it, despite its powerful engines, across the channel, and crashed it against 82

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the rocks near ©ilo. The ship’s clock stopped at 3:50, and its captain and seven sailors lost their lives. Today, covered in algae, it rests in mud, at a depth of 32 metres, with the peak of its mast at a depth of 10 metres visible from the surface when the sea is calm. On this eastern side of the island, on a 200 metre hill, lies the pretty town of Dobrinj, another ancient Glagolitic nest and an old Frankopan fortress, within whose walls a settlement developed. Near Dobrinj is Biserujka, the only one of the island’s caves which is adapted for visitors, capturing their attention with its size and the beauty of its underground rooms. It was named after a pirate treasure which, according to legend, was hidden within it. The island has two lakes and three rivers, and several brooks in the Omiπalj field, which was cultivated back in Roman times. The island of Krk is among Europe’s sunniest places, with 2,500 hours of sun per year. The pleasant climate (the 45th parallel runs through the island), with warm but not too hot summers and mild winters, as well as an abundance of water, gives rise to lush submediterranean vegetation, including, juniper, hornbeam, eastern hornbeam, holly oak and downy oak. Resistant immortelle and medicinal sage give the island its unforgettable fragrance, and of course, olives and grapevines thrive, as do another 1,400 plant species. One of them, Asperula Borbasiana, grows only in Baπka, and the climate and soil of Baπka’s surroundings produce several other endemic plants and relicts. Krk’s natural beauty derives from an exceptionally diverse relief, cliffs that dive into the sea next to fertile fields and valleys, slopes with the highest peak Obzovi at 570 metres, thick woods and dry, bare karst. Access to these sights is provided by numerous seashore promenades, footpaths, hiking trails and cycle paths - indeed, there are 300 kilometres of cycle paths. Krk’s fauna is also known for its diversity - it is home to griffon vultures, falcons, barn owls, herons, storks, swans, wild ducks, swallows, quails, owls and grebes, among others. Krk’s woods are full of small animals, such as squirrels, dormice, hares, hedgehogs, various bat species, brown bears, foxes, otters, does and wild boars. In the sea, you can encounter friendly dolphins, which you can adopt with the help of several environmental associations. There are also sightings of the rare Mediterranean monk seal. Among the many reptile species, there are wall geckos, Karst lizards and twelve species of snake. The creative touch of the human hand is felt everywhere. The island landscapes

are marked by gromaËe - drystone walls protecting Krk’s gardens and underpinning terrace-like fields - and mrgari - drystone wall constructions, whose floor plans resemble flowers, that are used to gather and sort sheep that pasture together but belong to different owners. The largest mrgari can take as many as 1,500 sheep, which are jointly examined by shepherds, several times a year, who separate their flocks into small mrgariÊi, which surround the large ones like flower petals. These interesting examples of folk architecture, about fifteen of them, are still in use and are located on the southernmost part of Krk and on the islet of PrviÊ. Similar structures in Europe can be found only in Wales, the UK and Iceland. You can reach the island of Krk by sea, land or air. The oldest way is by sea; the ship and ferry lines maintain a good connection to the land and also to the neighbouring Kvarner islands. But you can come also by land, by a bridge that has made Krk a peninsula and forever improved the islanders’ lives, bringing them closer to the mainland and freeing them from relying on the ferry schedule. Built in 1980, the bridge consists of two tall, slender concrete arches which meet on the islet of St. Marko. At the time of its completion, it was the pride of local architecture. The longer arch, with a span of 390m, was then the longest concrete arch in the world and retained this title for 27 years. In 1970, Rijeka Airport was built on the island’s plateau, primarily for the needs of the city of Rijeka, which is an administrative, business, industrial and cultural centre some 30 km away. The opening of this international airport, where the largest modern aircraft can land, was a turning point in tourism on Krk and also on other Kvarner islands, linking them to the world by the fastest possible means of transport. Finally, with such good transport connections, there is no excuse for not visiting this amazing island. But you don’t need one anyway, do you? ■


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■ NAŠA ODREDIŠTA OUR DESTINATIONS

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Zbog kombinacije kulturnih spomenika, nevjerojatno prisutne povijesti i zanimljivih uliËnih prizora punih glasne prepirke, πarenih prodavaonica i sjajne hrane, posjet Ateni dobar je odabir za okrepu duha i tijela. Cultural monuments, an incredibly vivid past and fascinating street scenes in a city bursting with life, colourful shops and delicious food, all blend together and make Athens an excellent choice for the pursuit of spiritual and physical pleasures.

Piše/By Anika Reπetar Fotografije/Photos Saπa PjaniÊ

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tenu je najbolje posjetiti u proljeÊe kad sve tek buja ili u jesen kad sve obiluje zamamnim plodovima. Ljeto je u Ateni jednostavno prevruÊe, a tada je i najviπe turista. Zima je blaga, prosjeËna je temperatura 10 Celzijevih stupnjeva. Doæivljaj Atene zimi moæda je Ëak i najintenzivniji zbog ogoljenije prirode i jaËih kontrasta, pa se doæivljeno nekako osobito urezuje u sjeÊanje. Prvi dojam pri ulasku u Atenu slika je betonske arhitekture 20. st. koja dominira gradom. Tek povremeno naiÊi Êete na nekoliko neoklasicistiËkih zgrada iz 19. st., skladnih i pomalo pompoznih (npr. SveuËiliπte, Akademija, Nacionalna knjiænica, kao i bivπa kraljevska palaËa, a danaπnji Parlament), a zatim Êete izroniti na otok antiËke GrËke - Akropolu, negdaπnje srediπte religioznog æivota antiËkih Grka. Kontrast je zaista golem. Bjelina, prozraËnost, veliËanstvenost, prava mjera, simetrija, sklad, rijeËi su koje se prve nameÊu. Iako je Akropola naselje joπ iz vremena neolitika, dakle 3000 godina prije Krista, verzija koju Êete najËeπÊe Ëuti o osnutku grada temelji se na borbi izmeu boga mora Posejdona i boæice mudrosti Atene. Posejdon je dodirnuo trozupcem stijenu iz koje je potekla voda, a Atena je koplje bacila na tlo iz kojega je izrasla maslina. Olimpski bogovi proglasiπe

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Atenu pobjednicom, a maslina tako postade simbolom mira i prosperiteta. Pa kad se veÊ kreÊemo po tlu ljudi koji su odredili æivot ne samo tadaπnje GrËke, nego i cijele civilizacije zapadnog kruga, red je da se malo podsjetimo na njih i prisjetimo darova koje su nam ostavili. Za poËetak moæda treba podsjetiti na sliku svijeta tadaπnjih atenskih stanovnika. Njihovim svijetom dominirali su bogovi koji baπ i nisu bili uzori svojim ponaπanjem: lagali su, varali i nemilosrdno se poigravali ljudskim sudbinama. Pritom su poprimali razliËita obliËja i stalno se mijeπali u æivot smrtnika. Glavni im je biograf upravo Homer iz 8. st. prije Krista. Tadaπnji Grci tim su Êudljivim i prevrtljivim bogovima stoga sagradili mnoge raskoπne hramove, u kojima bi se molili i donosili æivotinje kao ærtvu. SveÊenici bi æivotinje ritualno klali tako da im krv poprska oltar, odabrane bi dijelove spalili kao hranu za bogove, a iz iznutrica iπËitavala bi se buduÊnost molitelja. Bogovi (Zeus, Hera, Afrodita, Apolon, Artemida i mnogi drugi) i heroji (Ahilej, Orest, Odisej, Jason...) te obiËni smrtnici tvorili su kozmos mitova i priËa u kojima je sadræan cjelokupni spektar ljudskih æivota. Ljubomora, preljub, pohlepa, odanost, ljubav, beskrajna ambicija opisani su u Homerovim epovima,


ali i u klasiËnim tragedijama i komedijama (Eshil, Sofoklo, Euripid, Aristofan). Za leæernu pripremu posjeta Ateni valja proËitati krimiÊ J.C. Somoze The Athenian Murders. Popriπte je ubojstva Platonova Akademija, a istraæitelj Heraklo. Kanite li posjetiti Akropolu, najbolje je krenuti vrlo rano i tako neometano oÊutjeti povijest i æivot nekadaπnjih stanovnika. Akropolom dominira Partenon, za koji je francuski pjesnik Lamartine napisao da je savrπena pjesma u kamenu. Imao je pravo kad znamo da je to najkopiranija zgrada na svijetu. Iako se Ëini da je Partenon savrπen u svojoj jednostavnosti, rijeË je o tehniËki najsavrπenijemu dorskom hramu ikad sagraenome. Dao ga je sagraditi Periklo, vladar koji je omoguÊio vrhunac atenske demokracije. Dræavnim poslovima upravljao je tako πto je razvio demokraciju, poboljπao infrastrukturu, dao graditi mnoge zgrade, a ozraËje je privuklo i omoguÊilo rad mnogih filozofa, kao πto su npr. Platon, Sokrat, Aristotel, te umjetnika i znanstvenika. ©etnja od Partenona do Propileja, Erehtejona, hrama Atene Nike i Dionizova kazaliπta Ëovjeka puni osjeÊajem strahopoπtovanja prema tim velikanima duha, kojima na umu nije bio samo osobni probitak, nego ureivanje druπtva i dræave opÊeg dobra. Malo dalje od Propileja nalazi se Areopag, posveÊen bogu rata Aresu, nekoÊ najviπi atenski sud. Tu je Atena sklonila Oresta od bijesnih Furija, inzistirajuÊi da i on ima pravo na pravedno suenje. No na ovo mjesto hodoËaste mnogi krπÊani, jer upravo je ovdje sv. Pavao odræao svoj govor Atenjanima (Djela apostolska, 17:22-34, Pavlova besjeda pred Areopagom). Povijest hrani, ali i umara. Da bi se dojmovi dobro slegli, proπeÊite do glavnoga gradskoga

trga Syntagme, na kojemu se nalazi poznat i nedavno krajnje luksuzno obnovljen hotel Grande Bretagne. Veliki su hoteli poput moÊnih dinastija - puni su Ëara i zanimljivih priËica i zraËe snagom koja privlaËi i koja omamljuje. Tu su odsjedale, primjerice, i Jacqueline Onassis i Maria Callas. Pogled na Akropolu s terase Ëudno smiruje i upravo tu popijte neko piÊe. Doæivljaj neÊe biti jeftin, ali, vjerujte, isplati se stupiti u hram savrπene usluge. Antikni namjeπtaj, rukom rezbarena drvenina, bavarski mesing, skupi Êilimi, meke dekorativne tkanine i decentni konobari savrπeno su okruæje za stanku nakon razgleda. Ljubav za svaki detalj rezultira Ëarolijom raskoπi kao iz doba fin de sièclea. Pogled je spektakularan, a moæete uæivati i u promatranju zbivanja na glavnome atenskom trgu. Nakon stanke i osvjeæenja moæda je najbolje laganom πetnjom obilaziti negdaπnju Agoru, koja je danas uglavnom zona za kupnju. Srediπte Atene zapravo je relativno maleno, pa sve moæete obiÊi pjeπice. Na Trgu Syntagma uglavnom su knjiæare, muzikalije i odjeÊa. U ulici Ermou, u dijelu bliæem Trgu Syntagma, ima malih i dobrih πtandova gdje sluæe suvlaki (grËku inaËicu πiπÊevapa) ako ste ogladnjeli, a okruæeni su starinskim antikvarnicama. U nastavku Ermoua trgovine su s meunarodnim modnim markama za mlade. U obliænjem Monastirakiju moæete kupiti zanimljive suvenire i vrijedne antikvitete. Upravo se tu nalazi poznati buvljak, na trgu sagraenome u 6.st. pr. Kr. Tu je bilo srediπte javnog æivota, politike i trgovine, ali i umjetnosti i religijskih obreda. TipiËni stanovnici tadaπnje Atene upravo su na tom trgu provodili dane sluπajuÊi Sokrata, Demostena, kupovali ulje i zaËine i prisustvovali radu upravnih tijela, Ëiji je rad bio javan. CROATIA AIRLINES

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U blizini je Muzej demokracije, u zgradi koju je podigao Atal kao zahvalu za obrazovanje koje je dobio. Ta je zgrada bila u antiËko doba πoping centar graana Atene. Za one koji bit zemlje otkrivaju gotovo religioznim obilaskom trænica, obavezan je odlazak na srediπnju trænicu u ulici Athinas. OËarat Êe vas rajsko povrÊe, bajno voÊe, mirisno meso i svjeæe ribe najrazliËitijih oblika i veliËina. Zamamni su i πtandovi s razliËitim vrstama sira, ulja i zaËina. Okomito na ulicu Athinas ulica je s velikim izborom zaËina - Evripidou. I tu se nalazi sve πto vam osjetila poæeljeti mogu, πarenilo mirisa i oblika, od cijenom vrlo povoljnog πafrana, sve do svih mediteranskih zaËina i origana koji se ovdje prodaje u vezicama. Plaka je moæda najpoznatiji dio za vrludanje meu tezgama sa suvenirima i odabir restorana za ruËak. Obavezno se cjenkajte, to je dio obiËaja i uvaæavanje trgovaËkih naËela poslovanja. Plaka je puna taverni i mezedopolija. Taverne su gostionice s tradicionalnom grËkom hranom posluæenom u normalnoj veliËini obroka. Mezedopolija su gostionice koje posluæuju sljedove meze, manjih jela πto ih odabirete s velikih pladnjeva koje vam pokazuje konobar. VeËernje obroke treba svakako rezervirati. Valja to uËiniti u lokalu u kojemu

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se pjeva rembetika. Rembetika je tradicionalni puËki napjev nastao tijekom dvadesetih godina 20.st. U poËetku je bila glas sirotinje i obespravljenih, ritam se lupkao nogama i æliËicama po Ëaπama, a rijeËi su Ëesto bile improvizirane. Tugaljive, ali i vrckave priËice o ljudskim patnjama, simbol su duha koji i u najteæim trenucima ne posustaje u slavljenju ljubavi i prijateljstva. Nije loπe prije puta ukljuËiti YouTube s glazbom Pireus Quarteta ili Yiannisa Tsitsanisa. Glazba najlakπe doËara duπu zemlje, a rembetiku obvezatno pjevaju svi naraπtaji na tradicionalnim velikim obiteljskim slavljima, koja su u GrËkoj joπ i danas dio svakodnevice. Svakako posjetite i muzej Benaki. Osnovao ga je bogati trgovac Antonio Benakis 1930. godine u spomen na svog oca. Muzej se nalazi u prekrasnoj restauriranoj palaËi iz 19. st. obitelji Benaki i u njemu se mogu razgledati razliËite zbirke grËke umjetnosti od antike pa sve do 20.stoljeÊa. Ako imate vremena, poite svakako u Pirej, nekoÊ otok, koji je u Periklovo doba povezan s kopnom. Tu se osjeti more i Êute daljine kao u svakoj velikoj luci. ProπeÊite i pojedite jednostavan i svjeæ obrok u nekoj obliænoj taverni, a ako se odvaæite, u blizini su i prekrasni otoci na kojima moæete naÊi odmor duπi. n


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he best time to visit Athens is in the spring when everything flourishes, or in the autumn when everything ripens. In the summer, Athens is simply too hot and overcrowded with tourists. Winters are mild, with an average temperature of 10° C. One gets the most intense impression of Athens in the winter, when the vegetation is bare and the contrasts are so dramatic that every experience is carved more deeply into the memory. The first glance impression of Athens’ townscape is dominated by the blocks of concrete used in the 20th century architecture. There are sporadic examples of 19th century classicisticstyle buildings, harmonious and somewhat pompous in appearance (for example, the University, the Academy, the National Library and the former Royal Palace, which nowadays serves as the Parliament building). After that, your eyes fall upon the island of ancient Greece − the Acropolis. The contrast is quite remarkable. Whiteness, transparency, magnificence, perfectly scaled, symmetry, harmony are the words that come to mind when you first encounter the onetime centre of ancient Greeks’ religious life. Although the Acropolis was first settled already in the Neolithic era, i.e. 3000 years B.C., the most commonly

heard version regarding the founding of the city involves a contest between Poseidon, the god of the seas, and Athena, the goddess of wisdom, who were put on their mettle by the Olympian gods. Poseidon powerfully struck the earth with his trident and created a well from which streaming water shot forth. Athena struck her spear in the ground and then planted an olive branch in it. The Olympic gods chose Athena to lay claim to the city, and the olive tree became the symbol of peace and prosperity. As we tread in the footsteps of those who laid down the foundations of life that was known not only in Greece at the time, but also in the entire Western civilization, it is only appropriate that we remember the gifts that they have handed down to us. Perhaps a good starting point would be to describe the universe that existed in the minds of the ancient citizens of Athens. Their world was ruled by gods who were not the most impressive role models. They lied and cheated and showed no mercy when it came to playing games with human destinies! They assumed different shapes and forms and made it their business to constantly meddle in the lives of mortal sinners. (Their main biographer was Homer, who lived in the 8th century B.C.). Ancient Greeks made many CROATIA AIRLINES

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attempts at humouring their whimsical and capricious gods. They built sumptuous temples where they prayed to their gods and where they brought sacrificial animals to be ritually slaughtered by the priests. The slaughtered animal’s blood would be dripped on the altar; selected portions of the carcass would be burned and offered as food to the gods; and the innards would be used as fortune telling to read the applicant’s destiny. The gods (Zeus, Hera, Aphrodite, Apollo, Artemides, and many others), the heroes (Achilles, Orestes, Odyssey, Jason...) and the mere mortals coexisted in the realm of myths and tales in which you could find the entire spectrum of human behaviour. Jealousy, adultery, greed, loyalty, and unbridled ambition were all described by Homer in his epic poems, as well as by other writers in their tragedies and comedies (Eschil, Sophocles, Euripides, and Aristophanes). Somoza’s mystery The Athenian Murders is a wonderful piece of easy reading that can help prepare you for a visit to Athens. The scene of the crime is Plato’s Academy and the main investigator is no other than Heracles! When visiting the Acropolis it is best to set out very early. A quiet, almost private experience of the place will help you understand the sense of history and the way life used to

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be here. The Acropolis is dominated by the Parthenon, described by the French poet Lamartine as the earth’s most perfect poem in stone. He could not have been more spot on: this is actually the most copied building in the world. Quite strikingly perfect in its simplicity, the Parthenon is indeed the most technically perfect Doric temple ever designed. The ruler who had it built was Pericles, during whose reign Athens-style democracy reached its peak and the infrastructure improved immensely as he commissioned the construction of a number of buildings. The city’s vibrant atmosphere attracted and enabled the work of many philosophers such as Plato, Socrates, and Aristotle, as well as numerous artists and scientists. A walk from the Parthenon to Propileus, Erechteion, the temple of Athena Nike and the theatre of Dionysius fills one with awe about the greatness of the human mind. Working self-effacingly, the greatest of the Athens’ greats promoted societal goals and sacrificed their labours for the wellbeing of people and the advancement of a welfare state. Walking past Propileus, one reaches the Areopagus, the onetime highest court in Athens, which was dedicated to Ares, the god of war. This was where Athena sheltered Orestes from the raging Furies, insisting that

he, too, was entitled to a fair trial. Christian pilgrims come here to honour the place where St. Paul delivered his address to the citizens of Athens (Acts of the Apostles, 17:22-34, St. Paul’s address at Areopagus). As gratifying as history may be to a curious mind, it certainly wears you down at the same time. To allow the impressions to settle properly, take a stroll to Athens’ main square, Syntagma, the address of the famous and recently renovated luxurious hotel, Grande Bretagne. Big hotels are like powerful dynasties: full of charm and intriguing stories, they exude power which attracts and stuns. The list of its famous patrons includes Jacqueline Onassis and Maria Callas. A view of the Acropolis from the hotel’s terrace is amazingly peaceful. Although a relaxed drink at the hotel may not be the cheapest one you have ever treated yourself to, its pays off to enter the temple of impeccable service. Antique furnishings, hand-carved furniture, Bavarian brass, sumptuous rugs, soft upholstery and the discrete staff create the perfect environment for a break from your busy sightseeing schedule. Loving attention to detail has resulted in the lavishly magical interior that is reminiscent of the finest houses from the fin-de-siècle period. The spectacular view of the Acropolis is in


stark contrast with yet another, very different view: that of the hustle and bustle of daily life in the main square of Athens. The hotel’s terrace is the most perfect spot for gazing at history and people watching. After the break you will emerge pleasantly refreshed and ready to do some more exploring. A good way to continue your sightseeing is a leisurely stroll along the former Agora, currently the city’s main shopping area. The centre of Athens is actually relatively small and everything is within easy walking distance. Syntagma Square abounds in bookstores, music shops and clothing stores. Ermou Street, close to Syntagma Square, is where you will find small and quite remarkably good food stalls which serve souvlaki (the Greek variation of sis kebab) amidst a colourful assortment of antique and bric-a-brac shops. The other end of Ermou Street is an empire of international brands for young fashionistas. Nearby Monastiraki has a selection of interesting souvenirs as well as valuable antiques. The famous flea market also takes place in this ancient square. Its foundations were laid in the 6th century B.C., and it was the main hub of public life, politics and trade, as well as art and religious services. Typically, the citizens of ancient Athens spent their days

here, listening to the words of Socrates and Demosthenes, buying oil and spices, and attending sessions of administrative bodies whose work was public. Nearby is the Museum of Democracy, housed in a building erected by Atal in gratitude for the education he had received. In ancient times this building was Athens’ shopping centre. For those who explore the different facets of our world by religiously visiting food markets, the central market in Athinas Street is simply a must. Heavenly vegetables, divine fruit, fresh meat and fish that come in all shapes, forms and sizes, will simply delight you. Special attractions include the cheese, oil and spice stalls. Perpendicular to Athinas Street is another street which offers an impressive selection of spices - Evripidou. You will be spoiled by the choice of colours, fragrances and shapes; saffron at reasonable prices, different Mediterranean spices and herbs, including oregano, which is sold in bunches here. Plaka is arguably the best known part of Athens when it comes to browsing for souvenirs and looking for dining opportunities. Haggling is a must; it is as much a custom as a way to show respect for the local principles of doing business. Plaka offers an almost inexhaustible selection of taverns and mezedopolias. The CROATIA AIRLINES

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tavern is a traditional Greek restaurant with an equally traditional selection of full-size meals. The mezedopolia is the Greek equivalent of a tapas bar, where small snacks are selected from big trays presented by the waiters. A reservation is mandatory for an evening meal. Choose a restaurant with live music, preferably a place where you will be able to hear rembetika. Rembetika is a traditional way of singing which was first heard in the 20’s of last century. At first, it was the voice of the poor and deprived. The rembetika rhythm was supplied either by the tapping of a foot or a spoon

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clinked against a glass, and words were often improvised on the spot. Melancholic, but also humorous stories about human suffering convey the spirit which celebrates love and friendship even during the hardest times. YouTube is an excellent resource where you can find pre-travel music to listen to, such as the Pireus Quartet or Yiannis Tsitsanis. There is simply nothing better than music to conjure up the spirit of a country. Rembetika is still sung by all generations during traditional family celebrations which are still a very large part of everyday life in Greece. The Benaki museum is certainly worth a visit. It was founded by the rich merchant Antonio Benakis in 1930 in memory of his late father. The museum is housed in an exquisitely restored 19th century palace which used to be the Benaki family home. Its holdings boast various collections of Greek art, spanning the period from antiquity to the 20th century. If time allows, do not miss Piraeus, which was an island at one time that was connected with the mainland in Pericles’s era. Just like any big harbour, Piraeus is a place where you can hear the call of the seas and distant shores. Take a leisurely stroll and treat yourself to a simple meal of freshly prepared food in one of the taverns. For those of you that are more adventurous, there are beautiful islands just a short sail away where you can find peace in your soul. n


Atenu izravnim letovima povezujemo sa Zagrebom, a preko Zagreba s Dubrovnikom, Splitom, Pulom i Zadrom utorkom, Ëetvrtkom i nedjeljom. Karte po promidæbenoj cijeni moæete kupiti od 15. oæujka do 15. svibnja, a putovati od 1. lipnja 2010. g. Cijena ukljuËuje pristojbe zraËnih luka i naknadu za izdavanje karata (TSC) na naπoj web stranici. Ponuda se odnosi na sve navedene linije izmeu Hrvatske i Atene. Za letove na novim linijama ostvarujete i dvostruke Miles & More nagradne milje.

