Culture & Heritage Tourism in Croatia

Diocletian Palace and Medieval Split
The Emperor’s Palace is one of the most significant works of late-ancient architecture, not just for the preservation of original parts and the whole, but also for a series of original architectural forms announcing the new early-Christian, Byzantine and early-medieval art. The cathedral was built in the Middle Ages by using materials from an ancient mausoleum. Roman churches from the 12th and 13th centuries, medieval forts and gothic, renaissance and baroque palaces are contained within the Roman walls, thus creating a harmonious whole.

Dubrovnik Old Town
The Pearl of the Adriatic became a major Mediterranean power after the 13th century. This late-medieval planned city in the south part of the east Adriatic Croatian coast with its historical core situated at the foot of Mount Srđ has preserved the character of a unique urban whole throughout the centuries, defined by the city walls. It has a significant place in the history of city planning. Although severely devastated by the 1667 earthquake, Dubrovnik has managed to preserve its gothic, renaissance and baroque churches, monasteries and fountains.
Visit this amazing walled city, fit for a King.

Early-Christian Euphrasius Basilica Complex in Poreč
The cathedral complex in Poreč was named Euphrasius Basilica after Bishop Euphrasius who thoroughly renovated the cathedral in mid-6th century and decorated it with famous mosaics. Before Euphrasius’ renovation, there were at least two phases of early-Christian buildings in the same place. In Poreč, Christianity was established as early as the 4th century – the basilica, the atrium, the baptistery and the Episcopal palace are remarkable examples of religious architecture, while the basilica itself combines elements of classicism and Byzantine Empire in an exceptional way. The apse is luxuriously decorated with figurative mosaics that are among the most significant examples of its kind in Europe.

Historical Core of Trogir
Trogir is an excellent example of urban continuity. The orthogonal street plan of this island settlement originates from the Hellenic era – consecutive rulers continued to decorate it with exceptional public and residential buildings and forts. Its beautiful roman churches are supplemented with exceptional renaissance and baroque buildings. The most significant building is the Trogir Cathedral with its west portal, a masterpiece of Radovan and the most significant example of roman and gothic art in Croatia.

National Park Plitvice Lakes
The beauty of Plitvice and its unsurpassable attractiveness are a result of gypsum and gypsum-depositing plants. Creation of gypsum and rearrangement of the river bed created a string of 16 Plitvice Lakes representing a magnificent natural architectural phenomenon, surrounded by thick forests inhabited by bears, wolves and many other rare animal and plant species.

St. James Cathedral in Šibenik
Built between 1431 and 1535, St. James Cathedral witnessed important exchanges in the area of monumental art between North Italy, Dalmatia and Tuscany in the 15th and 16th centuries. Three architects – Francesco di Giacomo, George of Dalmatia and Nicholas of Florence – developed a structure fully made of stone, by using a unique technique for the cathedral’s dome. The result is a harmonious stone whole, arrangement methods and absolute harmony within the cathedral.

Stari Grad Plain
In July of 2008, Stari Grad Plain was added to the UNESCO World Heritage List. The explanation provided by the World Organization states that the vineyards and olive groves in the Plain have remained practically intact since it was first colonized by the ancient Greeks and that they are a unique example of the geometric land division used in the ancient times.

In the summer of 385 B.C., a group of around a hundred families was sent from the town of Paros on the island of the same name in the Aegean Sea toward the Ionian Bay, as the Greeks referred to the Adriatic Sea, to establish a colony there. Their destination was the island of Hvar, formerly named Fiteja, and they were led by Okist who was, among other things, in charge of proper land division to the settlers in the new settlements. Amidst the plain, in a place from where you can see almost the entire plain, is a marked starting point – omphalos. By using groma, a simple surveying instrument, the plain was surveyed and divided into parcels of 1 x 5 stadia, which is approximately 180 x 900 meters. They also carved boundary stones bearing the names of the parcel owners, but the island and coastal Illyrians did not like such division so they attacked the town in 384 B.C. However, the Greeks defeated the Illyrians, which enabled them to gain control of the entire Stari Grad Plain, the largest fertile plain on the Adriatic islands. The settlers soon began to erect ancillary buildings and lodgings in the plain, on their own estates. The luxurious ones date back to the Roman era – so far, they have discovered remains of around sixty of them.