Kontakt centar: 01/6676 555 www.croatiaairlines.com

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JugoistoËna regija Sjedinjenih AmeriËkih Dræava podruËje je izvanrednih prirodnih ljepota, koje doslovno procvjetaju u proljeÊe. Gastronomija je ondje jedinstvena, povijest zadivljujuÊa, a stanovnici tako prijateljski da je poznata fraza juænjaËka gostoljubivost skovana kako bi opisala toplinu kojom se na isti naËin doËekuju i prijatelji i stranci kada dou u posjet. The southeastern region of the United States of America is an area of immense natural and physical beauty that literally blossoms in the spring. Its food is unique, its history is compelling and its inhabitants are so friendly that the phrase Southern hospitality was coined to describe the warm way friends and strangers alike are welcomed and treated while visiting. CROATIA AIRLINES

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jugoistoËnoj regiji Sjedinjenih AmeriËkih Država klima je blaga, plaæe πiroke i pjeπËane, mnogo je jezera i rijeka, a tu su i neki od najljepπih golfskih terena na svijetu. Ipak, kad turisti dou u Ameriku, najËeπÊe previde Jug i hitaju u poznatija odrediπta kao πto su New York, Chicago, San Francisco i Washington, DC. Da samo znaju πto propuπtaju! Moæda te putnike privlaËe sjajna svjetla i brzi ritam velikih gradova, obiljeæja zacijelo rijetko viena na Jugu. Osim gradova na periferiji regije, kao πto su New Orleans, Washington i Miami, jedini je veliki grad na Jugu Atlanta u Georgiji. Jug je najveÊim dijelom seoski krajolik s idiliËnim gradovima i toËkasto razbacanim seoskim posjedima. Dok cijela regija brzo napreduje i odbacuje svoje povijesno-poljoprivredno obiljeæje, joπ i danas iskonsko je pravo Juænjaka da Ëuvaju svoju sklonost zemlji i bogatstvima koje im pruæa, kao i ciklusima prirode. To objaπnjava sporiji ritam æivota, æelju da se ljepota, bogatstvo prirode i ljubav prema proljeÊu podijeli s drugima. ProljeÊe je na Jugu, kao i bilo gdje drugdje, vrijeme ponovnog roenja. Ali proljeÊe na Jugu osobito je zbog bogatstva aromatiËnoga i cvatuÊeg bilja s eksplozijom mirisa i prizora. DrveÊe divljih drenjina u Juænoj Carolini, breskve u cvatu u Georgiji, magnolije u Mississippiju i Alabami te azaleje po cijelom Jugu samo su neki od blagdana za oËi i nos posjetitelja. Kad se ti prirodni darovi udruæe sa πarmom i arhitekturom nekoga od povijesnih juænjaËkih gradova kao πto su Charleston u Juænoj Carolini ili Savannah u Georgiji, stranac moæe uæivati u kulturnome i osjetilnom iskustvu kao nigdje drugdje u Sjedinjenim AmeriËkim Dræavama. Iako se i Savannah i Charleston hvastaju suvremenim zraËnim lukama i brojem letova, ako prvi put posjeÊujete regiju u proljeÊe, valja razmotriti moguÊnost leta do Atlante, a onda voziti u bilo koji spomenuti grad ili mjesto. Tako Êete spoznati okus najveÊega grada na Jugu, koji Êe bez sumnje biti po breskvi, jer Atlanta slavi najpoznatiji poljoprivredni proizvod dræave Georgije s viπe od 70 naziva ulica, ukljuËujuÊi i naziv Drvo breskve. Atlanta je i rodno mjesto Martina Luthera Kinga Jr., a bio je i vaæno srediπte ameriËkog Pokreta za graanska prava u πezdesetim godinama, πto je stvorilo zanimljivu protuteæu povijesti prije ameriËkoga graanskog rata, tako evidentnoj u drugim dijelovima regije. Nakon uæivanja u posjetu Atlanti (pogledajte neke od sjajnih turistiËkih ideja na www.Atlanta.net), zaputite se preko gradova u Georgiji, Athensa, koji neki smatraju jednim od najboljih mjesta za

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sluπanje izvorne glazbe, ili Auguste, gdje je sjediπte U.S. Masters golfskog turnira i dom nekih od najljepπih azaleja na svijetu, do bilo kojega povijesnoga luËkoga grada s okusom davnih vremena. Nijedno mjesto ili grad ne odraæava duh starog Juga kao grad Charleston u Juænoj Carolini. Charleston je sve do ameriËkoga graanskog rata bio jedan od najvaænijih ameriËkih luËkih gradova. Taj rani prosperitet donio mu je naslov kulturnog centra Juga s prvim kazaliπtem u Sjedinjenim AmeriËkim Dræavama i jednim od prvih sveuËiliπta The College of Charleston. Iako je teπko oπteÊen u ratu 1865. i u potresu 1886. godine, suvremeni je Charleston svejedno zadræao popriliËno od rane arhitekture i povijesne otmjenosti iz davnina. Proglaπen je ameriËkim gradom najboljih manira i, kako je Mary Sue Lawrence iz New York Timesa pisala, Elegancija i bogata povijest Charlestona s pastelno obojenim nizom kuÊa, konjskim zapregama, utvrdama na vjetrometinama i hrastovima prekrivenima πpanjolskom mahovinom zadivljuju sve uzraste. Charleston je grad za sva godiπnja doba, ali kad jasmin procvjeta u proljeÊe, Charleston postaje istinski osobito mjesto za posjet, sa svjetskim restoranima (Magnolia, Hyman i Hank tri su najpoznatija), hotelima (Planter’s Inn, Woodland’s Resort i The Sanctuary tu su meu mnogima), trgovinama (osobito onima s antikvitetima i starim namjeπtajem) i golfom (otok Kiawah, mjesto odræavanja Ryder kupa 1991. i golfski resort broj 1 u Americi u neposrednoj blizini). Zbog svega toga i joπ k tome pitome, family-friendly plaæe Charleston je dragulj sluËajno skriven od veÊine stranih turista, ali svestrano ga vole svi koji ga pronau. (Za pomoÊ i prijedloge pri planiranju putovanja pogledajte web stranicu sluæbenoga turistiËkog ureda grada Charlestona na www.charlestoncvb.com) Savannah u Georgiji bio je takoer vaæni luËki grad koji je rastao na radu robova sve dok ta straπna institucija nije ukinuta nakon ameriËkoga graanskog rata. Pamuk je bio kralj Savannaha i mnoge svjetske cijene pamuka formirane su na osnovi one za pamuk iz Savannaha, πto se i danas moæe vidjeti. Bogatstvo epohe joπ je vidljivo u lijepim domovima i crkvama sagraenima u to vrijeme. Tako je to bio lijep grad da ga je general Sherman odbio razoriti i zbog toga postao poznat, iako je na svome razarajuÊemu Marπu do mora opustoπio mnoge druge juænjaËke gradove. Ipak, kao i veÊina drugih vaænih gradova u regiji, zbog kombinacije ratnih razaranja i kraja gospodarskog buma Savannah je zastao u vremenu viπe od jednog stoljeÊa.


Posljednjih nekoliko desetljeÊa, grad je vratio izgubljenu æivost i u povijesnom dijelu grada s prijeratnim kuÊama i divnim skrivenim vrtovima posjetitelji uæivaju u toploj verziji gostoljubivosti na savannaπki naËin, u mnogim izvrsnim restoranima, penzionima i buticima. Nipoπto ne treba propustiti razigrani πarm restorana na trænici ili svjeæe πkampe upravo ulovljene na molu Tybee. Bilo sudjelovanjem u poznatom St. Patrick Day festivalu u ulici River ili obilazeÊi mjesta gdje se snimalo viπe od dvadeset filmova, u posljednje vrijeme u ovome idiliËnome, a neke kaæu i zaËaranome gradu, posjetitelji Savannaha doæivjet Êe jedinstveni i izvorni duh Juga. (Za planiranje posjeta i pomoÊ pogledajte web stranicu sluæbenoga turistiËkog biroa Savannaha: www.savannahvisit.com) Atlanta, Charleston i Savannah samo su neka od mnogih odrediπta osobito zanimljivih u proljeÊe u juænom dijelu Sjedinjenih AmeriËkih Dræava. Povijesna mjesta kao Mobile u Alabami i St. Augustin na Floridi, prirodne ljepote vanjskih obala Sjeverne Caroline i gradiÊi u podruËju Smoky Mountaina kao Ashville, i joπ mnoga mjesta koja s osmjehom doËekuju posjetitelje - sve su to prekrasne lokacije gdje Êete saznati o povijesti, kulturi te ljubavi i predanosti radu na zemlji, tako karakteristiËnoj za Jug. Samo poite juænije, bit Êe to ljubav na prvi pogled.... ili prvi miris. n

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he southeastern region of the United States of America has great weather, wide and sandy beaches, many lakes and rivers and some of the world’s greatest golf courses. Yet, when travelers come to the United States they often overlook the South and head for better known destinations like New York, Chicago, San Francisco and Washington, DC. If they only knew what they were missing! Perhaps those travelers are drawn by the bright lights and fast pace of the big cities, qualities that are certainly rare in the South. Aside from cities on the periphery of the region like New Orleans, Washington and Miami, the only large city in the South is Atlanta, Georgia. For the most part the South is rural, with bucolic towns and farming communities dotting the landscape. While the region is growing quickly and shedding its historic agricultural character, it is still a Southerner’s birthright to have a deep affinity for the land and the bounty it provides as well as for the cycles of nature. It explains the slower pace of life, the desire to share the beauty and the plenty and the appreciation of Spring. Spring in the South, like everywhere, is a time of rebirth. But springtime in the South

is special because of the sheer multitude of aromatic and blooming plants that fill the air with an explosion of scents and sights. The dogwoods and honeysuckle of the Carolinas, the peach blossoms of Georgia, the magnolias of Mississippi and Alabama and the azaleas throughout the South are only some of the treats for a visitor’s nose and eyes. When these natural gifts are combined with the charm and architecture of an historic southern city like Charleston, South Carolina or Savannah, Georgia, a foreign traveler can enjoy a cultural and sensory experience unlike any available elsewhere in the United States. While Savannah and Charleston both boast modern airports with frequent flights, it is well worth considering flying into Atlanta and driving to either city if you are first time visitor to the region in springtime. That way you get a taste of the South’s largest city - a taste that will be undoubtedly peachy as Atlanta honors Georgia’s most famous agricultural product with over 70 street names including the word Peachtree alone. Atlanta is also the birthplace of Martin Luther King, Jr. and it was an important center in the U.S. Civil Rights movement of the 1960s, providing an interesting counterbalance to the antebellum history so evident in other parts of the region. After enjoying Atlanta (see www.Atlanta.net for some great tourism ideas), you can route yourself through Athens, Georgia, considered by some to be one of America’s best places to hear original music or through Augusta, Georgia, home of the U.S. Masters golf tournament and some of the most famous azaleas in the world, on your way to either of the historic port cities and to another time. No city represents the Old South quite as well as Charleston, South Carolina. It was one of America’s most important port cities up until the American Civil War. Its early prosperity allowed it to become a cultural center in the South, with the first theater in the United States and one of the first universities (the College of Charleston). Though it was greatly damaged by war in 1865 and by earthquake in 1886, modern Charleston retains much of its early architecture and its genteel historical flavor. It has been declared America’s bestmannered city and as Mary Sue Lawrence of the New York Times has written, The elegance and rich history of Charleston, S.C., with her pastel-colored row houses, horse-drawn carriages, wind-blown forts and live oaks draped with Spanish moss have an appeal to all ages. Charleston is a city for all seasons, but when the jasmine blooms in the springtime it is a truly special city to visit, with world class restaurants (Magnolia’s, Hyman’s and Hank’s CROATIA AIRLINES

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are three), hotels (Planter’s Inn, Woodland’s Resort and The Sanctuary, among others), shopping (specialties include antiques and home furnishings) and golf (Kiawah Island, site of the 1991 Ryder Cup and the number one golf resort in America, is minutes away). All this and a family-friendly beach make Charleston a gem accidentally hidden from most international visitors but universally loved by all that find it. (For travel planning help and ideas go to the Charleston Visitors Bureau website at www.charlestoncvb.com.) Savannah, Georgia was also an important port city that thrived on the labor of slaves until that terrible institution was ended by the American Civil War. Cotton was king in Savannah and many of the world’s cotton prices were set on the steps of the Savannah Cotton Exchange, which can still be seen today. The wealth of the time is evident in the fine homes and churches that were built during the period. It was a city so beautiful that General Sherman famously refused to destroy it as he had done many other southern cities on his devastating March to the Sea. Still, like most other important cities in the region, the combination of war damages and the end of its economic underpinning left Savannah stranded in time for over a century. In recent decades the city has recovered that lost vibrancy and amid the antebellum homes and beautiful hidden gardens of its Landmark Historic District visitors are treated to Savannah’s version of warm Southern hospitality at a wide variety of outstanding restaurants, bed and breakfast inns and boutique shops. One shouldn’t miss the quirky charm of the restaurants in the Market District or the seafood fresh off the shrimp boats at the Tybee Wharf. Whether participating in Savannah’s renowned St. Patrick’s Day Festival on River Street or touring the locations of the more than twenty recent movies set in this idyllic (and some say haunted) city, visitors to Savannah get an experience that is both unique and quintessentially Southern. (See the Savannah Visitor’s Center website at www.savannahvisit.com for travel planning and assistance.) Atlanta, Charleston and Savannah are just a few of the many interesting springtime destinations in the southern United States. The historic cities of Mobile, Alabama and St. Augustine, Florida; the natural beauty of North Carolina’s Outer Banks and Smoky Mountain cities like Asheville; and the many, many small towns where a visitor is greeted with a smile are all wonderful places to get to know the history, the culture and the sheer love of the land that characterizes the South. Y’all come on down, it’ll be love at first sight...or first smell. n 104

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PRIRODNI FENOMENI NATURAL PHENOMENA ■

Tekst i fotografije/Text and photos Krunoslav Rac

Bura je hladan i suh vjetar, obiËno poËinje priliËno naglo, a jenjava neπto polakπe. Ni jedan vjetar koji puπe u naπoj zemlji nije imao takav utjecaj na okoliπ i ljude kao bura. No taj opasan vjetar ima i pozitivnih osobina. Kad puπe, biometeoroloπke prilike obiËno su povoljne za razliku od juga, te je stanovnici priobalja zbog toga vole. Bez bure ne bi bilo ni poznatog prπuta ili paπkog sira. U kombinaciji s aromatiËnim travama tamoπnjoj janjetini daje nezamjenjiv okus. The Bora is a cold and dry wind. Usually, it appears abruptly and dies away slowly. No other wind has had such an influence on the environment and people in Croatia. This dangerous wind has its good sides. When it blows, biometeorologic conditions are usually favourable, and the inhabitants love it for this. Without the Bora there would be no famous prosciutto or cheese from the island of Pag. Combined with aromatic herbs, it gives the local lamb its fabulous taste. CROATIA AIRLINES

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anjska je temperatura 15 °C ispod niπtice na Zaviæanu, predjelu u Nacionalnom parku Sjeverni Velebit, na kojemu se nalazi istoimena meteoroloπka postaja i planinarski dom. U kuÊu izvana dopire gotovo zlokoban zvuk vjetra koji πiba velebitske vrhove. Puπe brzinom veÊom od 100 km/h. Vrπni dio planine, kao i kuÊa, nalazi se u gustoj magli. Nije to magla, nego oblak. TipiËan je to stojni oblak koji sjedne nad planinu kad puπe bura, najpoznatiji vjetar u Hrvatskoj. Magla se ledi u dodiru s Ëvrstim predmetima i stvara debeli sloj inja. Na planini tada vladaju gotovo polarni uvjeti. OsjeÊaj hladnoÊe pri ovoj brzini vjetra manje je od 30 °C ispod nule i boravak na otvorenome veoma je neugodan za ljude. Svaki izlazak iz kuÊe za motritelja na Zaviæanu Antu VukuπiÊa nelagodan je doæivljaj. No on je na to naviknuo, jer zimi na naπoj najveÊoj planini bura je Ëesta. Upravo na vrπnom dijelu Velebita nastaje ovaj neugodan vjetar i velikom se brzinom strmoglavljuje prema obali mora. Ovdje su uvjeti drukËiji. Temperatura je oko niπtice, no valovi i morska praπina πto je bura diæe s povrπine mora druga su vrsta neugode ljudima koji su joj izloæeni. Boravak na moru nemoguÊ je i osobito opasan, jer manja plovila i barke na naπoj obali najËeπÊe nisu dostojan suparnik takvom vjetru i uvjetima na moru, koje stvara. Ribari, a Ëesto i trajekti, vezani su u luci. Otoci i ljudi koji na njima æive odsjeËeni su od ostatka svijeta i morat Êe priËekati da se bura smiri i omoguÊi im da vrate svoj æivot u normalu. I tako dok bura ponovno ne zapuπe orkanskom snagom. Ni jedan vjetar koji puπe u naπoj zemlji nije imao takav utjecaj na okoliπ i ljude kao bura. Stanovnici krajeva u kojima je bura Ëesta i jaka od davnina su svoj naËin æivota podreivali ovomu, katkad veoma jakome i neugodnom vjetru. Bura je katkad i glavna vijest na naπim malim ekranima u dnevnim informativnim emisijama. Dogaa se to kad puπe orkanskom snagom te Ëupa drveÊe iz zemlje, odnosi krovove kuÊa ili prevrÊe vozila. Mnoge prometnice u hrvatskom priobalju tada su zatvorene za promet. Katkad, na æalost, osim imovine stradavaju i ljudi. Bura je hladan i suh vjetar, pa sniæava temperaturu i vlagu. Jedno je od njezinih obiljeæja to πto vjetar zbog zagrijavanja zraka pri njegovu spuπtanju na niæu nadmorsku visinu spreËava kondenzaciju vodene pare, a tako i nastajanje oblaka i moguÊnost padanja oborina. To je karakteristiËno za tzv. anticiklonalnu buru koju sa sobom donosi sunËano vrijeme na moru i stojni oblak na planinskim vrhuncima. Ali katkad bura sa sobom nosi i oblake, πto karakterizira tzv. ciklonalnu ili πkuru buru.

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OpÊi je smjer vjetra tada viπe sjeverni, nego sjeveroistoËni ili istoËni. Nebo je obiËno oblaËno, a katkad tu buru prati kiπa ili snijeg. Uzrok je tomu to πto se nad strujom bure odræava mnogo toplija struja vlaænog zraka, koja kod uzdizanja kondenzacijom vodene pare daje veliku naoblaku i oborine. To je vrlo jak vjetar koji povremeno puπe, osobito u hladnije doba godine, u naπem dijelu Jadrana. U svijetu postoji joπ nekoliko vjetrova sliËnih buri, koji puπu s visokih planinskih lanaca prema moru. Upravo su visoki planinski lanci πto se proteæu uz more osnovni uvjet za nastanak bure. No nekoliko se Ëimbenika mora poklopiti da bi nastao taj vjetar. Kad hladan zrak koji struji sa sjevera ili sjeveroistoka naie na planinsku barijeru, nastaju uvjeti za stvaranje bure. Na moru je temperatura viπa od hladnog zraka koji dolazi s planine, a i tlakovi se razlikuju. Ta razliËitost temperature i tlaka nastupa najËeπÊe u zimsko doba, kad polarni hladni zrak prekriva srednju Europu i stvara ovdje πiroko podruËje visokog tlaka zraka (anticiklonu), dok u juænoj Europi vladaju viπe temperature i niæi tlak. Snaæan se vjetar ruπi niz strme obronke planinskih lanaca i kroz uske primorske drage prema moru, pa, kreÊuÊi se niza strmu kosinu, postiæe uz neke uvjete vrlo veliku brzinu. Ima izrazitu vertikalnu komponentu gibanja, te veoma nemirnu struju zraka. Ta se osobina oËituje osobito u tome πto glavna struja vjetra nije jednoliËna, pa tako bura puπe na mahove, pri Ëemu se slabiji i jaËi udari, refuli, odmjenjuju uz kraÊe ili dulje stanke za vrijeme kojih vjetar oslabi. Bura moæe trajati viπe dana. ObiËno poËinje priliËno naglo, a jenjava neπto polakπe. Brzina struje zraka kod udaraca jaËe bure vrlo je velika te Ëesto prelazi 20 m/s (72 km/h), πto po Beaufortovoj ljestvici za jaËinu vjetra odgovara stupnju 9. Katkad brzina vjetra premaπuje 50 m/s (oko 180 km/h). NajËeπÊe bura puπe u Senju, te ovaj grad slovi i kao grad bure. Dosad najveÊa brzina izmjerena je na MasleniËkome mostu 1998. godine. Brzina udara vjetra tada je dosegla 248 km/h. Pojedini udarci bure Ëesto i znatno mijenjaju jaËinu i smjer, te se po smjeru katkad znatno razlikuju od opÊeg smjera glavne struje vjetra. RuπeÊi se prema moru, bura svojim udarcima pokreÊe i diæe morsku vodu stvarajuÊi vrlo nemirno more i rasprπuje ga u vrlo sitne kapljice. Takva morska praπina na moru stvara osebujnu, katkad neprozirnu maglu, od koje se na povrπini predmeta i raslinja stvara posolica, uglavnom πtetna za vegetaciju. Upravo su zato dijelovi otoka okrenuti prema kopnu u podvelebitskom kanalu gotovo potpuno goli i bez raslinja.


NajveÊi je nenaseljeni otok u Hrvatskoj PrviÊ nedaleko od otoka Krka, s njegove juæne strane. Jedini ljudi koji su na njemu boravili sve donedavno bili su svjetioniËari, no sada je automatiziran na solarni pogon i danas baπ nitko ne boravi ondje. Prema statistici bura na PrviÊu puπe 203 dana u godini, a 73 dana je orkanske jakosti od 11 do 12 bofora. Stoga ne Ëudi statistiËki podatak da je upravo PrviÊ naπ najvjetrovitiji otok. I ostale otoke Velebitskog kanala zadesila je sliËna sudbina. Obliænji otok Goli takoer je nenaseljen i, kako govori njegovo ime, bez raslinja. Taj je otok poznat po zatvoru za politiËke osuenike u bivπoj dræavi za vladavine komunizma. Nije Ëudno πto je zatvor napravljen upravo na ovom otoku koji uopÊe nije daleko od obale. Jaka morska struja noπena Ëestom burom zatvorenicima je onemoguÊavala bijeg. Od Gologa na jug, duæ Velebitskog kanala, proteæu se otoci Rab i Pag. I oni su zbog bure potpuno goli sa strane okrenute prema Velebitu. Na njima se æivot razvio s druge strane koja je mnogo ugodnija za æivot, djelomice i zbog toga πto bura nema dalek domet. Ljudi koji æive u krajevima u kojima je bura Ëesta, moraju prilagoditi æivot prema njoj. Stanovnici priobalja od davnina se od bure brane i naËinom gradnje svojih kuÊa: osnovni je graevni materijal kamen, prozori su maleni i nema ih sa sjeverne strane kuÊa, os krovova okrenuta je u smjeru sjever∑jug, a ulice u pravcu istok∑zapad, da se izbjegne kanaliziranje vjetra kroz njih. KuÊe su graene na osobitim mjestima u zavjetrini i s jakim i niskim krovovima. Izbor πumskih i poljodjelskih kultura takoer je nalagala otpornost na buru. No taj opasan vjetar ima i pozitivnih osobina. Kad puπe, biometeoroloπke prilike obiËno su povoljne za razliku od juga, te je stanovnici priobalja zbog toga vole. Bez bure ne bi bilo ni poznatog prπuta ili paπkog sira. Svojom snagom rasprπuje sol po otoËkom raslinju, pa u kombinaciji s aromatiËnim travama tamoπnjoj janjetini daje nezamjenjiv okus. I sir koji se pravi od mlijeka tamoπnjih ovaca jedan je od najkvalitetnijih u Hrvatskoj. Pomorci i ribari takoer su izgradili osobit osjeÊaj za suæivot s tim neugodnim vjetrom. »ak je, moæda, i osebujan temperament ljudi u priobalju rezultat bure. n

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n Zaviæan, in the Sjeverni Velebit National Park, there’s a weather station and a mountain lodge. The temperature is minus 15 °C. An ominous sounding wind lashes the peaks of Velebit and howls through the house. It blows at a speed of more than 100 kilometres an hour. The mountaintop and the house itself are in thick fog. In fact, it is not fog

but cloud, the typical passive cloud that sits on the mountain whenever there is the Bora, the most famous wind in Croatia. The fog freezes in contact with solid objects, creating a thick layer of frost, while the mountain turns almost into a polar zone. In this wind, it feels as though the cold reaches minus 30 °C, which makes any outdoor activity extremely unpleasant. However, Ante VukuπiÊ, the Zaviæan observer, is used to getting out of the house in this wind. The Bora is common on the highest Croatian mountain. This fierce wind is generated between the highest peaks of Velebit and then rushes towards the coast at tremendous speed. On the coast, the temperature is around zero, and the waves and the sea spray present a different kind of unpleasantness for those exposed to them. Being at sea is extremely dangerous; small boats are often not a match for this kind of wind and the maritime conditions it creates. Fishing boats and ferries often remain at a standstill in the port. Islands and the islanders are cut off from the rest of the world and have to wait until the wind calms to restore their lives to normal. Until it blows like a hurricane once again. No other wind has had such an influence on the environment and people in Croatia. The inhabitants of the regions where the Bora is common have always had to adapt their lifestyles to this extremely powerful and unpleasant wind. The Bora often hits the headlines in the TV news, reaching hurricane force and pulling out trees, sweeping away rooftops or overturning vehicles. Many roads in the coastal area are closed to traffic; sometimes, unfortunately, people get hurt. The Bora is a cold and dry wind, lowering temperature and humidity. One of its characteristics is that, when it warms as it descends to lower altitudes, it prevents condensation and thus the formation of clouds and precipitation. This anti-cyclonal Bora brings sunny weather at sea and passive clouds on the mountaintops. The cyclonal Bora (πkura bura), on the other hand, sometimes generates clouds, with a prevailing direction more north than north-east or east; then the sky is usually cloudy, occasionally followed by rain or snow. The reason for this is that a warmer humid air stream in maintained above the Bora’s stream, creating clouds and precipitation due to condensation. It is a very strong wind that blows from time to time, especially during the colder months, on Croatia’s Adriatic coast. There are several winds in the world comparable to the Bora, blowing from high mountain ranges towards the sea, and it is precisely this combination of high mountain ranges next to the sea that creates the conditions for the Bora. However, CROATIA AIRLINES

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several factors need to coincide for this wind to blow. Cold air streams from the north or north-east and meets the mountain barrier; the temperature at sea is higher than the cold air arriving from the mountain, and the air pressures differ. This air pressure and temperature difference usually arises in wintertime, when the cold polar air covers Central Europe and creates a broad area of high pressure (anticyclone), while in southern Europe the temperatures are higher and the pressure is lower. This powerful wind rushes down the steep mountain slopes and through the narrow coastal bays to the sea. The steepness of the slopes creates conditions for great speed. The wind’s movement has an extremely vertical component, which agitates the air stream. As a result, the main wind current is not unified, and the Bora blows in gusts. Strong or weak gusts blow between short or long breaks during which the wind is quiet. The Bora can last for days. Usually, it appears abruptly and dies away slowly. The speed of a strong gust of the Bora is often greater than 20 metres per second (72 kilometres per hour), which is level 9 on the Beaufort scale. Occasionally, the speed even exceeds 50 metres per second (about 180 kilometres per hour). The Bora frequently blows through the town of Senj, known also as the town of the Bora. The greatest speed measured was in 1998 at Maslenica Bridge, when 112

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the wind gust speed reached 248 kilometres per hour. Some Bora gusts change intensity and direction, often blowing in a very different direction from the main air stream. Rushing towards the sea, these gusts disturb and lift the water, creating turbulent waves and scattering them into tiny drops. This spray creates an exceptional, sometimes very opaque, mist that leaves a salty layer on surfaces, which is very damaging to vegetation. As a result, those parts of the islands facing the mainland in the channel below Velebit are almost without vegetation. The largest uninhabited island in Croatia is PrviÊ, on the south side of the island of Krk. The only people living there until recently were lighthouse keepers, but the lighthouse

was automated through solar cell power, and no one lives there anymore. Statistics say that PrviÊ is Croatia’s windiest island. Other islands in the Velebit Channel met the same fate. The island of Goli, located near PrviÊ, is also uninhabited and without vegetation. This island was infamous in the times of Yugoslavia, when it was used as prison for political prisoners during the communist era. It is no wonder that the prison was built on this island, although it is not very far from the coast, for the strong current, driven by the Bora, made it impossible for the prisoners to escape. South of Goli, along the Velebit Channel, are the islands of Rab and Pag Thanks to the Bora, they are also completely barren on the north side. Communities developed on the other side, beyond the reach of the Bora. People living where the Bora is frequent need to adapt their lives to it. Since ancient times, the coastal people have defended themselves from the Bora by building special houses: rock is the basic construction material, the windows are small and not located on the north side of the house, the roof axis is from north to south, and the houses are built on special locations on the leeside and covered with strong and low roofs. The streets run from east to west so the wind does not blow directly through them. The choice of trees and crops was also dictated by their ability to resist the Bora. However, this dangerous wind has its good sides. When it blows, biometeorologic conditions are usually favourable, unlike when the Sirocco blows, and the inhabitants love it for this. Also, without the Bora there would be no famous prosciutto or cheese from the island of Pag. Its force scatters the salt over the island vegetation and, combined with aromatic herbs, gives the local lamb its fabulous taste. The local sheep cheese is also one of the best in Croatia. The sailors and fishermen there have their special way of living with this unpleasant wind. The Bora could even be responsible for the exceptional character of the local people. n


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Teks i fotografije/ Text and photos Davor Rostuhar 114

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Nema ljepπeg mjesta za letenje od Istre. Nigdje na tako malo prostora nema toliko bogatstva i raznolikosti.

There is no lovelier place to fly over than Istria. There is nowhere so much beauty and diversity in such a small area as here.