Today, Stari Grad Plain represents the best preserved ancient Greek landscape in the Mediterranean.

Stećci – Mediaeval Tombstones
The so-called “stećci” are monumental mediaeval tombstones, mostly carved out of limestone and usually rectangular in shape and with a flat or gable-top surface. There are both recumbent and upright versions of the stone monoliths. Stećci are often decorated with inscriptions or rudimentary images, for instance spirals, arcades, stars or religious symbols, but also with more complex motifs such as animals, chivalric tournaments and, most famously, the image of a man with his right hand raised. It is believed that the type of the ornamentation depended not only on the artists who created the stećci, but also on the deceased who found their final resting place under them, since the tombstones were created in accordance with their requirements. Examinations suggest that the first stećci were built in the second half of the 12th century and reached their peak in the 14th and 15th century. In the early 16th century, their use completely ceased.

There are 4,400 stećci spread over two necropolises in Croatia. They can be found at Velika and Mala Crljivica, Cista Velika and Dubravka/St Barbara, Konavle. The Mala Crljivica site is about 55 kilometres east of Split, so it can easily be reached by car in about an hour. The site at Dubravka is located just an hour’s drive south of Dubrovnik.

The Venetian Works of Defence between the 16th and 17th Centuries
The defence system of Zadar and the Šibenik fortress of St Nicholas are listed on the UNESCO List of World Heritage as two of the six components of the transnational series of the cultural asset of the Venetian Works of Defence between the 16th and 17th Centuries.

The Venetian Works of Defence between the 16th and 17th Centuries is an exceptional historical, architectural and technological testimony to the “alla moderna” system, developed over the territory of the ex-Venetian Republic as a response to the introduction of new firearms technology in military operations.

The Ancient and Primeval Beech Forests of the Carpathians and Other Regions of Europe
Together with nine other countries: Albania, Austria, Belgium, Bulgaria, Italy, Romania, Slovenia, Spain and Ukraine, on 7 July 2017 the Republic of Croatia joined the extension of the serial nomination of the Ancient and Primeval Beech Forests of the Carpathians and Other Regions of Europe on the UNESCO List of World Heritage.

The extension of the transboundary nomination included 63 areas of beech forests of which the Republic of Croatia participated in with three areas, in the Northern Velebit and Paklenica national parks. It concerns 1,289.11 hectares of beech forests which in the Northern Velebit National Park are located in the strict reserves of Hajdučki and Rožanski Kukovi, and 2,031.87 hectares of forest in Suva Draga – Klimenta and Oglavinovac – Javornik in the Paklenica National Park. The exceptionality of the proposed ancient and primeval beech forests in the Northern Velebit and Paklenica national parks is based on their geographical position, age, specific features and size.

Inclusion in the List of World Heritage is confirmation that Croatia is managing the natural beauties in the best possible way with the aim of protecting them for future generations and that Croatia by its biodiversity and natural beauty is amongst the richest of European countries.

Ojkanje singing
Like some faraway voice from ancient times, the traditional singing with vibrating voices called ojkanje is a distinct expression of the cultural heritage of the Dinaric Alps. Nothing can prepare you for the sounds produced by a single singer or a duo where one singer accompanies the other. Rest assured that in the right circumstances, the melodies that change harmonies and intervals will sound not only ancient, but also entertaining. The right company, a village party, traditional folk costumes, home-made food and wine from wooden cups are enough to get you in the right mood for the unusual throat singing that uses a chromatic scale, and especially for the motifs used in the songs. While klapa singing mostly revolves around love and melancholy, when it comes to ojkanje, anything goes. There’s love, jokes at the audience’s expense and historical epics, and singers normally don’t shy away from social topics and political commentary, either. The tradition originated with folk singers and satirists in ancient times. Even the oldest works of Greek literature – Homer’s “Iliad” and “Odyssey”, which were devoted to the disasters of war – were first sung as epic poems, and written down later on.

It is believed that after their settlement in these lands, Croatians discovered and adopted the root elements of ojkanje, and subsequently passed down the tradition orally from generation to generation. Unfortunately, spreading the ancient singing technique from the Dalmatian hinterland, Ravni Kotari, across the Velebit Mountain, to the Lika and Kordun areas, has not contributed to its survival. The number of authentic singers is in decline, as it seems that it does not resonate with the younger generations. This is why the tradition is at risk and has been on the UNESCO list of intangible cultural heritage under threat since 2010. To keep the tradition alive, next time you find yourself planning a trip to Croatia, opt for the less known and out-of-the-way places in the hinterland of the beautiful Dalmatia, where local parties and celebrations bring together locals who celebrate their traditions. Even if you’re not used to the distinct scales and notes, don’t be afraid to let go and enjoy the ancient sounds of ojkanje, because believe us, it will charm you with its originality.

Two-part singing and playing in the Istrian scale
If you find yourself in Istria and happen to hear an unusual style of singing by two singers, one in falsetto and the other in a normal key, accompanied by even more unusual sounds of instruments, try not to be impatient and keep listening until the end. Once you get used to the strange notes, a whole new world will open up before you.

The distinct, two-part type of folklore singing accompanied by traditional instruments developed in the area of Istria and the Croatian Littoral, although the sounds of this complex musical expression can be found in a much wider area. Part of the complexity of these songs lies in the untempered tonal intervals, and sometimes the singers also need to sing through their noses in order to produce the specific notes needed for the two-part singing. At first glance, it may seem very rigid and strictly defined, but there is actually quite a lot of improvisation in this art form, especially when combined with a textual part, where words are substituted with syllables that are meant to mimic the sounds of the flute.

To give the songs an authentic and traditional sound, there are certain rules to follow – the notes must end in an octave and in unison. There are four subtypes of two-part singing depending on the area – tarankanje, which mimics the sound of the woodwind instrument sopile, bugarenje, diskantno pjevanje, and “tanko” (softly, literally “thin”) and “debelo” (strongly, literally “fat”) kanat singing.

Two-part singing in the Istrian scale can be accompanied by a flute, bagpipes (or gajde), a fife or the string instrument tambura, but the most common instrument is the sopile mentioned above. This conical instrument has a wooden reed and is always played as a pair, where the smaller or “female” sopile accompanies the larger, “male” sopile, lowered by a minor third. In addition to the distinct sound, sopile are unique in that they are played in the Istrian scale. Don’t be intimidated by the various local musical terms and the unusual Istrian scale; seize the opportunity to explore this unusual form of music. You’ll discover an entire culture specific to Istria and the Croatian Littoral, which has a great deal more to offer than just singing and dancing. Ready to explore?

Klapa multipart singing of Dalmatia, southern Croatia
Once you hear an original Dalmatian klapa song live, especially in a traditional setting such as a small alley or the local square, you can rest assured that you’ll fall in love from the very first notes. Unlike other traditional songs, klapa brings pure joy to the listeners thanks to its unique homophonic / unison singing technique with polyphonic elements. It is no surprise then that klapa groups often gathered to impress girls looking from their windows with their singing. Only a rare few of these beauties were able to resist klapa songs, as this a cappella technique involves no loud notes or strong beats, but rather singing in harmony that no-one can be indifferent to.

Klapa singing has its roots in the Mediterranean cultural sphere, small seaside towns and villages and islands, where – in the absence of modern-day gadgets and the Internet – friends spent time singing together, usually unaccompanied by any instruments. One voice normally starts off, followed by others. Even though the words can be difficult to make out at times, you only need to let yourself go and simply enjoy the mellow sounds that seem to float on the sea waves. Themes usually revolve around the sea, love, and the Mediterranean way of life. A cappella songs are rarely about sorrow – even if the klapa sings about days gone by, it is always with lofty sentiment, more often than not praising the values and ideals of past generations.

Although at one point in the past it was reserved strictly for men, klapa singing has become significantly more accepting –nowadays it has become quite common to see all-female or mixed groups competing with male groups, and often winning. Klapa groups accompanied by instruments and modern arrangements greatly contributed to the rise in popularity of this type of singing in Croatia and beyond. Despite their departure from the traditional form, klapa groups now fill stadiums and concert halls and top the music charts in Croatia. So if you ever find yourself in some arched alley and hear a klapa singing, or if you manage to pay a visit to the biggest and oldest klapa singing festival – the one in the town of Omiš – try to take in every note and feel its beauty… Look at the faces of those around you being moved by the songs, and you’ll understand why Dalmatian people will never let go of their songs.