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iran ljetni dan. NepomiËni vjetrokaz, koji piloti od milja zovu kobasica, visi na πtapu ispuhan. Sunce ugodno miluje ali ne præi. Na crvenoj zemlji sportskog aerodroma Medulin praπina se diæe svakih pola sata. Iz malog aviona izlazi grupica stranih turista koji ne kriju oduπevljenje vienim, a druga grupica nestrpljivo se gura u avion. DugaËak je red za panoramski let iznad jednog dijela Istre, koju zbog njezine æivopisnosti, πarenila boja, valovite zemlje i kulturnog bogatstva stranci veÊ godinama usporeuju s Toskanom. U samo 30 minuta uzbudljive voænje mogu se vidjeti πarene oranice, razvedene obale rta Kamenjaka, svjetionik Porer, antiËka i suvremena Pula, Nacionalni park Brijuni i joπ mnogo toga. Pilot Nenad ZeliÊ preselio se na aerodrom. Æivi u kamp-prikolici sa æenom, djecom, ocem i majkom, bratom i njegovom æenom i djecom. Otac Nijaz, brat Boris i on lete, a æene se brinu oko gostiju, odræavanja aerodroma i klupskih prostorija. VeÊinu dana Nenad provodi u zraku nad Istrom. Nema ljepπeg mjesta za letenje od Istre, kaæe on. Poznaje cijelu Europu iz zraka, ali nigdje na tako malo prostora, napominje, nema toliko bogatstva i raznolikosti. U avionu smo visoko u zraku. Kruæimo oko juænog vrπka Istre i u spirali se diæemo do 3000 metara visine. Osjetimo usamljenost svjetionika Porera, koji dijeli divlju puËinu od pitome obale. PrelijeÊemo Ëudnovate uzorke koje tvore ribnjaci i uzgajaliπta πkoljaka. Na 3000 metara visine cijela se Istra prostire ispod nas kao na zemljovidu. Ateriramo i njuπkamo po zapadnoj obali. Tu je Istra plava i crvena. Modro more preko niza πeÊernih obalnih gradiÊa i toËkastih marina ljubi oranice crljenice, mreæaste maslinike i apstraktne moËvare rijeËnih uπÊa. Krovovi æivopisnih gradiÊa poput Rovinja crvene se naguævani jedan do drugoga.

UzvraÊaju plavetnilu mora i bjelini brodiÊa koji lome njegove valove. Iznad Brijuna i njegovih egzotiËnih æivotinja uËini nam se Ëak za tren da letimo iznad afriËke savane. SkreÊemo u kontinent gdje vidimo da je Istra zelena. Vinogradi i vrtovi, πume i voÊnjaci proteæu se po brdima koja se iz zraka doimaju kao zeleno valovito more. Letimo do ruba Istre, do ∆iÊarije i UËke, kamenitih gorostasa koji ponosno Ëuvaju taj Ëudesan poluotok od ostatka svijeta. Nad tim golemim bedemom zapaæamo... Istra je bijela. Zaigrali smo se, prebrzo je proπlo, idemo joπ jedan krug! Sada spoznajemo da je Istra stara i bogata povijeπÊu. NadlijeÊemo pretpovijesne gradine, rimske slavoluke, ranokrπÊanske crkvice i romaniËke bazilike, srednjovjekovne utvrde na breæuljcima, gotiËke katedrale, barokne palaËe, austrougarske fortifikacije. Ponegdje u polju viamo i seljaka s magaretom i okrugle kamene kuÊice, kaæune, te spoznajemo − Istra je i tradicionalna. Ali prije povratka na aerodrom zovu nas svjetla pulske arene, poËinje pop∑koncert svjetske zvijezde. Istra je i suvremena. Istra je svevremena. U prohladno jutro, sada s potpuno praznog aerodroma, diæemo se u zrak, ali iznenaujemo se - Istre nema! Prekrila se bijelim pokrivaËem mekih oblaka i sakrila od pogleda. Ipak letimo, moæda neπto naemo. I, da! U srcu Istre pronalazimo kopno u tome primamljivome moru bjeline. Iz oblaka poput otoka izranjaju stari srednjovjekovni gradiÊi Groænjan, Motovun, Buzet... Oblaci skrivaju ceste, zgrade i sve πto je Ëovjek sagradio nedavno, a nagrauju nas i ptice pogledom na Istru kakva je bila nekad. Kao u doba kad je skovana legenda da su Istru gradili divovi, da su se ti gorostasi zaigrali i rukama premjeπtali kamenje tvoreÊi tako Ëudnovata


naselja ugnijeæena na vrhovima breæuljaka. Istra je magiËna, Ëudimo se i divimo dok letimo iznad nje, zavideÊi surim orlovima, bjeloglavim supovima, tetrijebima, jastrebima i svim carevima visina, koji tu priliku i Ëast imaju kad god poæele. Da, Istra je Ëarobna. n

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peaceful summer’s day. The windsock, among the pilots popularly known as the sausage, hangs limp in the still air. The sun is bright and worm, but it does not burn on the skin. It feels more like a caress. The dust lifts off the red soil at Medulin sports airport at regular half hour intervals. A group of tourists gets off the small aircraft with the signs of delight all over their faces, while another group impatiently waits to take their places. The queue of people who want to take a panoramic flight over Istria is long. Many want

to find out why this picturesque peninsula with rolling hills and a rich cultural heritage has been proclaimed a new Tuscany among foreigners in the know. During the short but exciting 30minute flight, you can see the neatly planted and well tended fields; the indented coastline of Kamenjak promontory, Porer lighthouse, the two facets of Pula, ancient and modern, the Brijuni National Park and archipelago, and a lot more. Pilot Nenad ZeliÊ has moved to the airport. He lives in a trailer with his wife, children, mother, father, brother, his wife and their children. Father Nijaz, brother Boris and himself are pilots, whereas the women look after the guests, maintain the airport and the club premises. Nenad spends most of his days flying above Istria. There is no lovelier place to fly over than Istria, he says. I have seen all of Europe from the air but there is nowhere so much beauty and diversity in such a small area as here.

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The plane ascends high up into the air. We circle around the southern tip of Istria and spiral up to 3000 metres above the sea level. There is an almost palpable sense of solitude as we observe Porer, the lighthouse which marks the division between the wild open sea and the placid coastline. We fly over a quirky pattern made up of fishponds and seashell beds. At 3000 metres above the sea level, the whole of Istria unfolds below us like on a geographical map. We descend and continue sniffing along the western coast of the peninsula. Here, Istria is blue and red. The blue sea kisses the red soil fields, the cobweb-like olive groves and the abstract swamps of river estuaries. Istrian coastal towns conjure up the image of a cotton candy and marinas look like little dots on the sea. The red roofs of picture postcard pretty towns, such as Rovinj, are almost built on top of each other. They pose a striking contrast to 120

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the blueness of the sea and the whiteness of the boats which break its waves. As we overfly the isles of Brijuni and its exotic animals, for a brief moment we have an impression that we are over the African savannah. We turn inland, and realize that Istria is actually green. Vineyards and gardens, forests and fruit orchards, all stretch along the rolling hills which look like a wavy green sea when observed from the air. We fly all the way to the very brim of Istria, to the mountain ranges of ∆iÊarija and UËka, those rocky goliaths that stand proudly and safeguard the splendid peninsula from the rest of the world. And then, flying above that huge barrier we realize yet once again... Istria is white. Time flies when one is having fun...flying. Let do another spin. Another facet of Istria reveals itself to us - as a peninsula with a long history and a rich heritage. We fly over the remains of prehistorical settlements, over Roman arches, early Christian churches and Romanesque basilicas, medieval hilltop forts, gothic cathedrals, baroque palaces and Austro-Hungarian fortifications. Every now and then we spot a farmer in a field with a donkey, beehiveshaped stone huts known under their local name kažun, and we appreciate that Istria is also traditional. Before we head back for the airport, we are beckoned by the brightly lit Arena in Pula where an international pop star is just about to start performing. Istria is also modern. Istria is ageless. On a crisp morning, the airport is desolate. We ascend, but ... we are in for a surprise. There is no Istria! It is gone. It is covered with a blanket of white soft clouds and hidden from the view. We decide to continue the flight. We may still be lucky and find something. And we do, indeed! In the heart of Istria we find spots of firm land protruding from this enticing sea of whiteness. Like islands, old medieval towns emerge from the clouds: Groænjan, Motovun, Buzet... The clouds envelop the roads, buildings, everything that has been constructed by humans only recently. Or reward is the bird’s eye view of Istria as it once was, at the time of the legend about giants who built Istria. The giants ostensibly got carried away in their play with rocks. They kept on moving huge rocks with their bare hands until they built magical little towns nested on Istrian hilltops. Istria is indeed magical. We feel positively in awe as we fly above it, envious of golden eagles, griffon vultures, black cocks, hawks and all other kings of the heights who do not have to wait for an opportunity to present itself. For them, the honour and opportunity to see Istria from the air is always there to be grasped at their will. Istria is a magical land indeed. n


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Umjetnost ART ■

Piše/By Majda Tafra-VlahoviÊ Fotografije/Photos Juraj TurËin

Profesor Baltazar proπetao je do glavnog trga u Baltazargradu, zapravo do Trga bana JelaËiÊa u Zagrebu, gdje je zasluženo primio titulu djeËjeg ambasadora. Lik iz crtanog filma postaje autentiËni hrvatski brand. Profesor Balthazar descended upon the main square of his own Balthazar City, in reality Ban JelaËiÊ Square in Zagreb, where, quite deservedly, he received the title of children’s ambassador. A cartoon character becomes an authentic Croatian brand.

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anjske kasne jeseni najprije se u medijima i na plakatima pojavio crni polucilindar s tajanstvenom porukom o tome da se on vraÊa, πto je izazvalo mnoga nagaanja o tome Ëiji je cilindar i tko se to vraÊa, a nakon dva tjedna, 7. studenoga, na plakatima se pojavio i on - profesor Baltazar osobno, mnogima poznata Êelava glava, cilindar i pod njim poveÊi nos s naoËalama, te proπetao u pratnji gradonaËelnika do glavnog trga u Baltazargradu, zapravo do Trga bana JelaËiÊa u Zagrebu, gdje je zasluæeno primio titulu djeËjeg ambasadora. Svi koji su neπto stariji od dvadeset godina veÊ ga dobro pamte - uæurbanog ËovjeËuljka koji rjeπava sve probleme znanjem i kompliciranim strojem iz kojega rjeπenja izlaze u obliku kapi Ëarobnog napitka. Jednostavna radnja u umjetniËkome animiranom formatu koji djeca oboæavaju, i sve to s priËom s uvijek sretnim krajem i pozitivnom porukom djeci - to su pedagoπke i umjetniËke vrijednosti toga sve-

vremenskoga crtanog filma za djecu i odrasle, koji Hrvatska radiotelevizija opet emitira, doduπe ne kao nekad, prije Dnevnika, nego rano ujutro kad je preteæito djeËja publika. Profesor Baltazar glavni je junak crtanih filmova, simpatiËni znanstvenik koji rjeπava probleme svojih sugraana uz pomoÊ kompliciranog stroja, a zapravo uz maπtu i mnogo pozitivne energije. Prva serija crtanih filmova o Profesoru Baltazaru od dvanaest epizoda snimana je u Zagreb filmu od 1968. do 1969. godine i jedinstveno je djelo svjetski poznate ZagrebaËke πkole crtanog filma. Ime je ZagrebaËkoj πkoli crtanog filma dao joπ 1959. godine na Filmskom festivalu u Cannesu poznati francuski filmski teoretiËar Georges Sadoul, koji je tada rad grupe autora iz Zagreba opisao kao jedinstveni umjetniËko-filozofski stil animiranih filmova koji su potekli iz studija Zagreb filma. Svjetsku slavu ZagrebaËkoj πkoli crtanog filma donio je i autor Duπan VukotiÊ, koji je 1962.

godine za Surogat dobio Oscara za animirani film. Bio je to ujedno prvi takav Oscar koji je dobio neki autor iz Europe. Osim umjetniËkih filmova Zagreb film proizveo je i filmove i TV serije za djecu kao πto su Inspektor Maska, Mali leteÊi medvjediÊi i mnogi drugi, no Profesor Baltazar najpopularniji je. Poznata melodija koja je dalekih sedamdesetih i osamdesetih godina proπlog stoljeÊa najavljivala gledateljima da Êe poËeti Profesor Baltazar, uspijevala je za ekran, uoËi komercijalnih propagandnih poruka i vjeËno dramatiËnog Dnevnika, prikovati i djecu i roditelje. Dok su djeca uæivala u radnji πto je, neobiËna i domiπljata, glatko ulazila u djeËji svijet maπte u kojemu je sve moguÊe, odrasli su gledali crtani film na viπe drugih razina, i onoj djeËjoj jer djeca u ljudima ne stare, i nekim drugim metaforiËkim razinama percipirajuÊi poruku mira i dobrote. »inilo se katkada da Baltazar, onako svevremenski i veseo, πalje CROATIA AIRLINES

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neke poruke mira u uvijek dramatiËnu i uspaljenu svakodnevicu i kao da pokazuje, Vidite, problem bi se mogao i tako rijeπiti. A rjeπenje je uvijek bilo maπtovito i na dobrobit dobrih graana Baltazargrada. Serija je bila veoma popularna, ne samo u Hrvatskoj i bivπoj državi, nego je bila uspjeπna i u Danskoj, Finskoj, Italiji, Nizozemskoj, Norveπkoj, Portugalu, ©vedskoj, Iranu, Sjedinjenim AmeriËkim Dræavama, Australiji, Novom Zelandu. Osobito je bila popularna u skandinavskim zemljama. Na Facebooku je osnovana grupa fanova profesora Baltazara, koja ima viπe od sto dvadest tisuÊa Ëlanova iz viπe zemalja. UnatoË velikoj popularnosti kod publike potkraj osamdesetih, u vrijeme velikih globalnih politiËkih i druπtvenih previranja te uoËi poËetka rata na podruËju bivπe Jugoslavije poznati je profesor nestao s malih ekrana te su role filma godinama bile u skladiπnim prostorima Zagreb filma, a na ulicama Zagreba kao dokaz osobite popularnosti lika profesora Baltazara Ëesto se pojavljivao natpis s pitanjem kad Êe se vratiti. Bilo je oËito da je nestanak s javne scene toga osobitoga umjetniËkog djela, koje predstavlja autentiËni brand hrvatske kulturne baπtine te koje æivi vjerodostojni umjetniËki æivot samo u dodiru s publikom, bio gubitak za mnoge naraπtaje djece, mladeæi i odraslih prije svega u Hrvatskoj, ali i u svijetu. Taj gubitak nisu mogli nadoknaditi agresivni i nasilni likovi iz uvezenih crtanih filmova. Ideja da se lik dobroÊudnoga i genijalnog profesora iskopa iz praπine i lansira kao prvi istinski hrvatski umjetniËki brand dobiva πire druπtveno znaËenje Ëija je pozitivna orijentacija potpuno prepoznata. Podupiru je mjerodavne strukture, prije svega u gradu Zagrebu, kojemu Profesor Baltazar na neki naËin i sadræajno pripada, jer Zagreb je bio uzor za ideju Baltazargrada, ali i u mjerodavnim organizacijskim strukturama na nacionalnoj razini. Kako je tehnologija uvelike napredovala, trebalo je tehnoloπki osuvremeniti filmove i prilagoditi ih novim medijima i tehniËkim moguÊnostima. U tu je svrhu digitalizirano viπe od pet stotina minuta filma. Na obnovi i digitalizaciji Profesora Baltazara radilo se dvije godine. U Rimu se obraivalo oko Ëetiri stotine kilograma negativa iz Hrvatske kinoteke i arhive Zagreb filma, a na projektu rebrandinga marljivo je radilo viπe od dvadeset struËnjaka iz razliËitih druπtvenih i poslovnih podruËja. Ukupno je restaurirano pedeset devet epizoda o profesoru Baltazaru, od Ëega ih je trideset devet desetominutnih i dvadeset petominutnih. Obnovljeni animirani film Profesor Baltazar najprije je bio predstavljen poslovnoj javnosti i partnerima na meunarodnoj konferenciji o licenciranju lani u rujnu u Rovinju, na kojoj je 124

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izazvao pravo oduπevljenje. Prilikom predstavljanja istaknuta su njegova kljuËna obiljeæja kao branda: razliËit je, retro je, πto je sada osobito moderan trend, i pozitivan je uzor, ne samo po porukama koje πiri, nego je to i jedini originalni hrvatski etiËni brand koji kani prerasti i u autohtoni zagrebaËki i hrvatski suvenir. SimpatiËni profesor na drugome se programu HTV-a u ranome jutarnjem terminu prikazivao veÊ lani od oæujka, a od kraja godine povremeno se emitirao i u prikladnome obiteljskom terminu. Jer, rijeË je o obiteljskom crtiÊu s dvije dimenzije: edukativnome djeËjemu i zabavnome za odrasle. U maπtovitim priËama, na djeci prihvatljiv i razumljiv naËin, odvija se na ekranu bajkovit sadræaj pozitivnog svjetonazora, u kojemu se problemi rjeπavaju znanjem, radom i domiπljatoπÊu, u kojemu su brige nekoga graanina razlog da mu se pomogne, u kojemu se moguÊe razmirice rjeπavaju razgovorom. U filmovima o profesoru Baltazaru, moglo bi se reÊi, maπta i moÊ pozitivnog miπljenja pobjeuju laæ, ideologiju i manipulaciju, sve to skriveno u priËi πto u jedinstvu s bajkovitim crteæom prekrasnih boja ostavlja umjetniËki dojam zaËudnosti. Univerzalna poruka o nenasilnom rjeπavanju problema, toliko suprotna od one u ostalim crtanim filmovima, u kojima se problemi rjeπevaju nasiljem, te poruka da je znanje, a ne sila - istinska moÊ, imala je u vrijeme emitiranja veliki pozitivan utjecaj na djecu. Kad bi se zaËuo magiËni zvuk pjesme Baltazar, to je bio znak za okupljanje pred televizorom cijele obitelji. Na lansiranju povratka profesora Baltazara u Zagreb lani u poËetku studenoga u kinu Europa i nakon toga na pozornici na prepunom Trgu bana JelaËiÊa, vidjelo se koliko je lik blizak djeci i danas, jer pjevali su mu, pljeskali i veselili se nekoliko sati bez prestanka. Radi toga jedan je zagrebaËki tramvaj prebojen u Baltazargrad te i nakon sveËanog povratka vozi svaki dan i podsjeÊa da se profesor vratio. Baltazar poduËava kako je sreÊa u davanju, kako su ljudi razliËiti i kako je upravo u razliËitostima ljudi i njihovo bogatstvo. A njegov simpatiËan lik, kojemu je bilo otprilike πezdeset godina kad je nastao i nije nikad stario, ostao je na neki naËin zaπtitni znak ne samo mnogih naraπtaja, nego i tada donekle alternativnoga i buntovnog svjetonazora, u kojemu su znanje i dobrota, a ne ideologija, imali moÊ kreirati stvarnost. Glavni je lik profesor Baltazar, osebujan ËovjeËuljak, Êelav i s bradom, koji redovito gimnasticira, uvijek usredotoËen na rjeπavanje problema. U filmu OblaËno sa svaalinama, na primjer, profesor pokuπava rijeπiti problem nastao zbog crnog oblaka zlobe, zbog kojega CROATIA AIRLINES

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se svi u gradu svaaju, pa i on postaje ærtva zlobe. U svakoj problematiËnoj situaciji profesor se domiπlja te konzultira znanost i stroj koji mu pomaæe da neprestano dobiva inovativna rjeπenja. Tako je ovaj put profesor Baltazar najprije izumio smjehoπtrc, a zatim zaπtitio glavu kapom radosti i dobre volje te poπao protiv oblaka zlobe. Kako je smjehoπtrc rasprπio oblak, gradom je zavladala sloga i veselje. Epizode sloge, u kojima se dijele pereci, ispijaju zajedniËke kave i daruju sladoledi, izmjenjuju poljupci i lilihipi, popraÊena je veselom ritmiËnom glazbom sklada i dobre volje. Kad padne noÊ nad Baltazargrad, u kojemu profesor za svaki sluËaj redovito provjerava nebo da ne bi nikad viπe doπao crni oblak zlobe, poznati likovi idu na poËinak u noÊne leæajeve, negdje je to krevet, a negdje gusarski sanduk. Cijeli πareni Baltazargrad tone u mirnu noÊ i kao da pritom zove djecu koja su se uæivjela u priËu da i ona uËine isto. Jednostavna radnja u umjetniËkome animiranom formatu, koji djeca oboæavaju, i sve to s priËom s uvijek sretnim krajem i pozitivnom porukom djeci - to su pedagoπke i umjetniËke vrijednosti toga svevremenskoga crtanog filma za djecu i odrasle, koji se ponovno emitira u Hrvatskoj i u Italiji, a djeca i roditelji preko DVD-a i posebne serije slikovnica koriste se crtanim filmom i

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njegovom priËom ne samo za zabavu, nego i za uËenje i razumijevanje poruka o pobjedi dobra nad zlim, znanja nad glupoπÊu, maπte i kreativnosti nad ograniËenoπÊu i kliπeom. Nedavno objavljena restaurirana serija od πest slikovnica autora Borisa Kolara, Zlatka Boureka, Ante ZaninoviÊa i Zlatka GrgiÊa dragocjena je literatura za djecu, koja im pomaæe da priËu πto su je zavoljeli u animiranom obliku prepoznaju i zavole u mediju knjige, Ëime se privikavaju na Ëitanje te stvaraju pozitivan odnos prema knjizi. U prvoj verziji pripremljeno je πest slikovnica: Hanibalove Alpe, Maestro Koko, Vjetrovita priËa, LeteÊi Fabijan, O miπu i satovima i Zvjezdani kvartet. U slikovnicama kao i u animiranim filmovima maπta je iznjedrila baltazarovske drame koje sve imaju sretni zavrπetak i pouku dobra, u kojemu sreÊa drugoga moæe razveseliti sve ljude. Bude li crtani film dovoljno prikazivan na televiziji da ga i naraπtaj danaπnje djece zavoli kao πto ga voljeli roditelji i djedovi i bake, moæe se oËekivati da Êe i slikovnice naÊi put do djeËjeg srca, jer obiluju maπtom i vedrim raznobojnim crteæima i osebujnim likovima, kao i animirani filmovi. DobroÊudni profesor, koji uz pomoÊ svojih izuma rjeπava probleme sugraana u Baltazargradu, napokon postaje prvi izvorni

odgovorni hrvatski brand, jer od BoæiÊa na ekskluzivnim se prodajnim mjestima i preko interneta prodaje ograniËena serija igraËaka i poklon-artikala s likom Baltazara. Artikli s oznakom profesora Baltazara imat Êe oznaku odgovorne kupnje, odnosno dio prodajne cijene bit Êe namijenjen za stipendiranje uËenika i studenata u Zakladi Profesor Baltazar. Sredstva koja Êe se dobivati preko buduÊe Zaklade profesor Baltazar Ministarstva znanosti, prosvjete i πporta uza suradnju korporativnih partnera, relativno su novi oblik djelovanja korporacijske druπtvene odgovornosti u Hrvatskoj. Razvijeno zakladniπtvo dokaz je visoke svijesti graana i cjelokupnog druπtva prema odgovornom æivljenju u zajednici. Kako se u mnogo sluËajeva temelje na meusektorskom partnerstvu, zaklade, osim izravnoga korisnoga druπtvenog uËinka, poluËuju i neizravni uËinak unapreujuÊi socijalni kapital te nadopunjujuÊi moguÊe nedostatke postojeÊih vladinih politika i institucionalnih aktivnosti, sve to u skladu s postojeÊom i dogovorenom strategijom. U Hrvatskoj zakladniπtvo nije dovoljno razvijeno te se ne koristi dovoljno moguÊim prednostima takvog izdvajanja za zajednicu. Svrha je Zaklade profesor Baltazar poticanje razvoja kreativnosti, inovativnosti i znanja kod


djece i mladih, uËenika, studenata i mladih znanstvenika nagraivanjem i potporom razvoju talenata u obrazovnom sustavu i izvan njega i stvaranju uvjeta za razvoj svih potencijalnih sposobnosti kod djece i omladine. Te su aktivnosti poticaj partnerskih programa i stvaranje opÊe pozitivne sinergije kako bi se pridonijelo procesu pretvorbe Hrvatske u druπtvo znanja, u skladu s platformom Europske unije. Zaklada Êe sluæiti i kao platforma za okupljanje pozitivnih snaga u druπtvu radi stvaranja ozraËja opÊe druπtvene odgovornosti, opredjeljenja za odræiv razvoj i odgoj djece u skladu s pozitivnim vrednotama poπtenja, ljubavi i povjerenja te vrednovanje znanja i truda, πto su i vrijednosti koje promiËe lik profesora Baltazara kao druπtveno odgovorni brand. Lik iz animiranog filma Profesor Baltazar u tome je smislu jedinstven na hrvatskom træiπtu: ne samo da Êe se dio komercijalne vrijednosti branda vraÊati druπtvu, i to prije svega u sektoru obrazovanja i znanosti, nego je i sam lik moÊni komunikator koji Êe meu djecom i obiteljima πiriti poruku o vrijednosti znanja, nenasilja i kreativnosti, pa Êe se, tako, najviπe πto je moguÊe, iskoristiti njegov edukativni i druπtveno odgovorni potencijal. To je joπ jedan razlog zaπto je, u vremenu recesije i opÊe oseke pozitivnih vrijednosti, povratak profesora

Baltazara na hrvatsku javnu scenu i u obitelji inicijativa osobito druπtveno korisna. n

I

n late autumn of last year, the image of a black bowler hat started appearing in the media and on billboards. The quite mysterious message saying he’s coming back caused no end of speculations as to who the bowler hat belonged to and who was coming back. On 7th November, two weeks after the first bowler hat apparitions, the billboards started featuring the mysterious person himself - Professor Balthazar. Many people recognized the familiar bald head, then the bowler hat above an impressive nose and spectacles and, finally, Professor Balthazar in person. Accompanied by the city’s mayor, he descended upon the main square of his own Balthazar City, in reality Ban JelaËiÊ Square in Zagreb, where, quite deservedly, he received the title of children’s ambassador. Anybody above the age of twenty will remember him well - a busy little man who could solve any problem by applying his knowledge and by using a rather complicated piece of machinery which spewed out solutions in the form of a magical potion. Charmingly simple feel-good stories came in the form of animated films, a style simply adored by children. In

addition to all of them having happy endings, they also conveyed a positive message to children. These are the pedagogical and artistic values of this classic cartoon for children and adults, which Croatian Radio and Television will air again, albeit not in the slot that was once reserved for it immediately before the main evening news, but early in the morning when children are known to be the principal television audience. Professor Balthazar is the hero of a serious of cartoons, a charming scientist who solves his fellow citizens’ problems with the help of an intricate piece of machinery, and even more so by applying his endless imagination and a lot of positive energy. The first 12 episodelong Professor Balthazar series was made by Zagreb Film between 1968 and 1969. It was a unique product by the globally famous Zagreb School of Animated Film, the name which was coined by Georges Sadoul, a famous French film theorist, already in 1959 during the Cannes Festival. Sadoul described ...the unique artistic-philosophical style of animated films that emerged from the Zagreb Film Studio. Duπan VukotiÊ gained global fame for the Zagreb School of Animated Film in 1962 when he won an Oscar for his film Surrogate, the first European film ever to win