Bećarac singing and playing from Eastern Croatia
Traditional songs accompanied by instruments are a basis on which many nations build and maintain their cultural identity, but the bećarac is a unique vocal and instrumental song. Jokes and mockery, romantic themes and sexual innuendos, mostly sung as metaphors and allegories, are the main characteristics of these songs that are very popular in the regions of Slavonia, Baranja and Syrmia, to say the least. Topics vary depending on the time, place, audience and the singers. The singers themselves need to master a traditional repertoire of themes, but also be prepared to add their own flavour to it, usually a humoresque piece related to a current, everyday topic. It may sound fairly simple, but the basic form of the bećarac is a distich comprised of two decasyllabic verses that need to be made up on the spot and sung using the same melody of 24 measures, one after the other.

The bećarac begins with the first verse, while the second is usually an antithesis to the first, performed by other singers who repeat the verses in unison. Naturally, every good singer of the bećarac must give an excellent vocal performance, but above all, he is valued for his quick wit at any given moment. A group of singers that perform this vocal and instrumental song is an integral part of well-known traditional Slavonian weddings, as well as less formal events, festivities and folklore festivals. When it comes to the bećarac, there’s no room for anger in such settings. Even if you are the target of the song, our advice is actually a paraphrase of a popular saying: “What happens in the bećarac, stays in the bećarac!”

Although its verses can be quite straightforward, the aim of the bećarac isn’t to offend, as this free form provides a backdrop to many important life events for people in northern Croatia. Its humorous and sometimes provocative nature seems to have only helped its survival, so there is no need to fear that it could die out, especially when it comes to the younger generations that carry on the tradition.

Annual Carnival Bell Ringers’ Pageant from the Kastav Area
With an abundance of noise, bell-ringing and dancing that almost resembles a magical ritual, a group of masked people wearing large animal masks and draped in sheepskins, wielding axes and clubs, tour neighbouring villages for days, keeping everyone on their feet. The scene would be fitting for a horror film, if that weren’t the description of the annual pageant of the Kastav bell ringers (or zvončari) and their traditional carnival celebration. In ancient times, part of this folklore performance was used for ritualistic purposes to conjure up the fertility gods during the winter months, ward off evil spirits, and protect farm animals from curses. Today it is a celebration of customs and songs, not only for the performers, the bell ringers, but for the entire area surrounding the town of Kastav and its people, who are extremely proud of their tradition.

The first record of organised bell ringers dates back to the 19th century, but the roots of this tradition can be traced even further back in history when it comes to the elements of the custom and the specific costumes, which point to fertility cult rituals. These characteristics are precisely what set apart the bell ringers from the western and eastern areas around Kastav in the last century. While the former don’t hide their faces and wear hats with decorations made of paper, the latter wear unique horned masks, and a large bell on their backs. Once the zvončari reach the centre of village, led by their chief, the komandant, they gather in a circle and begin dancing. After the sound of the komandant’s whistle marks the end of the dance, they become completely quiet and disperse together with the musicians, in order to be hosted by the locals. Bell ringing isn’t the only element to this annual Carnival procession; there is a whole host of customs, dances, and special dishes and beverages involved. The bell ringers are carefully selected from the local Kastav communities, as not everyone has the strength and courage – or better yet, a touch of madness – needed to take part in the kilometres-long pageants, banging on heavy bells while wearing a sheepskin costume. Those that have these traits ring their bells continuously until Ash Wednesday and the beginning of carnival season, when the effigy or Pust is burned in a large bonfire, thus ending the carnival festivities. Bells are then put away until next season, when the bell ringers will once again emerge from the winter darkness to ward off the spirits and announce the coming of better days, but mostly to bring joy to the gathered crowds.

Nijemo Kolo, silent circle dance of the Dalmatian hinterland
A dance unaccompanied by music is a rare phenomenon in traditional cultures of the world, which is why the silent circle dance of the Dalmatian hinterland truly deserves its UNESCO world heritage title. Although there is no music involved in this dance, there are plenty of things to listen for. The heavy, but rhythmic sounds of traditional leather peasant shoes opanci of up to twenty dancers on the dance floor serve as an indication to quicken the pace or slow down, depending on inspiration. A particularly attractive part of the silent circle dance is the simultaneous jump of the dancers and change of steps. Sometimes it can be accompanied by the traditional singing ojkanje in the background, which is another example of protected intangible heritage, turning this type of dance into a lavish display of local customs and traditions.

Some believe that the silent circle dance of the town of Vrlika is the oldest, but the numerous variations, steps and dance figures, and even different names, point to a widespread phenomenon. Local folklore festivals and traditional fairs, celebrations and weddings are a chance for every village to showcase their version of the circle dance in a friendly competition. Although there are no standard male-female pairs in the silent circle dance, everyone is welcome to join. Circles are organised by alternating men and women, but more often than not, the dancers are exclusively male or exclusively female. It is unknown where such a distribution of dancers comes from, but it may have something to do with the fact that there is an element of romance to the silent circle dance. At a time when it was a regular cultural practice, the silent circle dance was performed during traditional festivities called dernek, held in honour of local saints. A young man would dance towards the girl and slowly introduce her into the circle, thereby letting everyone know he was trying to court her and that the girl belonged to him.

Romance aside, it is believed that the silent circle dance was actually created in protest of the various conquerors who didn’t allow music for dancing, as well as to show a connection to the barren land where the people of the region led difficult lives. Indeed, the silent circle dance and the heavy stomps “speak” to the importance of spite in local traditions.

The Sinjska Alka, a knights’ tournament in Sinj
In honour of the heroic resistance of a few hundred soldiers who defended the town of Sinj against sixty thousand Ottoman soldiers in 1715, every August the town holds its famous annual chivalric tournament, the Sinjska alka. During the alka, the entire region in the Cetina river basin seems to return to the heroic era. From the early morning hours, a brass band invites the locals to come to the racetrack, the entire town is richly decorated, and every house prepares a wide array of traditional dishes. The contestants, alkari, meticulously prepare the whole day in order to make sure they are ready before meeting the crowds.

They ride their horses down the 160 m track in full gear, aiming their long spears at the tiny iron ring (the alka) hanging in the air, attempting to hit its centre (“u sridu”). This is their way of honouring the heroism and skill of the defenders of Sinj, who saved the town and its people over three hundred years ago. With each hit to the centre, a cannon is fired from the Sinj fort, accompanied by cheers from the crowd and festive music. The name of the winner who achieves the highest number of hits in the tripartite iron ring is inscribed in gold lettering on a long list of winners, and carries probably the highest honour one can earn in this region.

While the alkari, riding their horses and wearing a splendid traditional attire, led by the alkar chieftain, are certainly a sight to behold, the assistants who follow them, wearing colourful clothes and carrying medieval weapons, flintlocks and clubs, are equally important members of the procession. Thanks to the 1833 Statute, laying down strict rules for the tournament, as well as for the clothes and the conduct of the alkari and their entourage, Sinjska alka remains the most authentic chivalric tournament in Dalmatia, and a reflection of the pride of the local community.

The strong influences of European and Oriental cultures are evident in the rich attires of the contestants, which lead to an informal competition between families of who will have the best alkar in the most lavish attire, dating back some generations. The value of this piece of intangible heritage is reflected precisely in the way the community of Sinj and the Cetina river basin relates to it – Sinjska alka may be a one-day event, but people remain dedicated to it their entire lives, passing down the love for the tradition from generation to generation.

Lacemaking in Croatia
If you are looking for adventure and something beyond the usual tourist tours, follow the trail of lace – this protected intangible cultural heritage will lead you to three beautiful places that still cherish the lacemaking tradition. Each is different and unique, and yet they share a common thread – the delicate lace, created by filigree-like movements of hard-working hands of generations of women, who have invested their patience and skill into creating these tiny works of art. In European cultural spheres, the craft of lacemaking was reserved for monastic orders, and only the wealthiest members of society could afford this luxury.