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the prestigious American Academy Award for Animation. Besides art films, Zagreb Film has also produced a number of other films and TV series for children such as Inspector Mask, Little Flying Bears, to name but a few, but none of them have been able to match the popularity of Professor Balthazar. The catchy tune which announced the start of yet another Professor Balthazar story in the distant 1970’s and 80’s managed to glue the eyes of children and parents alike to TV screens, right before commercials and the typically dramatic main news. While the children enjoyed the imaginative and inventive stories which tapped into their imagination, where everything was possible, the adults watched from many different perspectives. While the cartoons brought out their inner child, the adults also recognized some of their metaphorical facets and perceived the messages of peace and kindness. Sometimes it did appear that the well-meaning and ageless Professor Balthazar was sending messages of peace into everyday life, the reality of which was forever fuelled by dramatic events. He demonstrated how easily every problem could be solved. His solutions were always imaginative and for the benefit of the good citizens of Balthazar City. The series was not only popular in Croatia and in the former state. The episodes have been shown with great success in many countries, like Denmark, Finland, Italy, the Netherlands, Norway, Portugal, Sweden, Iran, USA, Australia, New Zealand, etc. The Professor is especially popular in Scandinavian countries. The Professor Balthazar fan club on Facebook already has over 120,000 members from several countries. Despite his huge popularity, towards the end of the 80’s, during the time of major global, political and social turmoil, and on the eve of war in the former state, the beloved professor disappeared from television screens. While the tapes were collecting dust in storage at Zagreb Film, posters would spring up in the streets of Zagreb every now and then, asking when the professor would be back. It was clear that the disappearance of this remarkable artwork from the public scene, an authentic Croatian cultural legacy trademark which could only preserve its artistic credibility by having contact with an audience, was a loss for many generations of children, adolescents and adults, in Croatia as well as worldwide. The gap the professor left could hardly be filled by the aggressive and forceful characters depicted in imported cartoons. Therefore, the idea to rescue the character of the benevolent genius from the layers of dust

and launch him as the first true Croatian artistic brand is an initiative of far-reaching social consequences. Its positive effects have been recognized and readily supported by national organizations and authorities, and even more so by the public bodies of Zagreb, the town where Professor Balthazar rightfully belongs more than anywhere else since Zagreb served as the model for the fictitious Balthazar City. In the meantime, technology has made huge leaps forward, which means that the films had to be technically enhanced and adapted for the new media and technical capabilities. Over five hundred minutes of film were digitalized and restored over a 2-year period. About four hundred kilos of negatives from Croatian Kinoteka and the archives of Zagreb Film were sent to Rome for processing, while over 20 experts from different professions worked hard on the rebranding of the project. A total of 59 Professor Balthazar episodes, 39 and 20, lasting 10 and 5 minutes respectively, have now been completely restored. The restored animated series Professor Balthazar was first presented to the industry and potential partners at last year’s international licensing conference in Rovinj and it was received with sheer delight. The brand was pitched as being different and retro, which is very trendy, and that it was a positive role model, not only in terms of the messages it sent, but also as being the only original Croatian ethical brand seriously positioned to develop into an original souvenir of Zagreb and Croatia. The charming professor first reappeared as a morning show on the second HTV channel last March. As of the end of last year, it has occasionally aired in a more appropriate family slot as a family cartoon with two distinctly different facets: education for children on the one hand, and entertainment for adults, on the other. The imaginative stories are presented in a way that is acceptable and easily understood by children. The fairytale contents always reveal positive views of a world where problems are solved through knowledge, work and resourcefulness; in which the worries of a fellow citizen are not ignored but rather embraced as a reason to lend a hand; in which any possible discords are resolved through dialogue. One could easily say that in the Professor Balthazar cartoons, imagination and the power of positive thinking reign supreme over lies, ideologies and manipulation. All that is skilfully masked by the imaginative plots coupled with colourful fairytales in an awe-inspiring artistic achievement. The universal message of non-violent problem solving, so dissimilar

to the imagery seen in other cartoons where problems call for violence, and the message that knowledge and not force are true power, had a hugely positive impact on young viewers at the time when the series was first shown on television. At the first sounds of the familiar theme, entire families would gather in front of their television sets. Last November, a promotional campaign was organized to launch the new Professor Balthazar series. The event started in Zagreb’s Europa cinema and continued on the open stage at the packed Ban JelaËiÊ Square where it became abundantly clear that the character was still very close to the children, who all sang, clapped their hands and cheered for him for hours. On the occasion, one of Zagreb’s trams was painted with the imagery of Balthazar City. Ever since Professor Balthazar ceremoniously returned, the tram has been in daily operation to remind everybody that the professor is back. Balthazar teaches us that giving is a source of happiness, that people are different and that those differences are a source of wealth. The lovely character, who was about sixty when he was born and hasn’t grown a day older since, has remained the trademark of many generations and the epitome of an alternative and somewhat rebellious worldview according to which knowledge and kindness, and not ideology, have the power to create reality. The main character, the bald and bearded Professor Balthazar, is indeed quite a character. He regularly works out and is always focused on solving problems. In the film Cloudy with Bickering, for example, the professor tries to solve a problem created by a black cloud of malice which is making everybody in town argue and quarrel, so much so that even he himself becomes a victim of malice. Whenever faced with a challenging situation, the professor ponders and consults science, as well as his machine which helps him devise one creative solution after the other. In this particular situation, the professor first invents a laughsprinkle, and then he protects his head with a hat of joy and goodwill which shows that he is fully prepared to face the cloud of malice. As soon as the laughsprinkle disperses the cloud, the town is again filled with harmony and joy. The scene of harmony in which pretzels and ice-cream are being handed around, cups of coffee are being shared, and kisses and lollipops are given back and forth, is accompanied by the cheerful rhythmical tune of harmony and goodwill. As night falls over Balthazar City, and the professor checks the sky to thwart the arrival of any new black clouds of malice, the familiar characters get into their night berths - beds for some, pirate CROATIA AIRLINES

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chests for others. As night envelops all of colourful Balthazar City, there is a feeling that the children who have been carried away by the story should do the same. A simple feel-good story, presented in the form of a cartoon simply adored by children, always with a happy ending and a positive message for children - these are the pedagogical and artistic values of this timeless cartoon for children and adults, which is again being shown in Croatia and Italy. The DVD’s and the cartoon-based picture books can be used by both children and adults alike, not only for entertainment but also as learning tools which can help them understand the messages of the victory of good over evil, knowledge over ignorance, imagination and creativity over narrow-mindedness and clichés. The recently redesigned series of six picture books created by Boris Kolar, Zlatko Bourek, Ante ZaninoviÊ and Zlatko GrgiÊ constitute precious reading material for children. Once they develop a rapport with the animated stories they can move on to the picture books where the familiar characters will help them develop reading habits and adopt a positive attitude towards books in general. The first six picture books are: Hannibal’s Alps, Maestro Koko, Windy Story, Flying Fabian, On Mouse and Watches, and the Starry Quarter. In the picture books, just like in the animated films, imagination has created Balthazar-like dramas, all with happy endings and all of them conveying a message of kindness. They teach us that another person’s happiness can have a ripple effect on all people. If the series is shown often enough on television, and if the present generation of children takes to it as their parents and grandparents did, the picture books may also be expected to find

the road to children’s hearts as they abound in imaginative, colourful drawings and charming characters, just like the animated films on which they are based. The benevolent professor, who relies on the power of thinking and imagination, as well as on his inventions, when it comes to solving problems of his fellow citizens in Balthazar City, has finally become the first original and responsible brand in Croatia. Since Christmas, a limited series of toys, giftware and other Balthazar merchandize has been on sale at exclusive points of sale and on the Internet. The Balthazar merchandize will bear the sign of responsible purchase, which means that a percentage of the profit will be allocated to sponsor students through the Professor Balthazar Fund. The future Professor Balthazar Foundation, a project set up by the Ministry of Science, Education and Sports in cooperation with corporate partners, is a relatively new form of corporate and social responsibility in Croatia. A highly-developed culture of foundations is proof of a highly developed awareness of the citizens and the country as a whole of responsible living in a community. As they are typically based on partnerships among different sectors, foundations have dual benefits: a direct social benefit and an indirect benefit achieved through the enhancement of social capital and making up for the possible shortcomings in the existing government policies and institutional activities, all in keeping with the defined and agreed strategy. As Croatia does not have a long tradition of foundations, the advantages of this form of funding have not been sufficiently explored. The main goal of the Professor Balthazar Foundation will be to promote the development of creativity, innovativeness and

knowledge in children and young people, pupils, students and young scientists. The way to achieve that goal will be to award and support the development of talent within the educational system and outside of it, and to create the necessary preconditions for the development of potentials in children and young people. These activities serve to give impetus to partnership programmes and to create a generally positive synergy which will help transform Croatia into a knowledge society in keeping with the European Union Technology Platforms. The foundation will also serve as a platform for gathering positive social forces to help create an atmosphere of general social responsibility and commitment to the sustainable development and education of children in keeping with the positive values of honesty, love and trust, and valuing knowledge and hard work, precisely the same values promoted by the character of Professor Balthazar as a socially responsible brand. In that sense, the animated character from the Professor Balthazar series is quite unique on the Croatian market: not only will some of the brand’s commercial value be channelled back to society, primarily in the areas of education and science, but also the character itself serves as a powerful communicator when it comes to spreading the message that knowledge, non-violence and creativity are positive values among children and families. Thus, it’s educational and socially responsible potential will be fully used. This is yet another reason why, during the time of recession and a general dry spell in positive values, the return of Professor Balthazar onto the Croatian public scene is an initiative with a particularly positive social consequence. n

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■ OBLJETNICE ANNIVERSARIES

Prije Ëak sto godina u Hrvatskome je narodnom kazaliπtu u Zagrebu zaposlen prvi kostimograf. Odonda do danas naπom je scenom proπetalo i otplesalo na tisuÊe kostima, te tako satkalo veoma kreativnu povijest te visokocijenjene umjetniËke discipline. 100 years ago, the first costume designer was hired at the Croatian National Theatre in Zagreb. Since then, thousands of costumes have walked and danced across our stages, weaving an exceptionally creative history of this highly esteemed artistic discipline.

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ostimografija, ta veliËanstvena umjetniËka disciplina neodvojiva od kazaliπnih dasaka, proslavila je u Hrvatskoj veliku obljetnicu - postala je stogodiπnjakinja! Kako bi se, dakle, okrugla brojka proslavila dostojno, projektni tim priredio je izloæbe u Hrvatskom domu likovnih umjetnika, galeriji ULUPUH-a i Hrvatskome narodnom kazaliπtu u glavnom gradu Hrvatske, Zagrebu, gdje su fanovi i zaljubljenici u kazaliπte i kostimografiju mogli vidjeti kako kostim izgleda kad miruje, kako funkcionira kao samostalan dizajn, ali i uÊi u cijeli proces nastanka, prouËiti skice, te vidjeti kako rade studenti Tekstilnotehnoloπkog fakulteta, buduÊi kostimografi. - Potaknuta obljetnicom, izloæba je zamiπljena uz mnogo truda i æelje za pravim pregledom 132

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nastanka i razvitka struke kroz mnoge autore, talente, kroz mnoga miπljenja kazaliπta, njegove proπlosti, stvarnosti i naπe (scenografske, kostimografske) buduÊnosti. I dok se u ovim teπkim vremenima pitamo kako dalje, πto nas sutra Ëeka, nadamo se da Êe i u buduÊnosti naπa struka biti jednako kreativna i nuæna - izjavila je kostimografkinja Ivana Bakal, ravnateljica i idejna inicijatorica projekta. S najboljim æeljama za buduÊnost, prvih sto godina, priznaju naπi struËnjaci, nije bilo lako. PoËetak povijesti tih dviju umjetniËkih disciplina zapravo je dan kad je u Hrvatskom narodnom kazaliπtu u Zagrebu zaposlen kostimograf i scenograf Branimir ©enoa. - Bio je to poËetak kontinuiranoga djelovanja πkolovanih likovnih umjetnika kao scenografa

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i kostimografa - kaæe Martina PetranoviÊ, struËna suradnica za kostimografiju i dio projektnog tima obljetnice. - BuduÊi da se do sredine 20. stoljeÊa scenografska i kostimografska struka ne razdvajaju, prvu polovicu stoljeÊa obiljeæili su scenografikostimografi, a poratne pedesete i πezdesete vrijeme su uzleta nacionalne kostimografije i njezine konaËne afirmacije kao samostalne umjetniËke discipline: u Hrvatskome narodnom kazaliπtu u Zagrebu otvara se mjesto stalnoga kostimografa, poslove scenografa i kostimografa ne sjedinjuje viπe jedna osoba, poËinju se upotrebljavati pojmovi kostimograf i kostimografija, kostimograf se navodi meu umjetniËkim zvanjima na kazaliπnoj cedulji, osnivaju se obrazovne institucije za edukaciju kostimografa, kostimografijom se bavi sve viπe πkolovanih umjetnika koji ravnopravno surauju s redateljem i scenografom u definiranju vizualnoga diskursa predstave, a o kostimografima i kostimografiji sve se ËeπÊe govori i u kazaliπnoj kritici. U sklopu srediπnje izloæbe Sto godina predstavljeno je Ëetrdesetak kostimografa, a u sklopu ostalih popratnih izloæbi neπto viπe. Njihov je opus razliËit, no svi su imali neπto zajedniËko. - Dobar kostimograf mora biti u sluæbi predstave koju radi. Ne smije se suviπno isticati - iz svoga bogatog iskustva govori Ivana Bakal. - Mora poznavati dramaturgiju te likovnoπÊu prikazati karakter likova. Ne smije raditi kostime koji sputavaju glumce, pjevaËe ili plesaËe u njihovoj izvedbi. Njegov je rad stalno pred oËima javnosti, to je pravi æivotni poziv, morate biti


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The works of art are property of the Department for the History of the Croatian Theatre of the Croatian Academy of Sciences and Arts in Zagreb.

Umjetnine su u vlasniπtvu Hrvatske akademije znanosti i umjetnosti, Odsjeka za povijest hrvatskoga kazaliπta, Zagreb


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uistinu zaljubljeni u njega da ne biste odustali... Æivot svakog kostima obiljeæit Êe, dakako, i godina, desetljeÊe u kojemu nastaje. Uvijek je moda bila Ëvrsto u vezi, odnosno imala neposredan utjecaj na kostime, bilo da je rijeË o starim ili novim predstavama. - Povijesni pregled razvoja kostima otkriva da je suvremeni stil odijevanja imao dugotrajan i dalekoseæan utjecaj na kazaliπni kostim, a revolucionarni prevrati i inovacije u odijevanju nalazili su odjeka i na kazaliπnim daskama kaæe Martina PetranoviÊ, dodajuÊi kako su se, na primjer, krinoline uvukle u kazaliπte Ëim su postale moderne. - Takoer, kostime glavnih glumica ili scensku odjeÊu za predstave iz suvremenog æivota Ëesto su kreirali popularni modni kreatori i krojaËi, u 20. stoljeÊu, primjerice, Erté, Coco Chanel i Christian Lacroix, a preuzimanje se katkad kretalo i u suprotnom smjeru: slikoviti kostimi Ruskoga baleta s poËetka stoljeÊa proπirili su se i izvan prostora scene i otvorili nove vidike modi prema egzotiËnijim bojama, oblicima i krojevima. Aktualni modni trendovi vremena nerijetko su se upisivali u kostimografiju, u pedesetima, primjerice, dominacijom poratnoga diorovskoga new looka i njegovih inaËica. No vaæno je naglasiti kako suvremena moda ne zaposjeda pozornicu samo πto se tiËe prikazivanja suvremenih predstava, nego je prisutna i u uprizorenjima klasiËnih djela ili djela s povijesnom tematikom, u razliËitim inaËicama stilizacije povijesne odjeÊe, u mijeπanju stilskoga i suvremenog kostima, u vremenskim premjeπtanjima klasika u suvremenost, u kojima dobiva dodatnu semantiËku teæinu prenoπenja odreenih redateljskih i/ili kostimografskih ideja o svijetu djela i njegovim likovima. Poπto uzmu u obzir sve relevantne trendove, izrada kostima ima svoj konkretan proces. Redatelj je odabrao ekipu i nakon Ëitanja teksta te dogovorom s ostatkom tima o razdoblju, stilu, bojama i ostalim detaljima poËinje izrada prvih skica, objaπnjava Ivana Bakal: - Poslije predaje skica odabiremo tkanine, te uskoro idemo u krojaËnicu. Usporedno pratimo pokuse, dodatno se usklaujemo sa scenografom. Probamo kostime, doraujemo ih i tako sve do prve kostimske probe. U dva, tri dana generalnih proba dorauju se finese. Nakon cijeloga tog kaosa, usred kojega radimo po cijele dane, predstava najednom, nakon premijere, dobiva svoj æivot, ona je samostalna. U tom trenutku kostimi postaju dio cjeline. Neodvojivi od ostalih elemenata poput svjetla, glumaca, mimike, kretnji i znaËenja, karaktera lika u Ëijoj su sluæbi. Naime, veÊina prouËavatelja kazaliπnoga kostima slaæe se da je kazaliπni kostim dio prepoznatljive komponente kazaliπne umjetnosti CROATIA AIRLINES

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od njezinih najranijih poËetaka do danas. - Kazaliπni kostim nerijetko se rabi i kao metafora kazaliπne umjetnosti u cjelini - objaπnjava Martina PetranoviÊ. - ©to se sve kazaliπnim kostimom moæe iskazati, i na koji naËin, kroz kazaliπnu se povijest mijenjalo, pa je tako, primjerice, katkad bilo najvaænije da bude πto je moguÊe vjernija kopija pa i rekonstrukcija povijesne odjeÊe. Neki su se ugledni kazaliπni ljudi svojedobno hvalili kako je korisnije doÊi pogledati kostime u njihovim predstavama, nego iÊi u muzej. Danas je, dakako, naglasak ipak na dramaturπkim funkcijama kostima i njegovim prinosima razvijanju radnje, upoznavanju likova i njihovih meuodnosa, iznoπenju autorovih i redateljevih ideja, prenoπenju modela stvarnosti koji se predstavom oblikuje, iskazivanju poruka i teza predstave, produbljivanju glumaËkih interpretacija, a kostim u konaËnici prenosi poetiku pojedinoga kostimografa ili Ëak cijeloga kazaliπnoga razdoblja. Drugim rijeËima, kazaliπni kostim danas se smatra jednim od osnovnih nositelja znaËenja kazaliπne predstave i vaænim proizvoaËem njezinoga smisla. Do koje to mjere moæe iÊi, moæda bi se najbolje moglo vidjeti usporedbom iste predstave odgledane s izvoaËima u civilnoj odjeÊi i u kazaliπnim kostimima. U kazaliπtu odjeÊa, dakle, i te kako Ëini Ëovjeka, ali i joπ mnogo viπe od toga. A kroj Ëini - tkanina. HoÊe li kostimograf u predstavi iskoristiti i neπto otpadne tkanine, ili Êe se fokusirati iskljuËivo na svilu i saten, ovisi i o viziji redatelja, ali i autora kostima. U Hrvatskoj je odræan niz predstava koje se mogu pohvaliti inventivnoπÊu tkanina i izbora materijala, poput PVC-a, spuæve, πpage... ali i istraæivanjem postupaka u obradi materijala poput kaËkanja, pletenja, ruËnoga tkanja, makramea, grafiËke obrade... - U tom su smislu karakteristiËni kostimi, primjerice, Jagode BuiÊ, Marije Æarak, Ingrid BegoviÊ, Ike ©komrlj, Diane Kosec Bourek, Zlatka Boureka i Ruæice NenadoviÊ SokoliÊ - prisjeÊa se Martina PetranoviÊ - a u ekstremnije sluËajeve preispitivanja kostimografskoga materijala u novije vrijeme ulazi i tzv. kostim od mesa, kakav smo u hrvatskoj inaËici dobili u srpnju 2008. u predstavi Olivera FrljiÊa Bakhe. Taj mesni kostim baπ i nije mogao biti pohranjen u fundus, no zato mnogi drugi bivaju saËuvani i dostupni buduÊim naraπtajima. Nerijetko su i ponovno upotrijebljeni: recikliranje kostima nije rijetko, ali upravo je taj proces katkad nezaustavljiv, pa na kraju konstantno prekrojavanje i mijenjanje kroja rezultira raspadom. No Ëuvanje kostima i dostupnost kostimografske grae neπto je πto je struci potrebno i za πto se naπ projektni tim obljetnice bori svim snagama. 136

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- Ova je izloæba i svojevrstan apel za oËuvanjem kostimografske grae, koja je temeljni preduvjet za provoenje teatroloπkih istraæivanja i prouËavanje povijesti hrvatske kostimografije, opusa pojedinoga kostimografa, pojedinoga razdoblja hrvatske kostimografije i uopÊe mjesta kostimografije u povijesti hrvatskoga kazaliπta i πire, nacionalne kulture - istiËe Martina PetranoviÊ. - Ovom se obljetnicom nastojalo prikazati umjetnost i umjetnike koji su velikim dijelom oblikovali povijest hrvatskoga kazaliπta 20. stoljeÊa, ali i nacionalne kulture, a jedan od neoËekivanih, iako priæeljkivanih ishoda ove izloæbe jest i nakana mjerodavnih institucija da se i kazaliπni kostim spozna, a zatim i zaπtiti, kao dio pokretnoga kulturnog dobra Republike Hrvatske, πto je praksa i u drugim europskim zemljama. Kako bi obljetnica bila saËuvana i kako bi se bolje shvatilo i cijenilo kostimografiju u Hrvatskoj, uskoro Êe o svemu tome biti izdana raskoπna monografija. Tako Êe se objavljivanje materijala o kostimima uspjeπno nastaviti, poπto je Udruæenje likovnih umjetnika primijenjenih umjetnosti Hrvatske nedavno objavilo izvrsnu dvojeziËnu, hrvatsku i englesku, monografiju o kazaliπnoj i filmskoj kostimografkinji Ruti KneæeviÊ na Ëak dvjestotinjak stranica u boji. I viπe je to nego dobar novi poËetak, na pragu novog tisuÊljeÊa i novog stoljeÊa za hrvatsku kostimografiju. Popis najutjecajnijih hrvatskih kostimografa u 100 godina Niz poËinje Oton IvekoviÊ, prvi hrvatski kostimograf umjetnik, ali i autor jednoga od prvih struËnih radova o kostimografskoj problematici, a nastavljaju ga scenografi-kostimografi prve polovice 20. stoljeÊa, meu kojima se osobito istiËu prvi stalni scenograf Branimir ©enoa, Tomislav Krizman, Ljubo BabiÊ, Marijan Trepπe, Pavel Froman i Vasilij UljaniπËev, te Vladimir Æedrinski. Suvremenu povijest kostimografije nakon otvaranja mjesta kostimografa u Hrvatskom narodnom kazaliπtu u Zagrebu te izdvajanja kostimografije kao zasebne umjetniËke struke sredinom stoljeÊa predstavljaju umjetnici razliËitih naraπtaja, rukopisa i opusa, od Inge KostinËer, Vande PaveliÊ Weinert, Marije ZidariÊ, Aurelije BrankoviÊ, Jasne Novak, Ljubice Wagner, Jagode BuiÊ, Ruæice NenadoviÊ SokoliÊ, Zlatka Boureka, Diane Kosec Bourek, Ike ©komrlj, Marije Æarak i Ingrid BegoviÊ, preko Rute KneæeviÊ, Ksenije JeriËeviÊ, Doris KristiÊ, Danice Dedijer, do Irene Suπac, Dæenise PecotiÊ, Ivane Bakal, Mirjane Zagorec, Æeljka NosiÊa, Ane SaviÊ Gecan, Marije ©ariÊ Ban te Barbare Bourek i Katarine RadoπeviÊ GaliÊ kao najmlaih predstavnica struke. n


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ostume design, this magnificent artistic discipline, inseparable from the theatre stage, has celebrated an important anniversary in Croatia - it has become a centenarian! In order to properly celebrate this anniversary, the project team organized exhibitions at the Croatian Artists’ Centre, the gallery of the Croatian Association of Artists of Applied Arts (ULUPUH) and the Croatian National Theatre in Croatia’s capital, Zagreb, where fans and admirers of theatre and costume design could not only see what a costume looks like when it is still and how it functions as an independent design but were also given the chance to enter the process of its creation, study sketches and see how students of the Faculty of Textile Technology, future costume designers, work. - To mark the anniversary, the exhibition was conceived with a lot of effort and the desire to achieve a genuine overview of the emergence and development of the profession through many talented designers, many visions of the theatre, its past, its present and its (set and costume design) future. And while we wonder, in these difficult times, what to do next, what awaits us tomorrow, we hope that our professions will be just as creative and indispensable in the future, says costume designer Ivana Bakal, the director and conceptual initiator of the project. The first 100 years, as our experts admit, were not easy. The beginning of the history of these two artistic disciplines was the day when the Croatian National Theatre in Zagreb hired the costume and set designer Branimir ©enoa. - It was the beginning of continuous activity of trained artists as set and costume designers, says Martina PetranoviÊ, a costume design consultant and a member of the anniversary project team. - Since the set and costume design professions were not separated until the mid-20th century, the first half of the century were marked by set-costume designers, while the post-war 50s and 60s were the time when the national costume design flourished and was ultimately established as an independent artistic discipline: at the Croatian National Theatre in Zagreb. The post of permanent costume designer was opened, so that the tasks of the set and costume designers were no longer performed by one person, and the concepts of costume design and costume designers entered the vocabulary, costume designers appeared among the artistic professions in theatre leaflets, educational institutions for training costume designers were established, and an increasing number of educated artists began to work in cos-

tume design, cooperating as equals with the director and the set designer in defining the show’s visual discourse. Also, costumes and costume design were increasingly discussed in theatre reviews. Within the One Hundred Years exhibition, about forty costume designers were presented in the central exhibition and somewhat more were presented in accompanying exhibitions. Their works vary, but they all had something in common. - Good costume designers must be in the service of the show they work on. They must not overemphasize themselves, says Ivana Bakal, speaking from her rich experience. - They must know the dramaturgy and show the characters’ personalities through visual means. They must not make costumes which would hinder actors (or signers or dancers) in their performances. Their work is constantly in public view, it is a true life calling and you must really be in love with it to not give up. - The life of any costume will of course be marked by the year and the decade in which it was created. Costumes have always been directly or indirectly influenced by fashion, whether the shows in question were old or new. - The historical overview of costume development reveals that the modern clothing style had a lasting and far-reaching influence on theatrical costume, while revolutionary turns and innovations in fashion were reflected on the stage as well, says Martina PetranoviÊ, adding that, for example, crinolines slipped into theatres as soon as they became fashionable. - Also, leading actresses’ costumes and stage clothes for plays set in contemporary times were often created by famous fashion designers and tailors, for example, Erté, Coco Chanel and Christian Lacroix in the 20th century, and takeovers could also occur in the opposite direction: picturesque costumes of the Russian ballet from the beginning of the century spread beyond the stage and opened new perspectives for fashion, introducing more exotic colours, shapes and fits. Current fashion trends often became integral parts of costume design, for example, in the 50s, with the dominance of the post-war Dior New Look and its variants. However, it is important to emphasize that contemporary fashion not only took over the stage when it came to contemporary plays but was also present in classical or historical pieces, with different stylistic variations of historical garments, mixing stylistic and contemporary costumes, transposing the classics into contemporary times, where it gained the additional semanCROATIA AIRLINES

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tic weight of conveying the director’s and/or costume designer’s ideas regarding the play’s inner world or its characters. After taking into the account all the trends, the making of costumes has its own specific process. The director chooses his cast and, after reading the text and agreeing with the rest of the team on the period, style, colours and other details, the first sketches are made. - After submitting the sketches, we select the materials and soon we move to the tailor room. In parallel, we follow the rehearsals and make additional adjustments with the set designer. We fit the costumes, make corrections, until the first dress rehearsal. During the two or three days of dress rehearsals, details are touched up. After all this chaos, in which we 138

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work all day long, the show suddenly, after the premiere, gets a life of its own, becomes independent, explains Ivana Bakal. At that point, costumes become a part of the whole. They are inseparable from other elements like lights, actors, facial expressions, gestures and meanings, and the personality of the character which they serve. - Most scholars studying theatrical costume agree that it makes a recognizable constituent of theatrical art, from its beginnings until today, and the theatrical costume is often used as a metaphor for the art of theatre as a whole, explains Martina PetranoviÊ. - What can be said by theatrical costumes - and in which way - has changed throughout the history of theatre. For example, at a particular time, the most important thing was that the costume was the most faithful copy, even reconstruction, of historical garments, and therefore, some prominent theatre people boasted that it was more useful to look at their costumes in shows than to go to a museum. Today, the emphasis is, of course, on the dramaturgic function of costumes and their contribution to the development of the plot, on the presentation of characters and their mutual relations, on the exposition of the author’s and director’s ideas, on transferring the model of reality shaped by the show, on deepening the actors’ interpretations, so the costume ultimately conveys the poetics of individual costume designers or even a theatrical period. In other words, theatrical costumes are today thought to be one of the fundamental bearers of the play’s meaning and an important producer of its sense. How far it can go can best be seen in the comparison of the same

play performed by actors in street clothes and in costumes. In theatre, therefore, while clothes definitely make a man, they also do much more than that. And the cut is determined by the fabric. Whether the costume designer will use waste material for the show or will focus on silk and satin depends not only on the director’s vision but also on the vision of the costume designer. A number of plays have been staged in Croatia which can boast the inventiveness of fabrics and choice of material, such as PVC, sponge and rope, and also the exploration of methods in the treatment of material such as crocheting, knitting, hand weaving, macramé and graphic applications. - For example, there are the costumes designed by Jagoda BuiÊ, Marija Æarak, Ingrid BegoviÊ, Ika ©komrlj, Diana Kosec Bourek, Zlatko Bourek and Ruæica NenadoviÊ SokoliÊ, remembers Martina PetranoviÊ. - And one of the more extreme recent cases of re-examining costume is the so-called flesh costume, the Croatian version of which we had a chance to see in July 2008, in Oliver FrljiÊ’s play, Bacchae. This flesh costume cannot be stored in the holdings, but there are others that are preserved and available to future generations. Often they are reused: recycling of costumes is not a rare occurrence. Indeed, this process is sometimes unstoppable and, in the end, constant refitting and reshaping sometimes results in disintegration. However, preservation of costumes and costume items is something which our profession needs and which our project team fights for with all its might. Martina PetranoviÊ adds that this exhibition is also an appeal to preserve costume items, which is the basic prerequisite for conducting theatrical research and studying the history of Croatian costume design, the works of individual costume designers, individual periods in Croatian costume design and, generally,


the place of costume design in the history of the Croatian theatre, and more broadly, the national culture. This anniversary was aimed at presenting the art and the artists who had a significant role in shaping the history of 20th century Croatian theatre, but also the national culture, and one of the unexpected, but desirable, outcomes of this exhibition is the intent of the relevant institutions to see costumes as a part of the mobile cultural heritage of the Republic of Croatia, and to protect it as such, which is the practice in other European countries. In order to mark the anniversary and for Croatian costume design to be taken more seriously and be better appreciated, a splendid monograph will be published on the subject in the near future. This will continue the successful publication of material related to costumes, after the Croatian Association of Artists of Applied Arts recently published an excellent bilingual monograph (in Croatian and English) on the theatre and film costume designer Ruta KneæeviÊ, with some 200 pages in colour. This is more than a fine new beginning, at the beginning of the new millennium and at the start of a new century of Croatian costume design. A list of the most influential Croatian costume designers in the last 100 years The list begins with Oton IvekoviÊ, the first artistic costume designer and also the author of one of the first technical papers on costume design, and is continued by set and costume designers of the first half of the 20th century, among which the most prominent are the first permanent set designer Branimir ©enoa, Tomislav Krizman, Ljubo BabiÊ, Marijan Trepπe, Pavel Froman and Vasilij UljaniπËev, and Vladimir Æedrinski. The modern history of costume design, after the opening of the post of costume designer at the Croatian National Theatre in Zagreb and the establishment of costume design as a separate artistic profession in the mid-20th century, is represented by artists belonging to different generations, styles and works ranging from Inga KostinËer, Vanda PaveliÊ Weinert, Marija ZidariÊ, Aurelija BrankoviÊ, Jasna Novak, Ljubica Wagner, Jagoda BuiÊ, Ruæica NenadoviÊ SokoliÊ, Zlatko Bourek, Diana Kosec Bourek, Ika ©komrlj, Marija Æarak and Ingrid BegoviÊ, to Ruta KneæeviÊ, Ksenija JeriËeviÊ, Doris KristiÊ and Danica Dedijer, and on to Irena Suπac, Dæenisa PecotiÊ, Ivana Bakal, Mirjana Zagorec, Æeljko NosiÊ, Ana SaviÊ Gecan and Marija ©ariÊ Ban, as well as Barbara Bourek and Katarina RadoπeviÊ GaliÊ as the youngest representatives of the profession. n CROATIA AIRLINES

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■ ZNANOST SCIENCE

Piše/By Davorka Vukov-ColiÊ Slike/Images Douglas Ranken

D Dubrovnik je domaÊin 17. meunarodne konferencije o biomagnetizmu Biomag2010, koja okuplja sedamsto sudionika iz trideset zemalja. To je dokaz viπe da biomagnetizam - koji omoguÊuje neinvazivni uvid u aktivnosti mozga, srca i drugih organa ∑ predstavlja nezaobilazno podruËje istraæivanja i kliniËkih primjena u suvremenoj znanosti i medicini. Dubrovnik is to host the 17th International Conference on Biomagnetism (Biomag2010), which is expected to gather seven hundred participants from thirty countries. This proves once again that biomagnetism - a noninvasive approach to mapping the activities of the brain, heart and other organs - represents an important field of research and applications in contemporary science and medicine. 140

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avne 1963. godine doktorand Gerhard Baule sa SveuËiliπta Syracuse u dræavi New York prvi je put sa svojim mentorom Richardom McFeejom izmjerio magnetsko polje proizvedeno aktivnoπÊu ljudskog srca koristeÊi se bakrenim zavojnicama s milijunima zavoja. Samo se rijetkima posreÊi da im disertacije pokrenu sasvim novo podruËje znanstvenog istraæivanja, a Baule je jedan od tih sretnika. To prvo uspjeπno magnetokardiografsko (MCG) mjerenje bilo je, naime, poËetak razvoja biomagnetizma. U meuvremenu Baule se zainteresirao za druge istraæivaËke probleme i 2004. g. pojavio se kao poËasni gost u sekciji posveÊenoj poËecima podruËja na meunarodnoj konferenciji o biomagnetizmu u Bostonu. Na konferenciji je sudjelovala i biofiziËarka dr. Selma Supek s FiziËkog odsjeka Prirodoslovno-matematiËkog fakulteta u Zagrebu, te se sjeÊa kako je dr. Baule bio impresioniran kad ga je jedan od pionira biomagnetizma profesor David Cohen, uveo u dvoranu u kojoj je sjedilo gotovo 700 sudionika sa svih strana svijeta. Na prvoj konferenciji, takoer u Bostonu 1974., sudjelovala su samo 24 znanstvenika. Ove se godine 17. meunarodna konferencija o biomagnetizmu odræava od 28. oæujka do 1.


travnja u Dubrovniku www.biomag2010.org i oËekuje se da Êe okupiti viπe od 700 sudionika iz trideset zemalja. Dr. Selma Supek, predsjedateljica konferencije, Ëijom se zaslugom ovaj prominentni skup odræava u Hrvatskoj, napominje da je pristiglo zamalo 500 saæetaka, koji Êe biti prezentirani na konferenciji. Prethodna se konferencija odræala u Sapporou, a poslije konferencije u Dubrovniku slijedi ona u Parizu 2012. godine. Znanstvenici se tako okupljaju svake druge godine zbog razmjene iskustava, rezultata istraæivanja i otvaranja novih problema. To pokazuje da je biomagnetizam, podruËje koje istraæuje i integrira metode za mjerenje i prouËavanje magnetskih signala proizvedenih æivim bioloπkim tkivima, postao nezaobilazno podruËje istraæivanja i kliniËkih primjena u suvremenoj znanosti i medicini. No, biomagnetizam ne bi doæivio takav vrtoglav razvoj da istraæivaËi veÊ sedam godina nakon prvih Bauleovih mjerenja nisu konstruirali ureaj za mjerenje, kojim je omoguÊen pravi zamah u neinvazivnim istraæivanjima fizioloπkih procesa. RijeË je o tzv. SQUID-u, supravodljivome kvantnom interferometru, ureaju koji ekstremno slaba magnetska polja pretvara u lako mjerljive napone za πto su potrebni uvjeti supravodljivosti, koje osigurava temperatura tekuÊeg helija. Razvoj SQUID-a nije pratila jasna ideja Ëemu Êe posluæiti u konaËnici. Bio je to visokoriziËan projekt, a financirao ga je Office of Naval Research, sa æeljom da se u sklopu programa supravodljivosti dobije SQUID gradiometar za potrebe AmeriËke mornarice, ali oËekivanih rezultata nije bilo. Ni istraæivaËu Jamesu Zimmermanu nije bila jasna namjena SQUID-a kad ga je razvijao u laboratorijima korporacije Philco Ford. Kolege su se πalili na njegov raËun da razvija detektor za praÊenje pomaka uredskih stolaca, jer ureajem je doista mogao otkriti pomake stolaca i u udaljenijim prostorijama. No sve je doπlo na svoje kad je znanstvenik Edgar Edelsack, sluæbenik u Office of Naval Research za financiranje znanstvenih projekata spojio istraæivaËa superosjetljivog ureaja Jamesa Zimmermana i Davida Cohena, koji je imao sagraenu magnetski zasjenjenu sobu, u kojoj su se mogli mjeriti najprije signali srca, a samo dvije godine poslije i mozga, koji su Ëak i do sto milijuna puta slabiji od magnetskog polja Zemlje. Nakon tih poËetaka SQUID magnetokardiografije, brzo je poËeo i vrlo dinamiËan razvoj magnetoencefalografije (MEG-a), a Ëetiri desetljeÊa poslije, na ovogodiπnjoj konferenciji Biomag2010 u Dubrovniku, profesor John Clark dræi Nikola Tesla predavanje o razvoju SQUID-a i novim metodama u kojima i sam surauje na zdruæivanju tehnologije SQUID-a i magnetske rezonancije (MRI) kao

i osjetljivosti niskopoljnog MRI-ja u ranom otkrivanju tumora. Ukratko, razvoj SQUID-a zapravo se temelji na desetljeÊima istraæivanja u fizici i tri Nobelove nagrade (one za otkriÊe supravodljivosti, za teoriju niskotemperaturne supravodljivosti, te za Josephsonov spoj). Do prije koju godinu Ëak se 95 posto SQUID-ova u svijetu upotrebljavalo za razliËite primjene u biomagnetizmu, a danas se sve viπe rabe i u astrofizici. - Biomagnetizam je danas integrirani pristup mjerenju, analizi i interpretaciji magnetskih signala fizioloπkih procesa bioloπkih sustava - objaπnjava dr. Selma Supek. Ona naglaπava izrazito interdisciplinarnu prirodu podruËja i osobito zanimanje istraæivaËa u tom podruËju za multimodalnim integriranjem s drugim metodama za funkcionalno oslikavanje mozga kao πto su elektroencefalografija EEG, funkcionalna magnetna rezonancija, MRI, transkranijska magnetska stimulacija, TMS i anatomsko oslikavanje magnetskom rezonancijom - MRI. ZagrebaËka znanstvenica dr. Supek, koja se bavi istraæivanjima mozga koristeÊi se magnetoencefalografijom MEG u prouËavanju retinotopske i funkcionalne organizacije ljudskog vidnog korteksa, suvoditeljica je meunarodne serije poslijediplomskih teËajeva Mind and Brain u sklopu Interuniverzitetskog centra u Dubrovniku www.brain.hr i organizatorica simpozija o lokaliziranju funkcionalnih izvora i translacijskih istraæivanja. IstiËe, iako su fiziËari utemeljili podruËje biomagnetizma, brzo su im se pridruæili lijeËnici, kliniËki fiziolozi i psiholozi, a zatim i istraæivaËi s podruËja biomedicinskog inæenjeringa i raËunalnih znanosti. Po problemima koje prouËavaju, po metodama kojima se sluæe u mjerenju, po analizi i prikazu podataka, po naËinu kako govore o svojim rezultatima, katkad je teπko prepoznati koje je osnovno obrazovanje vaπeg sugovornika - je li on fiziËar kojega zanima kako radi mozak, je li on lijeËnik koji se koristi novim tipom analize u lokalizaciji viπestrukih epileptiËkih æariπta ili... Ili je psihijatar, a u najnovije doba moæda i ekonomski struËnjak u potrazi za odgovorom kako mozak procesuira informacije u donoπenju odluka, Ëime se otvaraju cijela nova podruËja neuroekonomike i neuromarketinga. A prouËavanje mozga danas je jedan od najveÊih znanstvenih izazova, u kojima magnetoencefalografija s milisekundnom vremenskom rezolucijom daje moguÊnost izravnog praÊenja neuronske aktivnosti u stvarnom vremenu. IstraæivaËi su pokazali da je uvid u dinamiku kortikalnih procesa kljuËan za razumijevanje neurokognitivnog razvoja, percepcije, memorije, jezika, ovisnosti, emocija i uËenja, a odnedavno i neuronskog korelata svijesti. Dr. Supek istiËe da su upravo svijest CROATIA AIRLINES

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i kognitivna neurodinamika u fokusu COST NeuroMath radionice, jednoga od satelitskih skupova Biomag2010. Pokazalo se takoer da je magnetoencefalografija vaæna u lokaliziranju epileptiËkih æariπta, klasificiranju epilepsije, planiranju operativnih zahvata i funkcionalnom predoperativnom mapiranju, a oËekuje se da Êe pomoÊi u razumijevanju mehanizama razliËitih neuroloπkih i psihijatrijskih poremeÊaja. U samo deset posljednjih godina proπloga stoljeÊa, na temelju novih metoda i ureaja, o mozgu se saznalo 90 posto od onoga πto uopÊe znamo o tome najkompleksnijem organu, pa devedesete nisu sluËajno u SAD-u i Europi proglaπene DesetljeÊem mozga. - No tako su tek odπkrinuta vrata spoznajama koje su pred istraæivaËima u novom stoljeÊu uma te stoga ne iznenauje da je interdisciplinarno podruËje neuroznanosti, jedno od onih koje se najbræe razvija - kaæe dr. Selma Supek. A zanimanje za tako intenzivno prouËavanje mozga motivirano je ne samo istraæivaËkom znatiæeljom za razumijevanjem mozga i toga πto nas Ëini ljudima, nego ima i svoje vrlo konkretne pobude: u Europi se na lijeËenje bolesti mozga troπi 35 posto sredstava namijenjenih zdravstvu, gotovo Ëetiristo milijardi eura. Demencija pogaa 7,300.000 Europljana starijih od 65 godina, a do 2020., predviaju epidemiolozi, udvostruËit Êe se broj bolesnika. U SAD 22 posto populacije starije od 18 godina pati od neke vrste duπevnog poremeÊaja, a depresivni su poremeÊaji meu pet glavnih uzroka onesposobljenosti ljudi u razvijenom svijetu. I u Hrvatskoj od njih pati viπe od 5 posto stanovniπtva, iako najpesimistiËniji tvrde da ih je zbog posljedica rata znatno viπe, Ëak 20 pa i viπe posto. Dodatno, epilepsija je najËeπÊi neuroloπki poremeÊaj koji Êe na æalost pogoditi bilo koga od nas, izmeu ostaloga i kao posljedica prometne nesreÊe. Hrvatska joπ nema MEG laboratorij te studenti i doktorandi doktorice Selme Supek obavljaju mjerenja u suradnim laboratorijima u Chietiju, Helsinkiju, Heidelbergu, Jeni i Albuquerqueu. I sama znanstvenica boravila je potkraj osamdesetih i u poËetku devedesetih u Los Alamos National Laboratory, te suraivala s drugim laboratorijima u svijetu. Ipak, studenti su do sada dovrπili 15 diplomskih radova i jedan doktorski, dok je joπ jedan u tijeku, pa je to - kaæe zadovoljno - Ëvrsta jezgra oko koje se moæe u skoroj buduÊnosti osnovati centar za funkcionalno oslikavanje mozga, koji bi mogao biti komplementaran 3T MRI laboratoriju u sklopu Hrvatskog instituta za istraæivanje mozga. Pretpristupna i strukturna sredstva Europske unije, pak, mogla bi tu naprednu metodu istraæivanja mozga, vaænu za baziËna i kliniËka istraæivanja i primjene, dovesti i u Hrvatsku, Ëime bi se 142

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ubrzali procesi pribliæavanja i suradnje fiziËara, lijeËnika, biomedicinskih inæenjera, psihologa i drugih struka te stimulirala dodatna suradnja hrvatskih znanstvenika s kolegama iz EU. Dr. Selma Supek istiËe kako joj je drago πto se direktor MEG laboratorija u Pittsburgu, dr. Anto BagiÊ, rado prihvatio voenja CroMEG inicijative i lani odræao seminar u Zboru hrvatskih lijeËnika, Ëime je definitivno zainteresirao hrvatske lijeËnike za najnovija dostignuÊa u podruËju MEG-a, a osobito su bile impresivni prikazi studija pojedinaËnih sluËajeva epilepsije iz njegova laboratorija.. -Biomag2010 u Dubrovniku stoga nije samo prilika za prikaz najnovijih istraæivanja iz cijelog podruËja i tema koje ukljuËuju funkcionalnu povezanost, kognitivnu neurodinamiku, suËelje mozak-stroj, jezik, neurorazvoj, razvoj novih senzora itd. - zakljuËuje dr. Selma Supek - nego i prilika da istaknemo πto smo to novo nauËili o mozgu i srcu koristeÊi se sofisticiranim SQUID senzorima u posljednja Ëetiri desetljeÊa. n

B

ack in 1963, graduate student Gerhard Baule, mentored by Richard McFee of the Department of Electrical Engineering, Syracuse University, Syracuse, NY, measured the magnetic field generated by the human heart, using millions of turns of copper coils. Baule is one of the very few fortunate ones whose doctoral dissertation launched an entirely new field of scientific research the fileld of magnetocardiography (MCG) and more generally, the field of biomagnetism. In the meantime, Baule turned his attention to other research problems and, in 2004, he appeared as the guest of honour in the history session the International Conference on Biomagnetism in Boston. One of the participants was a Croatian biophysicist, Dr. Selma Supek, a faculty member at the Department of Physics of the Faculty of Science of University of Zagreb. She still remembers how overwhelmed Dr. Baule looked when Professor David Cohen, brought him into a conference hall before an audience of nearly 700 participants from all over the world. Back in 1974, at the first conference, also in Boston, there were only 24 participants. This year, the 17th International Conference on Biomagnetism (Biomag2010) is scheduled to take place between March 28th and April 1st in Dubrovnik www.biomag2010.org and is expected to gather over 700 participants from 30 countries. Dr. Supek, the conference chair and the person who deserves credit for bringing this prominent gathering to Croatia, informs us that the organizing committee has received nearly 500 abstract contributions to


be presented at the conference. The previous conference was held in Sapporo, and the one after Dubrovnik is already planned to be held in Paris in 2012. Thus, every two years scientists meet to exchange experiences, discuss research results and raise new issues. This proves that biomagnetism, the field that explores and integrates methods to mesure and examine magnetic signals generated by a living biological tissue, has become an important field of research and clinical applications in contemporary science and medicine. Only seven years after Baule published his first MCG results, researchers constructed a measuring device which gave quite an unexpected boost to the non-invasive study of physiological processes. The device became known as SQUID (Superconducting Quantum Interference Device). It is a very sensitive magnetometer that transforms extremely weak magnetic fields into easily measurable voltages. The device operates in the conditions of supraconductivity ensured by the temperature of liquid helium. The project to develop the first SQUID was not based on a very clear idea as to how the device might be used once it was produced. It was a high-risk project funded by the Office of Naval Research. The underlying idea was to produce a SQUID gradiometer within the framework of the supraconductivity programme conducted on behalf of the American Navy. The coinventor of SQUID James Zimmerman, who was working on SQUID development in the ‘Philco Ford’ corporation laboratories, did not care particularly what the purpose of the device might be. His colleagues used to tease him about his device, saying that it was actually an office chair movement detector as the device was indeed capable of detecting movement of chairs in rather distant rooms. Things finally fell into place once another scientist, the Office of Naval Research funding officer Dr.Edgar Edelsack, put together the two researchers James Zimmerman with his supersensitive SQUID-device and David Cohen who built a magnetically shielded room in which one could measure first heart and only two years later, also the brain signals which are up to 100 million times weaker than the Earth’s magnetic field. The first hesitant steps in the development of SQUID magnetocardiography were soon followed by the unexpectedly dynamic development of magnetoencefalography (MEG). While the biomagnetism research started in USA it moved quickly to Finland, other EU countries and Japan and is currently rapidly growing in Pacific countries. Finland, a country with a population like Croatia, made a significant contribution to both technology

development, basic an translational research. After only 15 years of active research, Finland has become not only one of the worldwide leaders in the field of the brain research but it has also founded companies for production of multichannel MEG and other functional brain imaging devices. What an impresive and natural link of research, technology transfer and health care! Four decades later, at this year’s Biomag2010 in Dubrovnik, Professor John Clark will hold a Nikola Tesla lecture on SQUID development and new methods of combining SQUID technology and magnetic resonance imaging (MRI) that he is closely involved in as well as exploring low field MRI sensitivity in early tumour detection. In short, the current state of SQUID-based technologies rests on decades of research in the field of physics and on as many as three Nobel prizes (one for the discovery of superconductivity, one for the theory of low-temperature supraconductivity and, last but not least, one for the Josephson junction). Until a few years ago, as many as 95 per cent of SQUIDs in the world were used for various applications in biomagnetism, and recently the device has found an increasing number of applications in astrophysics. - Biomagnetism is an integrated approach to the measurement, analysis and interpretation of magnetic signals obtained from the physiological processes taking place in biological systems, explains Dr. Supek. She emphasizes a highly interdisciplinary nature of field and a pronounced interest of scientists in the field of biomagnetism in multi-modal integration with the other available methods for functional brain imaging such as electro-encephalography - EEG, functional magnetic resonance imaging - fMRI, transcranial magnetic stimulation - TMS and structural atomical MRI. Dr. Supek is a Zagreb-based scientist whose main field of interest has been brain research using magnetoencephalography (MEG) to explore retinotopic and functional organization of the human visual system and cognitive neurodynamics. She is also the founder and one of the co-directors of international series of graduate courses Mind and Brain at the InterUniversity Center of Dubrovnik www.brain.hr and organizer of symposia on functional source localization and translational research. She says that, although the biomagnetism research was originally launched by physicists, they were quickly joined by medical doctors, clinical physiologists and psychologists, followed by researchers in the field of biomedical engineering and computer scientists. In terms of the problems they study, the methods they apply in their measurements, the analyses and display of data, and the lanCROATIA AIRLINES

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guage they use in describing their results, it is sometimes difficult to tell what the basic education of the speaker is, whether they are physicists interested in the functioning of the brain, doctors using this new type of analysis in trying to localize multiple epileptic foci or... ... Or perhaps psychiatrists, or, as of recently, marketing experts looking for an answer as to how the brain goes about processing information in a decision-making task. And with that, we come to a window being opened into a brand new field of human interest: neuroeconomics neuro-marketing. Brain research is one of the biggest scientific challenges today. Magnetoencephalography with a millisecond temporal resolution enables real time monitoring of neuron activity. Researchers have demonstrated that an insight into the cortical dynamics is a key factor in understanding neurocognitive development, perception, memory, language, addiction, emotions and learning, and, as of recently, the neural correlate of consciousness. Dr. Supek emphasized that the latter topic is, together with the brain connectivity and cognition, in the focus of one of the satellite events of the Biomag2010, and 2nd Joint Workshop of the COST BM0601 an BM0605 Actions: Neurodynamic Insight into Functional Brain Connectivity, Cognition and Consicousness. Magnetoencephalography has been shown is important for epileptic foci localization, the classification of epilepsy, planning surgical procedures and pre-operative functional mapping. It is also expected that it will help towards understanding mechanisms underlying various neurological and psychiatric conditions. As much as 90 per cent of what we know about the brain, the most complex organ in the human body, was discovered during the last ten years of the last century thanks to the new methods and devices. It is, therefore, not by chance that the 1990s were proclaimed the decade of the brain in the USA and Europe. - This has only slightly opened the door to what scientists need to explore in the new ‘century of the mind,’ says Dr. Supek. - It is, therefore, not surprising that the interdisciplinary field of neuroscience, is one of the fastest growing areas. The strong interest in brain research is motivated both by research driven curiosity to understand the brain and what makes us human as well as the economic cost of neurological diseases which, in Europe, account for 35 per cent of health care budgets, or the hefty sum of nearly 400 billion Euros. A total of 7.3 million Europeans over 65 are affected by dementia, and epidemiologists predicting that this numbers will double by 2020. In the 144

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USA, 22 per cent of the population over 18 suffers from some form of a mental disease, and depressive disturbances rank among the five principal causes of disability in the developed world. In Croatia, 5 per cent of the population suffers from this condition, although some say it is as much as 20 per cent taking into account those who suffer from war-related post traumatic syndromes. In addition, epilepsy is the most common neurogical disorder which unfortunately can happen to anyone, even after car accidents, for example. Croatia still does not have a MEG laboratory, so Dr. Supek’s graduate and postgraduate students rely on partner laboratories in Chieti, Helsinki, Heidelberg, Jena and Albuquerque to carry out their measurements. Dr. Supek herself spent some time working in the Los Alamos National Laboratory in the USA in the late 80s and early 90s and she cooperates with a number of other laboratories worldwide. Despite the less than favourable conditions for work, her students have made her proud by producing 15 graduate theses and one doctoral thesis with another in the pipeline. She is certain that these young people already form a strong nucleus for a future centre for functional brain imaging which could complement current 3-T MRI laboratory within the Croatian Brain Research Institute. Pre-accession and structural funds of the European Union could be instrumental in bringing to Croatia this advanced brain research method, important for both basic and clinical research. This would accelerate the process of cooperation among physicists, medical doctors, biomedical engineers, psychologists and other experts as well as further stimulate collaborations of Croatian scientists with their EU colleagues. Dr. Supek points out how glad she is that Dr. Anto BagiÊ, Director of MEG laboratory in Pittsburgh, has agreed to lead the CroMEG initiative. He held a seminar last year in the Association of Croatian Physicians and definitely fuelled interest among Croatian physicians in the most recent achievements in the field of MEG, in particular the impressive epilepsy case studies from his lab. - Biomag2010 in Dubrovnik is not just an opportunity to present the most recent research results in the field and discuss topics which include functional connectivity, cognitive neurodynamics, the brain-computer interface, language, neural development, fetal MEG/MCG, the development of new sensors, and so on. It is also an opportunity to highlight what we have learned about the human brain and heart using sophisticated SQUID sensors over the past four decades, concludes Dr. Selma Supek. n


Za oglaπivaËe: Ako ste zainteresirani za oglaπavanje u djeËjoj knjiæici Supi ili za neki drugi oblik poslovne suradnje, slobodno nas kontaktirajte. marketing@croatiaairlines.hr +385 1 616 00 16

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Zovem se Supi i glavni sam junak djeËjeg stripa koji dobivaju sva djeca na letovima Croatia Airlinesa. Iz broja u broj moæete pratiti moje nove pustolovine. Sova, moj najbolji prijatelj, i ja uvijek smo puni iznenaenja i veselih priËa koje æelimo podijeliti s vama. S nama moæete nauËiti mnogo korisnih stvari kao npr. kako se pripremiti za putovanje zrakoplovom te upoznati nove gradove. Osim priËe, oËekuju vas i razne igrice, bojanke i najvaænije - NAGRADNA IGRA!!! Posjetite moju internetsku stranicu www.croatiaairlines.com, gdje moæete isprintati cijelu knjiæicu, odabrati ponuene igre i zabaviti se. Vaš prijatelj Supi

My name is Supi and I’m the hero of the comic book given to children on Croatia Airlines flights. Every comic book tells a new story about my adventures. There are always lots of surprises and funny stories, that my friend Sova and I wish to share with you. We can also teach you a lot, such as how to prepare for a flight and discover new cities. In addition to the story, you will find various games, coloring pictures and the most important - our PRIZE GAME! Visit my website www.croatiaairlines.com where you can print out the comic book, play the games and have fun.

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■ POZNATI U NA©EM ZRAKOPLOVU CELEBRITIES IN OUR AIRCRAFT

Piπe/By Davor PetroviÊ Fotografije/Photos Davor KovaËeviÊ

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razmaku od samo dvanaest mjeseci najbolji hrvatski biatlonac Jakov Fak u dva se navrata vraÊao s drugog kraja svijeta noseÊi bronËanu medalju oko vrata, a njegov su put od anonimnosti do sportske slave zauvijek obiljeæili sveËani doËeci u zagrebaËkoj zraËnoj luci. Prije godinu dana, nakon senzacionalnog uspjeha u utrci na 20 kilometara na Svjetskom prvenstvu u juænokorejskome skijaπkom centru Pyeong Chang, doËek je bio priliËno skroman, ali sve je nadoknaeno u petak, 26. veljaËe, kad se 22-godiπnji Fak vratio sa Zimskih olimpijskih igara u Vancouveru, gdje je ponovio isti uspjeh na dvostruko kraÊoj dionici. Nekoliko sati prije planiranog dolaska leta Croatia Airlinesa ZraËnu luku Zagreb okupirali su njegovi sumjeπtani iz Mrkoplja, i to doslovno. Neki neupuÊeni stranac, koji se baπ tog petka zatekao na aerodromu, lako je mogao pomisliti da biatlon u Hrvatskoj ima status nacionalnog sporta. Naime, viπe od stotinu mjeπtana Mrkoplja razvilo je velike transparente podrπke za svoga olimpijskog heroja, krateÊi vrijeme pjesmom, plesom i glasnim navijanjem. Meu 146

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okupljenima bili su Ëlanovi svih sedamnaest obitelji s prezimenom Fak iz tog mjesta od 1500 stanovnika u srcu Gorskog kotara, a osobit peËat dala su djeca iz lokalnog Ski kluba Bjelolasica. Suviπno je napominjati da su prvoga hrvatskog osvajaËa medalje iz Vancouvera najviπe impresionirali jedini ljudi koji su uvijek pokazivali da im je stalo do njega. - Oduπevljen sam doËekom! Da sam znao πto Êe se ovdje dogoditi ne bih ostao trenirati u Vancouveru, nego bih prvim avionom krenuo kuÊi. Cijeli me Mrkopalj doËekao u Zagrebu. Ovo Êe mi biti prekrasna uspomena za cijeli æivot - rekao je vidno ganuti Fak kad je shvatio πto su mu priredili njegovi sumjeπtani. Na prvom katu zagrebaËke zraËne luke, u VIP salonu, natiskali su se mnogi Ëestitari i Fakovi ponosni roditelji koji nisu ni pokuπavali sakriti emocije. Bili su tu i visokopozicionirani gosti, predsjednik Hrvatskoga olimpijskog odbora Zlatko Mateπa, primorsko-goranski æupan Zlatko Komadina i naËelnik opÊine Mrkopalj Ivica PadoviÊ. Svi su htjeli stisnuti ruku sportaπu koji je osvojio prvu hrvatsku olimpijsku medalju u Vancouveru. - UËinit Êemo sve πto je u naπoj moÊi da Jakovu osiguramo uvjete kakve je zasluæio svojim fantastiËnim rezultatima. Maksimalno Êemo se angaæirati πto se toga tiËe, jer æelimo da Jakov bude uspjeπan i na zimskim olimpijskim igrama koje dolaze - istaknuo je Mateπa.

Hrvatska je u svojoj osamnaest godina dugoj povijesti osvojila deset medalja na zimskim olimpijskim igrama. Devet su izmeu sebe podijelili najbolja hrvatska skijašica svih vremena Janica i njezin brat Ivica KosteliÊ. Sjajni Ivica na ovogodiπnjim zimskim olimpijskim igrama u Vancouveru osvojio je dvije srebrne medalje u alpskom skijanju, prvu za kombinaciju, a drugu u slalomu. TreÊa olimpijska medalja zauvijek Êe sjajiti oko vrata naπega biatlonca iz Gorskog kotara. Ako je istina da se po jutru dan poznaje, cijeli Mrkopalj joπ Êe puno puta dolaziti u Zagreb zbog roenog πampiona Jakova Faka. n

W

ithin the space of twelve months, the Croatian biathlon champion, Jakov Fak, has twice returned to Croatia from different parts of the world with a bronze medal around his neck. His journey from anonymity to athletic glory has been marked by the welcomes at Zagreb Airport. A year ago, after his sensational success at the World Biathlon Championship in the Pyeong Chang ski centre in South Korea, the welcome was rather modest, but that was more than made up for on Friday 26 February, when the 22-year old athlete returned from the Winter Olympics in Vancouver, where he repeated his success on a track half the length. Supporters from his home town of Mrkopalj literally occupied Zagreb Airport a few hours


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before the scheduled arrival of his Croatia Airlines flight. Any foreigner who happened to be at the airport that Friday could easily have thought that biathlon was a national sport in Croatia. Over a hundred people from Mrkopalj hoisted big banners to welcome their Olympic hero. They passed the time until the big moment singing, dancing and cheering loudly. The crowd included members of all the seventeen families sharing the same family name, Fak, who live in the small town in the heart of Gorski Kotar with no more than 1,500 inhabitants. Needless to say, the first Croatian Vancouver medal winner was overwhelmed when he saw them, these people who had always shown that they cared about him. - I am overjoyed at the welcome. If I’d known this would happen here, I wouldn’t have stayed on to train in Vancouver but would have caught the first flight home. All of Mrkopalj has come to Zagreb to meet me. This will be a wonderful memory for the rest of my life, said the visibly emotional Fak when he saw what his supporters had prepared for him. Many well-wishers and Fak’s proud parents, who did not even try to hide their emotions,

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squeezed into the VIP lounge on the first floor of Zagreb’s airport. The list of dignitaries included the President of the Croatian Olympic Committee, Zlatko Mateπa, the prefect of Primorje and Gorski Kotar County, Zlatko Komadina, and the mayor of Mrkopalj, Ivica PadoviÊ. They all wanted to shake the hand of the athlete, who won the first Croatian Olympic medal in Vancouver. - We shall do our best to give Jakov the training conditions he has deserved with his fantastic performance. We are committed to helping Jakov repeat his successes in the next Winter Olympic Games, said Mateπa. In its 18-year history, Croatia won ten Olympic medals. The nine Olympic medals have been shared by the best Croatian skier of all times Janica KosteliÊ and her brother Ivica. At the recently finished Olympic Games in Vancouver, the excellent Ivica won two silver medals in Alpine disciplines; the first one in the combined event and the second in the slalom. The third Olympic medal will forever shine around the neck of our biathlon athlete from Gorski Kotar. If it is true that morning shows the day, the whole of Mrkopalj will return to Zagreb many times to welcome its champion, Jakov Fak. n


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KALENDAR DOGA–ANJA U HRVATSKOJ

OÆUJAK

SVIBANJ

Dubrovnik Uskrsni sajam/Easter Fair, 27.3.-5.4.2010./27 March-5 April

Dubrovnik Euro Regata, jedriliËarska regata (klase krstaπ, ORC Open), 9.5.2010., KoloËepski kanal/sailing regatta, Kolocep Channel, 9 May Nastup folklornog ansambla Lino/Lino Folklore Ensemble Show, Lazareti, 15.5-10.7.2010./15 April-10 July

Split Croatia Boat Show, meunarodni nautiËki sajam/ international nautical exhibition, 28.3.2010. - 5.4.2010./28 March-5 April

TRAVANJ Dubrovnik 7. mediteranski sajam zdrave prehrane i ljekovitog bilja/ 7th Mediterranean Fair of healthy food and medicinal herbs, 9.-11.4.2010./9-11 April, Hotel Valamar Lacroma Resort, Babin Kuk Sajam cvijeÊa/Flower Fair, Park Pile, 18.4.2010./18 April Zagreb ZagrebaËki vremeplov/Timemachine in Zagreb, TuristiËka zajednica Grada Zagreba, koncerti, djeËje igraonice, izloæbe slika i kostimirani likovi iz proπlosti/ concerts, games for children, exhibitions, masked characters from the past, 17.4.2010.-25.9.2010./17 April29 September Pula 14. Art & Music Festival/14th Art & Music Festival, festival umjetnosti, filma i glazbe/ art, film and music festival, 10.-17.4. 2010/10-17 April, Koncert Iron Maiden/Concert Iron Maiden, Uljanik, 14.4.2010./14 April IT konferencija Microsoft WinDays/IT conference Microsoft WinDays, Rovinj, 19.-23.4.2010./19-23 April

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Zagreb Dani samoborskih kremπnita/ Samobor cream-cake days, 7.-9.5.2010./7-9 May Koncert Metallica/Concert Metallica, Hipodrom/Hippodrome, 16.5.2010./16 May Tjedan suvremenog plesa/Contemporay Dance Week, najvaænija plesna manifestacija u re-giji/the most important dance manife-station in the region, 24.5.-2.6.2010./24 May-2 June Floraart, meunarodna vrtna izloæba/International gardening exhibition, Bundek, 26.-31.5.2010./26-31 May Rijeka Meunarodni festival malih scena, kazaliπni festival/ International Small Scenes Theatre Festival, 3.5.2010.-11.5.2010./3-11 May Split Hvarske ljetne priredbe/Hvar Summer Show, Hvar, 1.5.2010.-30.6.2010/Island of Hvar, 1 May-3 June Pula Florija, sajam cvijeÊa/flower fair, 7.-9.5.2010./7-9 May, Giardini Cantante Croatia 2010., meunarodni festival zborova/international choir festival, 21.-24.5.2010. /21-24 May, IMK, Portarata, Forum i crkve

CALENDAR OF EVENTS IN CROATIA

LIPANJ Dubrovnik Jedinstvena svjetlosna instalacija, UmjetniËki paviljon, lipanj-rujan 2010., otok Lopud A unique lighting installation, Art Pavilion, Island of Lopud, JuneSeptember Lapadska regata/Lapad regatta, jedriliËarska regata (klase OPT), 12.-13.6.2010., KoloËepski kanal/ sailing regatta, Kolocep Channel, 12-13 June Zagreb Cest is d’best, uliËni festival/street festival, 3.-13.6.2010./3-13 June Koncert Deep Purple/Concert Deep Purple, Dom sportova, 5.6.2010./5 June Eurokaz, meunarodni festival novog kazaliπta/The International Festival of New Theatre, 15.-25.6.2010./1525 June Koncert Vaya con Dios/Concert Vaya con Dios, KD Vatroslava Lisinskog/concert hall Vatroslav Lisinski, 15.6.2010./ 15 June

Rijeka Hartera 6, glazbeni festival/music festival, 10.-12.6.2010./10-12 June Split Koncert Vaya con Dios/Concert Vaya con Dios, Spaladium Arena, 20.6.2010./20 June Zadar Festival izvorne hrane, piÊa, izvornog suvenira i folklora/ Festival of local food, drink, souvenirs and folklore, Biograd na moru, 4.-6.6.2010./ 4-6 June, Pula Melodije Istre i Kvarnera/ Melodies of Istria and Kvarner, festival zabavne glazbe/pop-music festival, 23.6.2010./23 June, Forum


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SADRÆAJ/CONTENTS 154 NOVOSTI/NEWS 159 NAGRADITE SVOJU VJERNOST/ LET YOUR LOYALTY BE REWARDED 162 U NA©EM ZRAKOPLOVU/ABOARD OUR AIRCRAFT 165 FLOTA/FLEET 167 ZEMLJOVID ODREDI©TA/A MAP OF DESTINATIONS 169 ZRA»NA LUKA ZAGREB/ZAGREB AIRPORT 170 ZA©TO VOLITE PUTOVATI/ WHY DO YOU LOVE TO TRAVEL 172 ADRESE/ADDRESSES CROATIA AIRLINES

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STATUS LETA

Uskoro Êe na web www.croatiaairlines.com i mobilnoj www.croatiaairlines.com/mobile stranici Croatia Airlinesa biti dostupna nova usluga s pomoÊu koje Êete u svakom trenutku moÊi provjeriti trenutaËno stanje bilo kojeg leta Croatia Airlinesa. Nova je usluga joπ jedan naËin na koji se Croatia Airlines brine o svojim putnicima æeleÊi im olakπati planiranje putovanja i istodobno omoguÊiti pristup informacijama o statusu leta koji ih zanima na najbræi i najjednostavniji moguÊi naËin.

CROATIA AIRLINES NEWS

your journey using a simple search engine. This allows you to plan your travel in a few steps, determining the cost of a flight and choosing a destination in as many as 23 European states. With the advanced search option, you can select your destination based on different activities and criteria such as museum visits, culinary options, skiing, natural beauties, etc. This service provides a more personal approach to planning one’s journey and enhances Croatia Airlines’ overall service. NOVO ODREDI©TE - ATENA

Od 1. lipnja, prvi put u povijesti Croatia Airlinesa, uvodi se redoviti let na liniji Zagreb - Atena - Zagreb, triput na tjedan - utorkom, Ëetvrtkom i nedjeljom. Atena je veoma atraktivno odrediπte ljubiteljima umjetnosti, povijesti, ali i dobre zabave. Uvoenjem izravnog leta za Atenu Croatia Airlines dodatno poboljπava uslugu koju nudi putnicima te uËvrπÊuje svoju poziciju u najveÊoj zrakoplovnoj udruzi u svijetu - Star Alliance. FLIGHT STATUS

A new service will soon be available at the Croatia Airlines web pages www.croatia airlines.com and mobile page www.croatia airlines.com/mobile. It will allow you to follow the current status of every Croatia Airlines flight in real time. The new service is just one more way Croatia Airlines shows concern for its passengers as it helps them to reduce the stress of planning their journey and provides them with instant and simple access to the status of a flight they are interested in. LET PO MJERI

Od veljaËe na naπoj web stranici dostupna je usluga Let po mjeri. Kratka i jasna videouputa objaπnjava postupak koriπtenja usluge, nakon koje svoj put planirate i kreirate jednostavnom traæilicom, πto vam omoguÊuje da u nekoliko koraka isplanirate putovanje sami, odreujuÊi cijenu, polaziπte i odrediπte u 23 europske dræave. Upotrebom opcije napredne traæilice odabirete odrediπta uzimajuÊi u obzir aktivnosti poput posjeta muzejima, kulinarstva, skijanja, prirodnih ljepota i sl. Ovom uslugom ostvaruje se osobniji pristup planiranju putovanja i poboljπanje kompletne usluge Croatia Airlinesa. TAILOR-MADE FLIGHTS

As of February, our web pages offer the Tailor-made Flight Service. Short and clear video instructions explain the way to use this service, after which you can plan and create 154

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A New Destination - Athens

As of 1st June, for the first time in its history, Croatia Airlines will launch a new flight between Zagreb and Athens. The two cities will be connected three times a week on Tuesdays, Thursdays and Sundays. Athens is a very attractive destination for lovers of art, history and good entertainment. By introducing a direct flight from Zagreb to Athens, Croatia Airlines seeks to improve its passenger services and reinforce its position in Star Alliance, the largest airline association in the world.

LJETNI RED LETENJA - NOVO!

Uvedena su dva dodatna veËernja leta na liniji Zagreb - Priπtina utorkom i srijedom te dva jutarnja leta na liniji Priπtina - Zagreb srijedom i Ëetvrtkom. Uvedeni su novi izravni letovi na linijama Rim Dubrovnik ponedjeljkom, Rim - Split srijedom i subotom te Rim - Zagreb utorkom, Ëetvrtkom i nedjeljom. Petkom putnici mogu letjeti na dva dodatna leta na linijama Split - BeË - Split i Split Zürich - Split. Tri dodatna leta na liniji Split - München - Split na raspolaganju su ponedjeljkom, srijedom i petkom, a srijedom dodatni let na liniji Dubrovnik - Zürich - Dubrovnik. SUMMER FLIGHT SCHEDULE - NEW!

Two new evening flights from Zagreb to Priπtina have been added to the summer flight schedule, on Tuesdays and Wednesdays, as well as two morning flights from Priπtina to Zagreb on Wednesdays and Thursdays. New direct flights have been introduced between Rome and Dubrovnik on Mondays, between Rome and Split on Wednesdays and Saturdays and between Rome and Zagreb on Tuesdays, Thursdays and Sundays. On Fridays, passengers can board two additional flights on the Split - Vienna - Split and Split - Zürich - Split routes. Three additional flights on the Split - Munich Split route are available on Mondays, Wednesdays and Fridays, and on Wednesdays, there is an additional flight on the Dubrovnik - Zürich - Dubrovnik route.


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Irma KatiËiÊ naglaπava kako joj niπta nije teπko uËiniti za putnike. A najveÊe joj je zadovoljstvo kad je putnici prepoznaju u gradu i pristupaju joj.

osobljem, ali i sa svim drugim kolegama s kojima je suraivala otkad je u Münchenu. A radila je uistinu mnogo toga - od prodaje i rezervacije karata, promjena rezervacije, grupne ponude, sudjelovanja na sajmovima... Na pitanje je li joj neki putnik ostao u osobitom sjeÊanju, izdvojila je norveπku princezu Mette Marit koja je, kaæe, putovala u naπem poslovnom razredu kao sasvim obiËna, jednostavna i simpatiËna osoba. SliËan je dojam ostavila i Ivana Trump sa svojim pratiteljem. Na pitanje koje vrijednosti smatra najvaænijima u poslu, Irma odgovara: - Za mene je najvaænija predanost radu, poπtivanje propisa i zakona, dosljednost i poπtenje. I odanost tvrtki. A Irma KatiËiÊ uistinu je odana, i svojoj kompaniji i putnicima, koje smatra najveÊom dragocjenoπÊu. ■

Indeed, there is very little Irma KatiËiÊ would not do for her passengers. Her biggest source of satisfaction is when her passengers recognize her in the street and when they approach her.

IIrma KatiËiÊ: Putnici su naπa najveÊa dragocjenost Irma KatiËiÊ, voditeljica stanice Munchen, veÊ je 30 godina u zrakoplovstvu. I nije se zasitila tog posla. Naprotiv, i dalje ga, kako kaæe, oboæava. - Volim putnike, volim raditi s ljudima. Zato za mene ni u najzahtjevnijim situacijama nema teπkih trenutaka. Svaki mi je dan u zrakoplovstvu drukËiji, razliËit, nov, zanimljiv i lijep. InaËe po struci profesorica fonetike i πpanjolskog jezika, odmah poslije diplome na Filozofskom fakultetu u Zagrebu, zaposlila se u turistiËkoj agenciji. Ali ondje nije dugo ostala, samo nekoliko mjeseci, a onda je poËela raditi u zrakoplovnoj kompaniji bivπe dræave. A radila je razliËite poslove. Bila je voditeljica stanice u Ateni osam godina, zatim i voditeljica operativnog centra, pa voditeljica poslovnice na zagrebaËkom autobusnom kolodvoru i napokon na Zrinjevcu. Tako je stekla veliko i dragocjeno iskustvo, koje joj je i te kako dobro doπlo poπto se zaposlila u hrvatskoj nacionalnoj kompaniji. U Croatia Airlines doπla je 1995. godine iz Bemex toursa. Naime, poslije raspada bivπe dræave, neko je vrijeme æivjela u Americi, a 1993. godine preselila se u München i zaposlila u Bemexu, hrvatskom turoperatoru, u kojemu je postala prodajna zastupnica za 156

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Croatia Airlines (München, Düsseldorf i Berlin). U tim gradovima tada nije bilo predstavniπtva hrvatske zrakoplovne tvrtke, ali u Frankfurtu jest. - Croatia Airlines otvorila je svoje predstavniπto u Münchenu 1995. godine, i ja sam tada preuzela poslove prodaje i voditeljice stanice (station managera). SjeÊam se kako smo tada na Terminalu 1 otvorili naπ ured. Letjeli smo triput na tjedan zrakoplovom ATR. Bili su to lijepi trenuci - kaæe Irma KatiËiÊ, koja nikad ne zaboravlja dodati kako i danas uæiva u tom poslu. A najveÊa joj je satisfakcija, kaæe, kad je putnici prepoznaju u gradu ili, recimo, na koncertu, pristupe joj i zahvaljuju reËenicom: Vi ste uvijek za nas ovdje. Uistinu, Irma naglaπava kako joj niπta nije teπko uËiniti za putnike. Pritom katkad mora biti i dobar psiholog, jer ne teËe uvijek sve glatko. Dakako, kao i u svakom poslu, ima i teæih dana, teæih situacija. SreÊom, kaæe, kao studentica polagala je na fakultetu i ispit ih psihogije, pa joj to znanje i dandanas dobro doe. Voli uËiti, pa je sretna πto je osim πpanjoskoga, koji je diplomirala, tijekom radnog vijeka usavrπila i engleski, koji je takoer studirala a, dakako, i njemaËki koji je, æiveÊi u Münchenu, izvrsno nauËila. Naπa sugovornica nije propustila naglasiti ni dobru suradnju s naπim letaËkim i kabinskim

Irma KatiËiÊ: Passengers are our biggest asset Irma KatiËiÊ, Station Manager in Munich, has been part of the airline industry for 30 years. And she still has not had enough of it. On the contrary, she still loves it. - I love passengers; I love working with people. That is why even the most challenging situation is just that - a challenge and not a chore. Every day at work is different, new, interesting, beautiful. Having obtained degrees in Phonetics and Spanish from the School of Philosophy in Zagreb, she landed her first job in a travel agency but she did not stay there long. After only a few months she joined the airline of the former state. She went through a number of jobs in the company. For eighth years, she was station manager in Athens; she was also the head of the operations centre, shop manager at Zagreb’s main bus stop and finally the manager of the main office at Zrinjevac. She acquired valuable experience which she then put to quite a good use when she landed her first job at the Croatian national airline. She joined Croatia Airlines in 1995 from Bemex Tours. After the break-up of the former state, she had lived in America and in 1993 she moved to Munich where she was offered a job at the Croatian tour-operator Bemex Tours as a sales agent for Croatia Airlines (Munich, Düsseldorf and Berlin). At the time, these cities did not have Croatia Airlines representative offices. The only one was in Frankfurt. - Croatia Airlines opened its representative office in Munich in 1995, and I became its sales agent and station manager. I still remember when we opened our office at the airport’s


Terminal 1. We had three flights a week operated by an ATR aircraft. Those were good times, says Irma KatiËiÊ, who never forgets to add that she still enjoys the job. According to her, her biggest source of satisfaction is when her passengers recognize her in a street or at a concert and when they approach her with the words: You are always there for us. Indeed, there is very little Irma would not do for her passengers. Sometimes she has to be a good psychologist as things are not always smooth. Like in any other job, there are days and situations which test one’s patience and endurance. Luckily enough, one of her subjects at university was psychology and

ever since passing that exam, she has put that knowledge to a rather good use. She is an avid learner so, besides Spanish which she has a degree in and English which she studied, she also speaks German, which she has mastered to perfection living in Munich. She does not forget to stress good cooperation with our flight and cabin crew and with all other colleagues she has cooperated with since she first started working in Munich. The range of things she has done is really impressive - sales and reservations, change of reservations, group offers, participation at fairs... To our question as to whether any of her passengers have made a special impression

on her, she mentions Norwegian princess Mette Marit who was a Croatia Airlines business class passenger and who struck her very positively as a very down-to-earth and easy-going person. She gained the same impression of Ivana Trump who travelled with her companion. When asked about the most important values attached to a job, Irma answers: - To my mind, the most important things are dedication, respect for regulations and laws, consistency and honesty. And loyalty to one’s employer. And loyal is what Irma KatiËiÊ certainly is, to her company, and to her passengers whom she considers the most valuable asset. ■ CROATIA AIRLINES

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Osno­ve Mi­les & Mo­re pro­gra­ma

In­tro­du­cing Mi­les & Mo­re

Mi­les & Mo­re naj­ve­Êi je pro­gram na­gra­i­va­nja put­ni­ka u Eu­ro­pi i nu­di Ëla­no­vi­ma ra­zli­Ëi­te mo­guÊ­no­sti pri­kup­lja­nja mi­lja i ko­ri­πte­nja na­gra­da, kao i mno­ge priv­laË­ne po­god­no­sti. »la­no­vi pri­kup­lja­ju mi­lje ko­ri­ste­Êi se uslu­ga­ma broj­nih par­tne­ra u pro­gra­mu. Mi­lje se bi­lje­æe za le­to­ve svih Ëla­ni­ca Star Al­li­an­cea i dru­gih kom­pa­ni­ja par­tne­ra, ali i za unaj­mlji­va­nje vo­zi­la, od­sje­da­nje u ho­te­li­ma ili po­tro­ πnju pre­ko kre­dit­nih kar­ti­ca Mi­les & Mo­re.

Mi­les & Mo­re is the gre­a­te­st fre­qu­ent flyer pro­gram­me in Eu­ro­pe of­fe­ring its mem­bers nu­me­ro­us po­ssi­bi­li­ti­es for col­lec­ting and re­de­ e­ming mi­les, as well as many at­trac­ti­ve pri­vi­le­ges. Mem­bers col­lect mi­les by using the ser­vi­ces of many par­tners in the pro­gram­me. Mi­les are cre­di­ted for flig­hts of all Star Al­li­an­ce mem­bers and ot­her air­li­ne par­tners, but al­so for ren­ting ve­hi­cles from rent-a-car par­tners or sta­ying in par­ti­ci­pa­ting ho­tels.

Za­tra­æi­te svo­ju Di­ners Club Cro­a­tia Air­li­nes kre­dit­nu kar­ti­cu! 5 ku­na = 1mi­lja - za sva­kih 5 ku­na po­tro­πe­nih pre­ko ove kar­ti­ce, bi­lje­æi vam se 1 na­grad­na mi­lja. n Dvo­s­tru­ke mi­lje - osva­ja­te za pla­Êa­nje tu­ri­stiË­kih aran­æma­na i zra­ko­plov­nih ka­ra­ta u Di­ners Club Tra­ve­lu n Pri­kup­ljaj­te na­grad­ne mi­lje svug­dje- jed­no­stav­no pla­Êaj­te svo­jom Di­ners Club kar­ti­com na bi­lo ko­jem od 12 mi­li­ju­na DC pro­daj­nih mje­sta u zem­lji i ino­zem­s­tvu. n Osvo­ji­te joπ vi­πe mi­lja - ko­ri­πte­nje osta­lih po­god­no­sti Di­ners Clu­ba po­put be­s­plat­nih onli­ne uslu­ga, e-pla­Êa­nja ili traj­nih na­lo­ga do­no­si vam do­dat­ne mi­lje. n 2 kar­ti­ce - 1 Mi­les & Mo­re ra­Ëun - ko­ri­sti­te li isto­dob­no pri­vat­nu i po­slov­nu kar­ti­cu Di­ners Clu­ba i Cro­a­tia Air­li­ne­sa, pri­kup­lje­ne na­grad­ne mi­lje zbra­ja­ju se na va­πem Mi­les & Mo­re ra­Ëu­nu.

Ap­ply for yo­ur Di­ners Club Cro­a­tia Air­li­nes cre­dit card! n 5 HRK = 1mi­le - for every 5 HRK spent via this card, you col­lect 1mi­le. n Earn do­u­ble mi­les - for pa­ying pac­ka­ge to­urs and flig­ht tic­kets at Di­ners Club Tra­vel n Col­lect award mi­les ever­ywhe­re - sim­ply pay with yo­ur Di­ners Club Card in any of 12 mil­li­on DC of­fi­ces in Cro­a­tia or abro­ad n Col­lect ex­tra award mi­les - by using ot­her Di­ners Club be­ne­fits, such as free onli­ne ser­vi­ces, in­ter­net ban­king and e-pa­ying, standing or­ders etc. n 2 cre­dit car­ds - 1 Mi­les & Mo­re mem­ber­ship ac­co­unt - use yo­ur pri­va­te and bu­si­ne­ss card to col­lect award mi­les on the sa­me mem­ ber­ship ac­co­unt.

U suradnji s Erste Card Clubom, Croatia Airlines objavila je prvu companion karticu u Hrvatskoj! Svi postojeÊi i buduÊi korisnici kreditne kartice Diners Club Croatia Airlines mogu zatraæiti i svoju Visa kreditnu karticu. Oni Êe automatski biti uËlanjeni u program Miles & More, bez obzira na to zatraæe li samo Diners Club Croatia Airlines kreditnu karticu ili i Visa karticu u paketu. Za svakih 7 kuna potroπenih preko kreditne kartice Visa companion u inozemstvu, biljeæi vam se 1 milja.

Croatia Airlines and Erste Card Club have issued the first companion card in Croatia! All current and future Diners Club Croatia Airlines credit card holders have an opportunity to apply for the Visa credit card as well. They will automatically become members of the Miles & More frequent flyer programme regardless whether they apply for one credit card (Diners Club Croatia Airlines credit card) or both in one package. For every 7 HRK spent via this card abroad, you collect 1 mile.

Za­tra­æi­te svo­ju Cro­a­tia Air­li­nes American Express kre­dit­nu kar­ti­cu! n 4 ku­ne = 1 mi­lja - za sva­ke 4 ku­ne po­tro­πe­ne pre­ko Pre­mi­um kar­ti­ce bi­lje­æi se 1 na­grad­na mi­lja, od­no­sno za sva­kih 5 ku­na po­tro­πe­nih pre­ko Stan­dard kar­ti­ce n 2.500 mi­lja do­bro­do­πli­ce - za no­ve osnov­ne Pre­mi­ um ko­ri­sni­ke i 1.250 mi­lja do­bo­do­πli­ce za no­ve do­dat­ne Pre­mi­um ko­ri­sni­ke n 1.500 mi­lja do­bro­do­πli­ce za no­ve osnov­ne Stan­dard ko­ri­sni­ke i 750 mi­lja do­bro­do­πli­ce za no­ve do­dat­ne Stan­dard ko­ri­sni­ke n Dvo­s­tru­ke na­grad­ne mi­lje - za po­tro­πnju u po­slov­ni­ca­ma Cro­a­tia Air­li­ne­sa i Jum­bo Tra­vel Ser­vi­ces PBZ Car­da n UËla­nje­nje u Pri­o­rity Pa­ss bez nak­na­de te pri­stup u vi­πe od 450 VIP sa­lo­na u zraË­nim lu­ka­ma

Ap­ply for yo­ur Cro­a­tia Air­li­nes American Express cre­dit card! n 4 HRK = 1mi­le - for every 4 HRK spent via Pre­mi­um card, you col­lect 1mi­le, and for every 5 HRK spent via Stan­dard card you col­lect 1 mi­le. n 2.500 wel­co­me mi­les - for new ba­sic Pre­mi­um card users and 1.250 wel­co­me mi­les for new ad­di­ti­o­nal Pre­mi­um card users. n 1.500 wel­co­me mi­les - for new ba­sic Stan­dard card users and 750 wel­co­me mi­les for new ad­di­ti­o­nal Stan­dard card users. n Earn do­u­ble award mi­les - using the card to pay for tra­vels at Cro­ a­tia Air­li­nes sa­les of­fi­ces and Jum­bo Tra­vel Ser­vi­ces of PBZ Card. n Free Pri­o­rity Pa­ss enrol­lment- it ena­bles you to ac­ce­ss in­to mo­re than 450 VIP air­port lo­un­ges

Ra­zre­di Ëlan­s­tva i po­god­no­sti Ko­ri­πte­njem uslu­ga par­tne­ra u pro­gra­mu pri­kup­lja­te na­grad­ne mi­lje ko­je za­mje­nju­je­te za na­gra­de i sta­tu­sne mi­lje ko­je odre­u­ju vaπ Ëlan­ski sta­tus i po­god­no­sti πto ih os­tva­ru­je­te. Sta­tu­sne mi­lje pri­kup­lja­ju se re­do­vi­tim le­to­vi­ma slje­de­Êih zra­ko­plov­ nih kom­pa­ni­ja: Cro­a­tia Air­li­nes, Adria Air­ways, Au­s­tri­an Air­li­nes, LOT Po­li­sh Air­li­nes, Luf­than­sa (uk­lju­Ëu­ju­Êi Luf­than­sa Re­gi­o­nal i Luf­than­sa Pri­va­te Jet), SWI­SS i svi zra­ko­plov­ni par­tne­ri iz mre­æe Star Al­li­an­ce, te Cir­rus Air­li­nes, Air Dolomiti i Luxair. Sva­ka ta­ko os­tva­re­na mi­lja bi­lje­æi se i kao sta­tu­sna i kao na­grad­na mi­lja. Mi­lje HON Cir­cle sta­tu­sne su mi­lje ko­je se pri­kup­lja­ju le­to­vi­ma slje­de­ Êih kom­pa­ni­ja: Cro­a­tia Air­li­nes, Adria Air­ways, Au­s­tri­an Air­li­nes, Air Dolomiti, Brussels Airlines, LOT Po­li­sh Air­li­nes, Luf­than­sa (uk­lju­Ëu­ju­Êi

Ti­ers and be­ne­fits By using the Mi­les & Mo­re par­tners’ ser­vi­ces mem­bers col­lect award mi­les, which are tra­ded in for awar­ds; and sta­tus mi­les, which de­ter­ mi­ne a mem­ber’s mem­ber­ship sta­tus and pri­vi­le­ges. Sta­tus mi­les can be ac­cru­ed on sc­he­du­led flig­hts ope­ra­ted by Cro­a­tia Air­li­nes, Adria Air­ways, Au­s­tri­an Air­li­nes, LOT Po­li­sh Air­li­ nes, Luf­than­sa (in­clu­ding Luf­than­sa Re­gi­o­nal and Luf­than­sa Pri­va­te Jet), SWI­SS, all Star Al­li­an­ce par­tners, Cir­rus Air­li­nes, Air Dolomiti and Luxair. Every mi­le ac­cru­ed is re­cor­ded as both a sta­tus and an award mi­le. HON Cir­cle mi­les are sta­tus mi­les that you col­lect on flig­hts ope­ra­ ted by Cro­a­tia Air­li­nes, Adria Air­ways, Au­s­tri­an Air­li­nes, Air Dolomiti, Brussels Airlines, LOT Po­li­sh Air­li­nes, Luf­than­sa (in­clu­ding Luf­than­sa

n

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Luf­than­sa Re­gi­o­nal i Luf­than­sa Pri­va­te Jet), Luxair i Swiss International Airlines. Uz 35,000 sta­tu­snih mi­lja pri­kup­lje­nih u jed­noj ka­len­dar­skoj go­di­ni, ste­Êi Êe­te sta­tus Fre­qu­ent Tra­vel­ler, a za 100,000 sta­tu­snih mi­lja u ka­len­dar­skoj go­di­ni oËe­ku­je vas sta­tus Se­na­tor. »la­no­vi ko­ji pri­ku­pe naj­ma­nje 600,000 HON Cir­cle mi­lja u ra­zdob­lju od dvi­je uza­stop­ne ka­len­dar­ske go­di­ne, stje­Ëu sta­tus HON Cir­cle.

Re­gi­o­nal and Luf­than­sa Pri­va­te Jet), Luxair and Swiss International Airlines. With 35,000 sta­tus mi­les col­lec­ted in one ca­len­dar ye­ar mem­bers earn the Fre­qu­ent Tra­vel­ler sta­tus, with 100,000 sta­tus mi­les the Se­na­tor sta­tus, and mem­bers who col­lect at le­a­st 600,000 HON Cir­cle mi­les wit­hin two con­se­cu­ti­ve ca­len­dar ye­ars, earn the HON Cir­cle sta­tus.

Po­god­no­sti sta­tu­sa Fre­qu­ent Tra­vel­ler - Exe­cu­ti­ve Bo­nus - 25 po­sto mi­lja na stvar­no pri­je­ e­ni ili stan­dar­dni iznos za le­to­ve slje­de­Êih kom­pa­ni­ja: Luf­than­sa (uk­lju­Ëu­ju­Êi Luf­than­sa Re­gi­o­nal i Luf­than­sa Pri­va­te Jet), Adria Air­ways, Air Ca­na­da, Air Do­lo­mi­ti, Au­s­tri­an Air­li­nes, Cro­a­tia Air­li­nes, LOT Po­li­sh Air­li­nes, SWI­SS, US Air­ways, United, Brussels Airlines, Luxair i Continental. - ne­o­gra­ni­Ëe­na va­lja­no­st na­grad­nih mi­lja za tra­ja­nja sta­tu­sa - upo­ra­ba Luf­than­sa Bu­si­ne­ss Cla­ss Lo­un­gea pri­li­kom le­to­va s ne­kom od Ëla­ni­ca Star Al­li­an­cea - pred­no­st na li­sti Ëe­ka­nja - pri­ja­va za let (check in) na πal­te­ru po­slov­nog ra­zre­da - 40 kg prtlja­ge bez na­pla­te ovisno o odredištu i zrakoplovnoj kompaniji

Fre­qu­ent Tra­vel­ler pri­vi­le­ges - Exe­cu­ti­ve Bo­nus of 25 per cent on the ac­tu­al flown mi­les or stan­dard mi­le­a­ge amo­un­ts on flig­hts ope­ra­ ted by Luf­than­sa (in­clu­ding Luf­than­sa Re­gi­o­nal and Luf­than­sa Pri­va­te Jet), Adria Air­ways, Air Ca­na­da, Air Do­lo­mi­ti, Au­s­tri­an Air­li­nes, Cro­a­tia Air­li­nes, LOT Po­li­sh Air­li­nes, SWI­SS, US Air­ways, United, Brussels Airlines, Luxair and Continental. - Ac­cru­ed award mi­les ha­ve no ex­piry da­te - Use of the Luf­than­sa Bu­si­ne­ss Cla­ss Lo­un­ges whi­le flying with a Star Al­li­an­ce Mem­ber - Wa­i­ting li­st pri­o­rity - Check-in at the Luf­than­sa Bu­si­ne­ss Cla­ss co­un­ter - Free bag­ga­ge al­lo­wan­ce of 40 kg depending on the destination and the airline

Po­god­no­sti sta­tu­sa Se­na­tor - Exe­cu­ti­ve Bo­nus - 25 po­sto mi­lja na stvar­no pri­je­e­ni ili stan­dar­dni iznos za le­to­ve slje­de­Êih kom­pa­ni­ja: Cro­a­tia Air­li­nes, Adria Air­ways, Air Ca­na­da, Air Do­lo­ mi­ti, Au­s­tri­an Air­li­nes, LOT Po­li­sh Air­li­nes, Luf­than­sa (uk­lju­Ëu­ju­Êi Luf­than­sa Re­gi­o­nal i Luf­than­sa Pri­va­te Jet), SWI­SS, US Air­ways, United, Brussels Airlines, Luxair i Continental. - ne­o­gra­ni­Ëe­na va­lja­no­st na­grad­nih mi­lja za tra­ja­nja sta­tu­sa - pre­du­jam od 50,000 mi­lja - upo­ra­ba Luf­than­sa Se­na­tor Lo­un­ge te Star Gold Lo­un­gea par­tne­ra u Star Al­li­an­ceu - vi­πi pri­o­ri­tet na li­sti Ëe­ka­nja - pri­ja­va za let (check in) na πal­te­ru prvog ra­zre­da - osi­gu­ra­no mje­sto na le­tu za re­zer­va­ci­je do 48 sa­ti odnosno do 72 sata una­pri­jed ovisno o razredu putovanja - 50% ma­nje mi­lja za su­put­ni­ka na na­grad­nom le­tu ovisno o zrakoplovnoj kompaniji - do­dat­nih 20 kg ili do­dat­ni ko­mad prtlja­ge bez na­pla­te ovisno o odredištu i zrakoplovnoj kompaniji - dva elek­tron­ska va­u­Ëe­ra za pre­mje­πtaj u vi­πi ra­zred pu­to­va­nja (up­ gra­de), te joπ dva za svako zadræavanje statusa

Se­na­tor pri­vi­le­ges - Exe­cu­ti­ve Bo­nus of 25 per cent on the ac­tu­al flown mi­les or stan­dard mi­le­a­ge amo­un­ts on flig­hts ope­ra­ted by Cro­a­tia Air­li­nes, Adria Air­ways, Air Ca­na­da, Air Dolo­ mi­ti, Au­s­tri­an Air­li­nes, LOT Po­li­sh Air­li­nes, Luf­than­sa (in­clu­ding Luf­than­sa Re­gi­o­nal and Luf­than­sa Pri­va­te Jet), SWI­SS, US Air­ways, United, Brussels Airlines, Luxair and Continental. - Ac­cru­ed award mi­les ha­ve no ex­piry da­te - 50,000 mi­les in advan­ce - Ac­ce­ss to the Luf­than­sa Se­na­tor Lo­un­ge as well as to the Star Gold Lo­un­ges of Star Al­li­an­ce par­tners - High wa­i­ting li­st pri­o­rity - Fir­st Cla­ss check-in - Bo­o­king gu­ar­ an­tee up to 48 or 72 ho­urs in advan­ce depending on the booking class - A 50 per cent mi­le­a­ge di­sco­unt for an ac­com­pan­ying per­son on flig­ht awar­ds depending on the airline - Ad­di­ti­o­nal 20 kg bag­ga­ge al­lo­wan­ce or an ad­di­ti­o­nal bag depending on the destination and the airline - 2 elec­tro­nic up­gra­de vo­uc­hers and two more for every status retention HON Cir­cle pri­vi­le­ges - All exi­sting Se­na­tor pri­vi­le­ges - Exe­cu­ti­ve bo­nus of 25 per cent - 100,000 mi­les in advan­ce - Se­na­tor sta­tus for yo­ur spo­u­se or par­tner depending on the airline - 6 elec­tro­nic Up­gra­de Vo­uc­hers and 6 more for every status retention - Ad­di­ti­o­nal be­ne­fits of­fe­red by Mi­les & Mo­re par­tners, ro­un­ding off the tra­vel ex­pe­ri­en­ce Spend mi­les You can ex­chan­ge col­lec­ted award mi­les for awar­ds pre­pa­red for you: award tic­kets, up­gra­des, va­ri­o­us tra­vel awar­ds.

Po­god­no­sti sta­tu­sa HON Cir­cle - sve po­god­no­sti sta­tu­sa Se­na­tor - Exe­cu­ti­ve Bo­nus od 25 po­sto - pre­du­jam od 100,000 mi­lja - Sta­tus Se­na­tor za su­pru­æni­ka ili par­tne­ra ovisno o zrakoplovnoj kompaniji - πe­st elek­tron­skih va­u­Ëe­ra za pre­mje­πtaj u vi­πi ra­zred pu­to­va­nja (up­gra­de), te joπ 6 prigodom zadræavanja statusa - do­dat­ne po­god­no­sti ko­je nu­de par­tne­ri pro­gra­ma osi­gu­ra­va­ju­Êi je­din­s­tve­no isku­s­tvo pu­to­va­nja Tro­πi­te mi­lje Pri­kup­lje­ne na­grad­ne mi­lje za­mje­nju­je­te za broj­ne na­gra­de: nagradne kar­te, pre­mje­πtaj u vi­πi ra­zred pu­to­va­nja (up­gra­de), ra­zli­Ëi­te na-­ gra­de ko­ji­ma se mo­æe­te ko­ri­sti­ti pri pu­to­va­nju (ho­tel­ski smje­πtaj, unaj­mlji­va­nje vo­zi­la). 160

CROATIA AIRLINES


Croatia Airlines nagrauje autora najoriginalnije fotografije.

Mirjana PoljiËak

Fotografirajte i otputujte Letite Croatia Airlinesom, fotografirajte i osvojite zrakoplovne karte. Autor najoriginalnije fotografije bit Êe nagraen dvjema povratnim meunarodnim zrakoplovnim kartama Croatia Airlinesa.

Zaπto volite putovati ? Budite kreativni. Fotografijom i jednom reËenicom izrazite zaπto volite putovanja. Najoriginalniju fotografiju izabrat Êe Sluæba promotivnih aktivnosti Croatia Airlinesa, a fotografiju Êemo objaviti u sljedeÊem broju putnog Ëasopisa. Crno-bijele, fotografije u boji ili dijapozitive dostavite do 15. svibnja 2010. godine na adresu: Croatia Airlines, Sluæba promotivnih aktivnosti, Bani 75b, Buzin, 10010 Zagreb, Hrvatska. Ne zaboravite priloæiti kupon s dna stranice.

" g.

ga

gica

IME PREZIME DATUM RO–ENJA ULICA I BROJ PO©TANSKI BROJ GRAD DRÆAVA TEL. E-MAIL

Uvjeti nagradne igre: - fotografije postaju vlasniπtvo Croatia Airlinesa - Croatia Airlines ne preuzima nikakvu odgovornost u sluËaju gubitka materijala - Croatia Airlines zadræava pravo koriπtenja fotografija u promidæbenim materijalima Croatia Airlinesa bez naknade - nagrada ne moæe biti zamijenjena za novac - djelatnici Croatia Airlinesa te Ëlanovi njihove uæe obitelji nemaju pravo sudjelovanja u nagradnoj igri


Croatia Airlines is rewarding the author of the most original photograph.

Almeria Allen

Take a photo and travel

Fly Croatia Airlines, take photographs and win two air tickets. The winner will receive 2 Croatia Airlines international round trip tickets.

Why do you love to travel ? Be creative. In one sentence and a single photograph express why you love to travel. Selection of the most original photograph will be made by the Croatia Airlines Promotion Department and the photograph will be published in the next issue of our inflight magazine. You should send us your B/W or color photographs and/or slides by 15th May 2010 to the following address: Croatia Airlines, Promotion Department, Bani 75b, Buzin, 10010 Zagreb, Croatia. Do not forget to include the coupon from the page bottom.

" Mr.

Mrs.

Miss.

NAME SURNAME DATE OF BIRTH ADDRESS POSTAL CODE CITY COUNTRY TEL. NO. E-MAIL Conditions for participation: - photographs become the property of Croatia Airlines - Croatia Airlines does not assume any responsibility in case of the possible loss of the material - Croatia Airlines reserves the right to use the material in the Croatia Airlines promotional activities and materials, without an additional payment. - reward cannot be exchanged for money - employees of Croatia Airlines as well as the members of their immediate families, are not allowed to participate


pristup-hrvatski:pristup-hrvatski 2009.09.14 08:39 Page 1

Miles & More Broj leta/ Flight number

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Klasa knjiæenja/ Booking class

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Adresa (molimo vas da navedete samo jednu adresu)/ Address (please state only one address) ga/Ms

g./Mr

Titula/Title

Telefon/Telephone

KuÊna/ Home Ime/First name

Poslovna/ Business Prezime/Surname

Ulica i broj/Street and number

Poπtanski pretinac/PO Box

Grad/Town

Razred putovanja/ Service class Economy Class Business Class First Class

Dræava/Country

Molimo vas da unesete ime kompanije/Please enter name of company here

Poπtanski broj/Postcode

Datum roenja/Date of birth Dan/ Mjesec/ Day Month

Godina/ Year

Odjel/Department

Mobilni telefon/Mobile number Privatni/ Home

Poslovni/ Business

Ovime potvrujem* da od sljedeÊih (dolje oznaËenih) kompanija æelim primati SMS poruke s vaænim i najnovijim informacijama u vezi s mojim letom tijekom putovanja. /I hereby give my permission* for the following listed companies (ticked below) to send me important and up-to-date information regarding my travel itinerary by SMS during my travels. Deutsche Lufthansa AG, kompanija iz koncerna Lufthansa ili kompanije koje sudjeluju u programu Miles & More (ukljuËujuÊi Croatia Airlines) Deutsche Lufthansa AG, a company of the Lufthansa Group or joint operators of the Miles & More programme (including Croatia Airlines)

Drugi partneri programa Miles & More Other Miles & More partner corporations

e-mail adresa/E-mail address Privatna/ Home

Poslovna/ Business

Ovime potvrujem* da od sljedeÊih (dolje oznaËenih) kompanija æelim elektronskom poπtom primati obavijesti o ponudama, promocijama, novim uslugama i drugim zanimljivim temama vezanima uz Lufthansu, grupu Lufthansa i partnerske kompanije. /I hereby give my permission* for the following listed companies (ticked below) to send me information by e-mail about offers, promotions, new services and other interesting topics from Lufthansa, the Lufthansa Group, as well as partner corporations. Deutsche Lufthansa AG, kompanija iz koncerna Lufthansa ili kompanije koje sudjeluju u programu Miles & More (ukljuËujuÊi Croatia Airlines) Drugi partneri programa Miles & More Deutsche Lufthansa AG, a company of the Lufthansa Group or joint operators of the Miles & More programme (including Croatia Airlines) Other Miles & More partner corporations

Uvjete Ëlanstva u programu Miles & More moæete pronaÊi na web stranicama www.miles-and-more.com ili www.lufthansa.com. Ova vas prijava ne obvezuje ni na koji naËin. Ne budete li viπe htjeli primati obavijesti o naπim posebnim ponudama, u svakom trenutku moæete povuÊi pristanak za koriπtenje vaπih osobnih podataka u promotivne svrhe pozivom na telefonski broj + 49-1805-5959 (€0.12/min. preko fiksne mreæe u NjemaËkoj) * Znam da dopuπtenje dano Deutsche Lufthansi AG mogu povuÊi u svakom trenutku.

Poljski/ Polish

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Conditions of participation in our Frequent Flyer Programme Miles & More can be obtained on request on the Internet at www.miles-and-more.com and www.lufthansa.com This registration places you under no obligation. If you no longer wish to receive our special offers, you can withdraw your permission to use your personal information for advertising purposes by contacting us on +49 -18 05 - 59 59 (€ 0.12/min. from a German landline). * I am aware that I can revoke this permission from Deutsche Lufthansa AG at any time.

Odabrani naËin komunikacije za Miles & More News i izvjeπtaj o stanju milja na raËunu/Preferred means of communication for Miles & More News and Miles & More account statements: Elektronski/ Poπtom/ Online Post

POU01

Jezik za komunikaciju/Preferred correspondence language Francuski/ Engleski/ Talijanski/ NjemaËki/ French English Italian German

Datum/Date

Potpis/Signature

Jednostavno je prijaviti se za Ëlanstvo: • preko interneta na web stranici www.miles-and-more.com/croatia • poπtom • telefaksom na broj +49 - 52 41 - 80 60 200 • kod osoblja u zrakoplovu Bit Êe nam zadovoljstvo ubiljeæiti vam milje za trenutaËni let kao i za bilo koji drugi let koji ste ostvarili u posljednjih 12 mjeseci s Croatia Airlinesom, kompanijom Lufthansa ili nekim drugim partnerom u programu. Molimo vas da gore unesete podatke o trenutaËnom letu. Retroaktivno ubiljeæavanje milja za druge letove moæete zatraæiti na stranici www.miles-and-more.com. Molimo vas da uvijek Ëuvate originalnu kartu za ulazak u zrakoplov (boarding pass) i kopiju putne karte dok vam se milje ne ubiljeæe na raËun.

It’s so easy to register: • Online at www.miles-and-more.com/croatia • By fax +49 - 52 41 - 80 60 200

d

• By post • With one of your flight attendants

We will be happy to credit your account with the miles for this flight and for any other flights taken in the last 12 months with Croatia Airlines, Lufthansa or another Miles & More partner. Enter your current flight above. To have the miles for the other flights credited to your account, go to www.miles-and-more.com. Please retain your original boarding card and passenger receipt (copy of your ticket) until the miles have been credited to your account.


pristup-hrvatski:pristup-hrvatski 2009.09.14 08:39 Page 2

Razred putovanja/ Service class

Klasa knjiæenja/ Booking class

Miles & More – veÊ sad poËnite prikupljati milje

Broj leta/ Flight number

Broj karte/

Miles & More – start collecting miles now

Document number

LUFTPOST

Prostor za marku.

PAR AVION PRIORITAIRE

Please affix stamp here.

RÉPONSE PUBLICITAIRE/ANTWORT ALLEMAGNE Miles & More Postfach 14 34 33309 Gütersloh ALLEMAGNE

»im se poËnete koristiti svojom privremenom karticom Miles & More, milje Êe vam se biljeæiti na raËun. Molimo vas da pri svakoj rezervaciji navedete broj svoje kartice Miles & More. Trajnu karticu dobit Êete poπto prikupite najmanje jednu milju na svom raËunu. Milje za danaπnji let bit Êe vam ubiljeæene na raËun ako na prednju stranu unesete sve potrebne podatke o letu.

Ime/First name

Miles will start landing in your account immediately after you start to use your temporary Miles & More Card. Please remember to state your personal Miles & More number every time you make a reservation. You will receive your proper Miles & More Card once you have collected one mile.

Prezime/Surname

We will credit the miles for your current flight to your account once you have provided all the details of the current flight on the front.

Trajnu karticu dobit Êete poπto prikupite najmanje jednu milju na svom raËunu. We will send you your regular Miles & More Card as soon as you have earned one mile.


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U NA©EM ZRAKOPLOVU UPORABA TELEFONSKIH NAPRAVA Sadaπnje odredbe zabranjuju uporabu odreenih prenosivih elektronskih naprava tijekom komercijalnih letova, zbog moguÊnosti ometanja navigacijske i komunikacijske opreme. Na letovima Croatia Airlinesa zabranjena je uporaba ovih elektronskih naprava: prijenosnih telefona, komercijalnih dvovalnih prijenosnika (npr. walkie talkie); amaterskih prijenosnih ureaja; CB prijenosnih ureaja: prijenosnih ureaja koji emitiraju RF energiju na odreenoj frekvenciji, perifernih ureaja za raËunala ili igre. Ovi se ureaji mogu rabiti kad zrakoplov nije na pisti, uzletu, poËetnom penjanju, prilazu ili fazama slijetanja: osobna raËunala (periferni ureaji kao πto su πtampaËi, vanjski disc driveovi itd. nisu dopuπteni); osobna raËunala s igrama, VHF skenerski prijamnici; CD diskovi; kasetofoni, videorekorderi; kalkulatori. SljedeÊi ureaji mogu se rabiti sve vrijeme: sluπni aparati, ugraeni medicinski aparati, elektronski satovi, elektronski stimulatori æivaca.

ZABRANJENI PREDMETI

PO©TOVANI PUTNICI!

RU»NA PRTLJAGA

Vaπe zadovoljstvo naπa je prva i najvaænija zadaÊa. Stoga stalno nastojimo poboljπati naπe usluge u zrakoplovu i na zemlji. Osluπkujemo vaπe æelje preko anketa, pisama te vaπih pismenih i usmenih prijedloga i, vjerujte, uvijek ih smatramo dragocjenima. Znajte da nam je svaki vaπ prijedlog dobro doπao, a svaka napomena vrlo vaæna. Piπite nam stoga na adresu uredniπtva: Croatia Airlines, Ëasopis Croatia, Bani 75b, Buzin, 10010 Zagreb, e-mail: pr@croatiaairlines.hr

Sva Ëekirana prtljaga mora imati putnikovo ime. Besplatne oznake za prtljagu mogu se dobiti u svim prodajnim uredima Croatia Airlinesa. Oznaku za prtljagu stavite i unutar prtljage. Sve vrijedne stvari i predmete nosite sa sobom u zrakoplov. Osobnu ruËnu prtljagu odloæite iznad svojeg sjedala ili ispod njega, tako da teæi komadi idu ispod, a lakπi iznad, a da istodobno ne smeta drugim putnicima i posadi zrakoplova.

UPUTE ZA SIGURNOST Molimo proËitajte nekoliko uputa vaænih za vaπu sigurnost i udobnost tijekom putovanja. Raduje nas πto ste za let izabrali upravo zrakoplov naπe kompanije. Potrudit Êemo se da vam let protekne πto ugodnije. UvaæavajuÊi svjetske zdravstvene i ekoloπke trendove, 1996. godine Croatia Airlines uvela je nepuπaËke letove na svim linijama. Zahvaljujemo vam πto se pridruæujete naπim nastojanjima da svijet bude zdraviji, ËiπÊi i ljepπi.

RED SJEDENJA Vaπe je sjedalo rezervirano samo za vas. Napuπtate li sjedalo tijekom leta, molimo da se prije svakog slijetanja vratite na sjedalo. 162

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Prije uzlijetanja zrakoplova osoblje Êe vam dati nekoliko uputa πto valja Ëiniti u sluËaju opasnosti. One se odnose na tip zrakoplova pa ih paæljivo prouËite. Prigodom uzlijetanja i slijetanja svi putnici, ukljuËujuÊi i djecu, moraju se vezati sigurnosnim pojasima. PreporuËujemo da zbog vaπe sigurnosti i udobnosti ostanete privezani tijekom cijelog leta. Pri slijetanju molimo da ostanete na svojim sjedalima sve dok se ne iskljuËi znak obvezatnog vezivanja. Prilikom ulaska u neke zemlje valja popuniti odreene obrasce. Oni su vam dostupni u aerodromskoj zgradi pri ulasku u zemlju. Kako bismo vam olakπali i ubrzali taj postupak, naπe Êe vam ih kabinsko osoblje rado podijeliti tijekom leta.

Zakonom je zabranjeno noπenje opasnog materijala i u predanoj i u ruËnoj prtljazi. U takve se ubrajaju eksplozivi, lako zapaljive tekuÊine, radioaktivni materijali i otrovi, oruæje, stlaËeni plinovi, korozivna i oksidirajuÊa sredstva.

USLUGA TIJEKOM LETA U zrakoplovu raspolaæemo s raznim vrstama alkoholnih i bezalkoholnih piÊa kojima Êe vas stjuardese posluæiti zajedno s jelom. Prigodom kupnje karte, ali svakako 24 sata unaprijed, moæete naruËiti specijalnu vrstu obroka (oznaka: SPML), kao npr. vegetarijanski, muslimanski, dijetalni, a kosher 48 sati unaprijed. Ako ste naruËili poseban obrok, molimo vas da o tome na vrijeme izvijestite osoblje. Putnicima nije dozvoljeno konzumiranje vlastitih alkoholnih piÊa. Osoblje zrakoplova neÊe posluæiti alkoholna piÊa alkoholiziranim putnicima. Prije slijetanja osoblje Êe ukloniti sve πalice i Ëaπe. Puπenje nije dopuπteno tijekom cijelog leta, a u toaletima postoje i detektori za dim koji se aktiviraju u sluËaju puπenja.

MEDICINSKA POMO∆ U zrakoplovu imamo priruËnu ljekarnu sa svim potrebnim lijekovima za prvu pomoÊ (s lijekovima protiv bolova, flasterima i ostalim osnovnim medicinskim sredstvima). Za medicinsku pomoÊ obratite se kabinskom osoblju.


ABOARD OUR AIRCRAFT SKY - SHOP U avionu moæete kupiti bescarinsku robu. Glede cijena, obratite se domaÊici zrakoplova. Roba se moæe platiti u sljedeÊim konvertibilnim valutama: euro, ameriËki dolar, funta, πvicarski franak i u nacionalnoj valuti kunama, te sljedeÊim karticama: Diners, Visa, American Express i EuroMaster Card. Zbog teæine aviona ili trenutaËnog nedostatka prostora ponuda moæe biti ograniËena, pa vas molimo da to uzmete u obzir. ■

DEAR PASSENGERS! Your satisfaction is our first and foremost concern. That is why we are always striving to improve our services on board our aircraft and on the ground. We study your wishes by means of questionnaries, letters and spoken suggestions, which, believe us are always given every consideration. The mentioned improvements are an answer to your requests. With every new timetable we try to adapt ourselves increasingly to your needs, as well as to improve the existing services. Each one of your suggestions is most welcome, and every comment carefully read and very important to us. So please do not hesitate to write to us to the following address: Croatia Airlines, Inflight Magazine, Bani 75b, Buzin, 10010 Zagreb, E-mail: pr@croatiaairlines.hr

luggage must be stowed under the passenger seat or in the overhead compartment - heavy pieces below and lighter above the seat - in a way not to disturb other passengers or the cabin crew.

SAFETY INSTRUCTIONS Prior to take-off the cabin crew will give you instructions regarding your safety and how to act in case of an emergency. The instrucions vary according to the type of the aircraft, so please pay attention to the flight attendant’s predeparture announcements and safety demonstrations. During take-off and landing all passengers, including children, are required to fasten their seat belts. For your safety and comfort, we recommend that you keep the safety belt fastened during the whole flight. Some countries require that passengers complete a form on arrival. These forms are available at arrival terminals on entering the country. In order to facilitate this procedure, our cabin crew will be pleased to distribute such forms during the flight.

Your seat has been especially reserved for you. Should you leave your seat during the flight, please return to it before each landing.

BAGGAGE

RESTRICTED ITEMS

All checked-in baggage must have the passenger’s name on the outside. Free identification cards are available at all OU ticket offices. We suggest that you place an identification tag inside your luggage as well. Carry all valuable and important items with you on the plane. Hand

The law prohibits the transport of hazardous items in either checked-in or hand luggage. Such items are: explosives, flammable liquids and solids, radioactive materials and poisons, firearms, compressed gases, corrosive products and oxidizers.

In accordance with health and environmental trends accepted throughout the world, Croatia Airlines introduced nonsmoking flights to all destinations in 1996. Thank you for joining our efforts in making the world a better, cleaner and healthier place to live in.

SEAT ASSIGNMENT

Both alcoholic and non-alcoholic beverages are available on board and are served with your meal. If you wish to order a special kind of meal such as vegeterian, dietary etc., you can do so when buying your ticket but must be 24 hours in advance. Kosher meals should be ordered 48 hours in advance. Make sure that your flight attendant is aware that you have ordered a special meal. Passengers are prohibited from consuming their own alcoholic beverages on board. The cabin crew are instructed to discontinue serving passengers who appear to be intoxicated. All cups and glasses will be removed from the passenger areas prior to take-off and landing. Smoking is not permitted on any of Croatia Airlines’ flights. A fresh air vent and smoke detectors are located in toilletes and will be activated if smoking.

USE OF ELECTRONIC DEVICES Current regulations prohibit the use of certain types of portable electronic devices (PFDs) on board commercial flights, due to potential interference with navigational and communications equipment. On Croatia Airlines’ flights it is prohibited to use the following electronic devices: cellular telephones, commercial twoway transmitters (e. g., walkie-talkies); amateur radio transmitters; Citizen Band (CB) transmitters; 49-MHz transmitters, devices designed to radiate RF energy on a specific frequency; peripheral devices for computers or computer games.The following devices may be used when the aircraft is not in the taxiing, take-off, initial climb, approach or landing phases: personal computers (cable-connected peripheral devices such as printers, external disc drives, etc. are not permitted); personal computer games, VHS scanner receivers; compact disc players; cassette tape players; video recorders; calculators. The following may be operated at all times: hearing aids, implanted medical devices, electronic watches, electronic nerve stimulators.

Please read the instructions below, important for your safety and comfort during the flight. We are happy that you have chosen Croatia Airlines for your flight and shall do our best to make it as pleasant as possible.

SERVICE ON BOARD

MEDICAL AID Painkillers, Band Aid and other essential medical items are kept on the aircraft. Ask your flight attendant should you need any assistance.

SKY SHOP Duty free goods can be paid for in major currencies such as: Euro, US Dollar, British Pounds, Swiss Franks and national currency Kuna, whilst Diners, Visa, American Express and Euro-Master Card are also welcome. ■ CROATIA AIRLINES

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I travel the world for inspiration and with global access to 980 lounges I can even be inspired before boarding. I’ve earned it.

Gracinha Vi terbo, Senior Designer at Graça Vi terbo Interior Design and Star Alliance Gold Status

staralli ance.com

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FLOTA

FLEET Zrakoplovi A320-200, A319-100, i Dash8 - Q400 Ëine naπu flotu. Our fleet consists of A320-200, A319-100 and Dash8 - Q400 aircraft.

Specifikacije / Specifications

A320-200

A319-100

Dash8 - Q400

Raspon krila / Wing span (m/ft)

34,1 / 111

34,1 / 111

28,42 / 93,24

Duljina trupa / Fuselage length (m/ft)

37,6 / 123

33,84 / 111

32,83 / 107,71

NajveÊa dopuπtena teæina u polijetanju / Maximum take off weight (kg)

73 500

70 000

29 257

NajveÊa visina leta / Maximum cruising altitude (m/ft)

11 920 / 39 100

11 900 / 39 000

7620 / 25 000

Povrπina krila / Wing area (m /ft )

122,40 / 1318

122,40 / 1318

63,08 / 679

NajveÊa letna brzina / Maximum cruising speed (km/h)

834 (450 KTS)

834 (450 KTS)

667 (360 KTS)

Pogonska grupa / Power-plants

motori / engines x 2 CFM 56

motori / engines x 2 CFM 56

motori / engines x 2 PW 150A

Broj zrakoplova u floti / Number of aircraft in fleet

3

4

6

2

2

(1 unajmljen / 1 leased)

A320-200

Jedan od najsuvremenijih putniËkih zrakoplova srednjeg doleta u svijetu. Raspored poslovnog i ekonomskog razreda razlikuje se od jednog do drugog leta. One of the most modern midrange aircraft in the world. Flexible cabin layout, the ratio of business to economy class seating depends on actual booking.

A319-100

Jedan od najsuvremenijih putniËkih zrakoplova srednjeg doleta u svijetu. Raspored poslovnog i ekonomskog razreda razlikuje se od jednog do drugog leta. One of the most modern midrange aircraft in the world. Flexible cabin layout, the ratio of business to economy class seating depends on actual booking.

Dash 8-Q400

Jedan od najsuvremenijih turbopropelerskih zrakoplova kratkog doleta kanadske proizvodnje. Raspored poslovnog i ekonomskog razreda razlikuje se od jednog do drugog leta. One of the most modern turbo-prop short range aircraft, manufactured by Canadian manufacturer. Flexible cabin layout, the ratio of business to economy class seating depends on actual booking. CROATIA AIRLINES

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ZEMLJOVID ODREDI©TA

A MAP OF DESTINATIONS

Partneri / Partners:

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ZRA»NA LUKA ZAGREB

ZAGREB AIRPORT

5

4

4

Gates 11-21 Izlazi 11-21

International Arrivals & Departures Meunarodni dolasci i odlasci

2 Gates 1-7 Izlazi 1-7

P

Accessible to passengers only/ Samo za putnike

1

C

P C

Check-in “A” Registracija putnika “A”

A

Accessible for all/ Dostupno posjetiteljima

Domestic Arrivals & Departures DomaÊi dolasci i odlasci

D

D

Check-in “B” Registracija putnika “B”

N

B S B

Parking Area/ Parkiraliπte

3

S

TAKSI BUS

CROATIA AIRLINES Ticket Counter and Welcome Service Prodaja karata i Sluæba za skrb o putnicima

A

Rent-a-Car Offices Najam automobila

Restaurant, Self-Service Restaurant Restauracija, samoposluæivaonica

B

Bank, Exchange Office Banka, mjenjaËnica

Coffee Bar Kavana

Flight Information Informacije o letovima

C

Customs Control Carinska kontrola

Bar

Tourist Information TuristiËke informacije

D

Duty Free Shop Bescarinska trgovina

Post Office, Telephone, Fax HPT (poπta, telefon, faks) Baggage Prtljaga

1

Business Class Lounge Zrinjevac Prostorije poslovnog razreda Zrinjevac

2

V.I.P. Salon, Conference Room Salon za konferencije

3

Diners Club Business Class Lounge Prostorije poslovnog razreda Diners Cluba

4

Restaurant Faust VranËiÊ

N

Newstand Novinarnica

5

Panoramic View Panoramski pogled

P

Passport Control Kontrola putovnica

S

Shops Prodavaonice

AUTOBUSI do zraËnih luka / AIRPORT BUSES

Prijevoz iz grada u zraËnu luku i pristojba Prijevoz iz grada (s terminala) u zraËnu luku u veÊini je gradova u svijetu dobro organiziran. Cijena tog prijevoza nije uraËunana u cijenu leta. Ground Transportation and Passenger Service and Charges In most cities of the world, transportation between the city terminal and airport is well organized. The fare for such transportation is not included in the amount paid for the air ticket. U SPLITU, DUBROVNIKU i RIJECI autobusi za zraËnu luku polaze 90 minuta prije polijetanja zrakoplova, a u ZADRU 60 minuta prije leta. Autobusi iz zraËnih luka prema gradu polaze ubrzo nakon slijetanja zrakoplova. In SPLIT, DUBROVNIK and RIJEKA airport buses leave 90 minutes before the flight, and in ZADAR 60 minutes before the flight. The buses from the airports leave shortly after the aircraft’s landing. Kombi RIJEKA (ispred Autotroleja na JelaËiÊevu trgu) - Zagreb (zraËna luka) - Polazak u 5 i 11 sati. Kombi Zagreb (zraËna luka) Rijeka - Polazak u 15.30 i 21 sat. Cijena karte u jednom smjeru: 145 kuna. Minibus service from RIJEKA (in front of the Autotrolej at JelaËiÊ Square) - Zagreb Airport - Departure at 5.00 and 11.00 hours. Minibus service from Zagreb Airport - Rijeka - Departure at 15.30 and 21.00. Price of a one-way ticket: 145 Kunas.

ZAGREB - Polasci svakog dana s gradskog terminala (Autobusni kolodvor) prema ZraËnoj luci Zagreb (do 27. ožujka 2010.): Departures daily from the Town terminal (Main Bus Station, DræiÊeva St. bb) to the Airport Zagreb (until 27 March 2010):

6.00 8.00 6.30 8.30 7.00 9.00 7.30 10.00

11.00 11.30 12.00 12.30

13.00 13.30 14.00 14.30

15.00 15.30 16.00 16.30

17.00 17.30 18.00 18.30

19.00 19.30 20.00

ZAGREB - Polasci svakog dana iz ZraËne luke Zagreb prema gradskom terminalu (Autobusni kolodvor): Departures daily from the Airport to the Town Terminal (Main Bus Station, DræiÊeva St. bb): 7.00 9.00 8.00 9.30 8.30 10.30

11.30 12.00 12.30

13.00 13.30 14.00

14.30 15.00 15.30

16.00 16.30 17.00

17.30 18.00 18.30

19.00 19.30 20.00

Informacije o polascima autobusa / Bus departure information: Zagreb tel. (01) 6331-982, Split tel. (021) 203-305, 203-119, Rijeka tel. (051) 330-207, 336-757, Dubrovnik tel. (020) 773-377, 772-232, Zadar tel. (023) 250-101 www.plesoprijevoz.hr Cijena jednosmjerne karte u Zadru iznosi 25 kn, u Zagrebu i Splitu 30 kn, a u Dubrovniku 35 kn. The price of a one-way ticket in Zadar is 25 Kunas, in Zagreb and Split is 30 Kunas and in Dubrovnik 35 Kunas. Autobusi iz Zagreba polaze sat i pol prije domaÊih letova te dva sata prije meunarodnih letova. Bus departures in Zagreb are an hour and a half prior for domestic flights and two hours prior for international flights.

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ZA©TO VOLITE PUTOVATI? Dragi putnici! Zahvaljujemo vam na mnoπtvu poslanih fotografija. Kako je za mnoge najljepπe godiπnje doba - proljeÊe - pred nama, predlaæemo vam da ga iskoristite za odlazak na put. Uæivajte u istraæivanju nepoznatih mjesta, a svoje priËe i doæivljaje poπaljite nam u obliku fotografija. Autora fotografije Darija Pirjaka odabrali smo kao najboljega u ovom broju te ga nagraujemo dvjema povratnim zrakoplovnim kartama Croatia Airlinesa. Promotivnim poklon-paketom nagradit Êemo Anu CrnËec i Alena IvankoviÊa. Pozivamo vas da nam nastavite slati svoje fotografije, jer vas i u iduÊem broju oËekuju vrijedne nagrade.

Dear passengers!

Alexandra Cram

We would like to thank you for the many photos you have sent us. For many, spring is the most beautiful season of the year. Make the most of the spring which is ahead of us, travel. Explore new and unknown places, capture your experiences and stories with the camera lens and send us your photos. Dario Pirjak has been chosen as the author of the best photo in this issue and will be awarded with two return tickets on a Croatia Airlines flight. Ana CrnËec and Alen IvankoviÊ will receive our promo packs. Keep on sending us your photos as valuable awards await in the next issue.

Nina ButiÊ

Putovati znaËi moÊi se opustiti, biti slobodan. To travel means to be able to relax, to be free.

Volim putovati jer nema granica. I love to travel as there are no limits.

Gala Pavlin

Alen IvankoviÊ

Putovati volim jer putovati znaËi disati punim pluÊima. I love to travel as travelling means living life to its fullest.

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Paola JukiÊ

WHY DO YOU LOVE TO TRAVEL?

Mario Maindl

Putovanja mi donose bogato iskustvo i osjeÊaj slobode, uËim o sebi i drugima... My travels have brought me a wealth of experiences and the sense of freedom... I learn about myself and others...

Ana CrnËec

Dario Pirjak - Prva nagrada/First prize

Putovati znaci traziti raj na zemlji. Travelling means looking for the paradise on earth.

Neke prirodne ljepote na putovanju mogu samo doæivjeti pogledom iz zraka. The beauty of some natural phenomena can be experienced only from the air. Moraπ otiÊi da bi se mogao vratiti...s uspomenama. You have to leave in order to return... with memories.

Ivan CrnËec

Ljepota ostaje u oËima onih koji putuju. Beauty stays in the eye of the traveller.

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ADRESE Direkcija / Head office Bani 75b, 10 010 Buzin, Zagreb, Tel. (+385-1) 616-00-66 Fax (+385-1) 616-01-53 E-mail adrese / E-mail addresses President’s Office/ugd@croatiaairlines.hr Public Relations/pr@croatiaairlines.hr Marketing/advertising@croatiaairlines.hr Customer Relations/customer.rel@croatiaairlines.hr Sales/sales@croatiaairlines.hr Cargo/cargo@croatiaairlines.hr Kontakt centar / Contact Center Tel. (+385-1) 66 76 555 pon - pet/Mon - Fri 08:00 - 20:00 sub, ned, praznik / Sat, Sun, Holiday 09:00 18:00 contact@croatiaairlines.hr Sluæba za korisnike / Customer Relations Dept. Fax (+385-1) 616-01-52 Miles & More kontakt centar / Miles & More Service Team Tel. +385 (0) 91 77 312 Brojevi telefonskog check in-a / Telephone check-in Dubrovnik 020-77 31 71 Pula 052-53 01 05 Split 021-20 31 83 Zagreb 01-456 21 05 PutniËka prodaja / Passengers sales Fax (+385-1) 61-60-270 BerislaviÊeva 1, 10 000 Zagreb Informacije o prijevozu robe / Cargo information office Tel. (+385-1) 61-64-573 Fax (+385-1) 61-64-575 Obzor putovanja / Obzor Holidays Ltd Tel. (+385-1) 487 31 68, 487 31 69, 481 96 38 Poslovnice / Town and airport offices Identifikacijski kod poslovnica u Hrvatskoj je/ Identification code for offices in Croatia is: HR-B-01-080037012 Amsterdam WTC, Tower B, Level 4, Schiphol Boulevard 207, 1118 BH Luchthaven Schiphol Tel. (+31-20) 316-42-80 Fax (+31-20) 316-42-81 amsto@croatiaairlines.hr BeË / Wien Airport Office Objekt / Building 645, Room 115-116, A-1300 Wien Flughafen Tel. (+43-1) 7007 359-62, 361-63 Fax (+43-1) 7007 359-63, 361-64 vieap@croatiaairlines.hr Bruxelles Brussels Airport Box 31, 1930 Zaventem Airport office: Tel. (+32-2) 753-5133 Airport counter: Tel. (+32-2) 753-5132 Fax (+32-2) 753-5130 bruap@croatiaairlines.hr Dubrovnik ZraËna luka, Airport Dubrovnik 20 117 »ilipi, Dubrovnik Tel. (+385-20) 773-232 Fax (+385-20) 772-240 dbvap@croatiaairlines.hr Frankfurt Schillerstrasse 42-44, 60 313 Frankfurt, Tel. (+49-69) 92-00-520 Fax (+49-69) 92-00-52-51 frato@croatiaairlines.hr London 2 The Lanchesters, 162-164 Fulham Palace Road, London, W6 9ER, Tel. (+44-20) 8563-00-22, 0844 3710 310 (UK only)

172

CROATIA AIRLINES

ADDRESSES Fax (+44-20) 8563-2615 Airport Heathrow, Room 531, Terminal 1, Zone K Hounslow, Middlesex, TW6 1JZ Tel. (+44-20) 8745-46-83 Fax (+44-20) 8754-73-77 lonto@croatiaairlines.hr München Flughafen Franz Josef-Strauss, Terminal 2, Verwaltungsgebäude Nord Büro B.4.1322, 85 356 München, Tel. (+49-89) 97-592-730/731 Fax (+49-89) 97-592-736 mucap@croatiaairlines.hr Paris Roissypôle, Le Dôme 1, 3th floor Rue de la Haye BP 18913 Tremblay en France 95731 ROISSY CDG CEDEX Tel. (+33-1) 48-16-4000 Fax (+33-1) 48-16-5511 parto@croatiaairlines.hr Pula Ulica Carrarina 8, 52100 Pula, Tel. (+385-52) 218-909 (+385-52) 218-943 Fax (+385-52) 211-998 puyto@croatiaairlines.hr Rijeka JelaËiÊev trg br. 5, 51 000 Rijeka, Tel. (+385-51) 330-207, 336-757 Fax (+385-51) 335-931 rjkto@croatiaairlines.hr Rim / Roma ZraËna luka, Aeroporto Leonardo da Vinci Torre Uffici 2, Room 518 00054 Fiumicino Tel. (+39-06) 5421-0021 Fax (+39-06) 5923-792 romto@croatiaairlines.hr Sarajevo ZraËna luka Sarajevo, Airport Khurta Schorka 36, 71 210 Sarajevo, Tel. (+387-33) 789-600 Fax (+387-33) 789-602 sjjto@croatiaairlines.hr Skoplje Ul. Dame Gruev 3, 1000 Skoplje, Tel. (+389-2) 3115-858, 3296-967 Fax (+389-2) 3114-203 ZraËna luka, Airport Tel. (+389-2) 3148-390 Fax (+389-2) 2520-921 skpto@croatiaairlines.hr Split Obala hrv. nar. preporoda 9, 21 000 Split, Tel. (+385-21) 362-997, 362-055 (komercijala) Fax (+385-21) 362-567 sputo@croatiaairlines.hr ZraËna luka, Airport Tel. (+385-21) 203-305, 895-298 Fax (+385-21) 203-125 spuap@croatiaairlines.hr Zadar Poljana Natka Nodila 7, 23 000 Zadar, Tel. (+385-23) 250-101 Fax (+385-23) 250-109 ZraËna luka, Airport Tel. (+385-23) 343-045 Fax (+385-23) 312-930 zadto@croatiaairlines.hr Zagreb Zrinjevac 17, 10 000 Zagreb, Tel. (+385-1) 48-19-633 Fax (+385-1) 48-19-632 ZraËna luka Zagreb, Zagreb Airport, 10 150 Zagreb, Pleso Tel. (+385-1) 61-64-581 Fax (+385-1) 61-64-585 posl.zrinjevac@croatiaairlines.hr

Zürich Limmatquai 138, 8001 Zürich, Tel. (+41-44) 261-08-40 Fax (+41-44) 261-08-83 zrhto@croatiaairlines.hr Prodajni zastupnici / Sales agents Europa / Europe Barcelona Global Representacion Turistica (GRT) c/Valencia, 266, 4/1a 08007 Barcelona Tel. (+34-934) 875-775 Fax (+34-934) 880-121 Bratislava CK Blue Sky Travel (GSA) 1. poschodie, Rajska 15, 811 08 Bratislava Tel. (+421) 5262 2375 Istanbul ZENITH Services (GSA) Head Office: Ordu Caddesi, No. 206/1, Laleli 34134 Istanbul Tel. (+90-212) 5124-232, 513-2667 Fax (+90-212) 5124-234, 5125-436 Airport Office: Istanbul Ataturk Airport International Terminal Departure Floor Yesilkoy 34149 Istanbul Tel. (+90-212) 465-50-23, 465-40-92 Fax (+90-212) 465-40-92 Podgorica OKI AIR INTERNATIONAL (GSA) Ivana VujoševiÊa 46, 81 000 Podgorica Montenegro Tel. (+382-20) 201-201 Tel./Fax (+382-20) 241-154 Prag / Praha / Prague CK Blue Sky Travel (GSA) Ruæová ul. 15, 11 000 Praha 1 Tel. (+420-2) 2222-2235 Fax (+420-2) 2222-0237 Priπtina / Prishtina AltaVia Travel (GSA) Head Office: Rr. Luan Haradinaj #27 10031 Prishtina, Kosovo Tel. (+381-38) 233-833 Fax (+381-38) 245-845 Airport Office: Prishtina International Airport Tel. (+381-38) 594-111 Fax (+381-38) 594-222 Bliski istok / Izrael Biaf Aviation Services Ltd (GSA) 1 Ben Yehuda St., Migdalor blgd. 12th Floor, Tel Aviv 63802 Tel. (+972-3) 516-7181, 516-7140 Fax (+972-3) 516-7174 SAD / USA Networld Inc. / Croatia America (GSA) 300 Lanidex Plaza, Parsippany NJ 07054, Tel. (+1-973) 884-3401 Fax (+1-973) 428-3929 Toll free 888-462-7628 Australija / Australia Sky Air Services (GSA) 7/24 Albert Road, Sth. Melbourne Vic. 3205, Tel. (+61-3) 9699-9355 Fax (+61-3) 9699-9388 Novi Zeland / New Zealand Croatia Times Travel Ltd. NZ (GSA) PO Box 104-056; Lincoln North, Suite, 1/182 Lincoln Road, Henderson, Auckland, NZ Tel. (+64-9) 837-9897 Fax (+64-9) 837-9898 Japan Daruma Corporation (GSA) 106 Liberty Hill 3, 3-30-5 Yakumo, Meguro-Ku Tokyo 152 Tel. (+81-3) 5701-5651 Fax (+81-3) 5701-5652


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