Lacemaking has been a cherished tradition in Croatia for centuries, especially in small rural communities, where homemakers left their mark in the long history of this folk artform. Lacemaking in Croatia began in medieval times with the Order of Saint Paul in the town of Lepoglava and the Benedictine nuns on the islands of Pag and Hvar, where they created the delicate pieces in quiet devotion and humble surroundings. The first pieces adorned religious spaces and were used for ceremonial purposes, and later on became part of clerical clothing. With time lace was included in traditional clothes and shoes, as the nuns selflessly imparted their knitting skills to the common folk. Thus, the lacemaking tradition found its way into every home, including the court of Empress Maria Theresa. In addition to the Lepoglava lace, renowned for its delicacy and different varieties, the lace from Pag is highly valued as well due to its particularly decorative quality, and the fact that it is made with very fine thread.

A special story lies behind the lace from the island of Hvar, still cherished by the Benedictine nuns. They use a painstaking method of extracting threads from the spiky agave plant found everywhere on the island, after which they retreat to pray and devote themselves to creating wonderful works of art, as well as hold an exhibition of this unique piece of world heritage in their small lace museum. The lace, once considered as a kind of relic for personal devotion, is an intricate decorative piece made from thousands of delicate threads, which has in recent years seen a true revival as a genuine Croatian souvenir that represents and preserves the Croatian lacemaking tradition in a beautiful and unique way.

Traditional Manufacturing of Children’s Wooden Toys in Hrvatsko Zagorje
Traditional wooden toys in the Hrvatsko zagorje region are a perfect representation of home life and entertainment at a time when there were no computers or Internet. Made from locally sourced wood – primarily softwood such as lime, maple, willow or beech – these toys were made entirely by hand, using craftsmanship that is now a protected skill and a highly valued piece of heritage. The toy-making tradition dates back to the 19th century, to the municipalities of Laz Bistrički, Laz Stubički, Tugonica, Turnišće, Gornja Stubica and Marija Bistrica in the Hrvatsko zagorje region, which still have the largest number of craftsmen carrying on the tradition in Croatia.

Traditional toys used to be made with simple hand tools, exclusively by men, and some families preserved and passed down the craft from generation to generation. The skilful craftsmen used patterns to whittle toys that made music and clapping noises, animals, cars, doll houses – all in all, over 120 different types of toys. The toys would undergo a real transformation after the women painted them in bright red, yellow and blue colours, and decorated them with floral or geometric patterns. They would then be brought to life in the little hands of children, whose imaginations created entire worlds around them. Due to the fine craftsmanship that went into making it, if properly cared for, a traditional toy often brought joy to several generations of children and created memories that were shared among family members.

Today, around fifty types of toys are being made, available for purchase mostly at local fairs and church celebrations, especially in the famous Marian shrine of Marija Bistrica, and there is also a centre dedicated to the toy-making craft in the village of Kumrovec. This tradition is not only important for preserving intangible cultural heritage, but also for providing an alternative to the bland and low-quality plastic toys offered at every corner. Thanks to the effort and skills of the makers, ecologically sustainable, beautiful and well-made toys can be produced in one’s own backyard. Sounds good, right?

Procession “Za Križen” (Following the Cross) on the Island of Hvar
Are you looking to combine elements of trekking, Christian mysticism and UNESCO’s intangible cultural heritage in one go, while spending time on one of the most beautiful islands in the world? Look no further – take a trip to the island of Hvar during the week leading up to Easter and join a procession that will take you on a journey through time and space, where you’ll visit six beautiful towns and villages in the centre of the island.

On the night before Good Friday, a procession consisting of worshippers, led by members of a fraternity and the key figure of cross-bearer, visits Jelsa, Pitve, Vrisnik, Vrbanj, Svirče and Vrboska, lit only by candlelight and accompanied by religious songs. The cross-bearer carries the cross throughout the night, from his local parish to the neighbouring villages, as a kind of Way of the Cross. At the break of dawn, the cross is ceremoniously returned to the place where the procession began.

For the numerous worshippers attending, and especially for the cross-bearer, who typically waits for this privilege for years, following the night-time procession on its 20 km journey is a true test of faith in anticipation of Easter. In addition to the prayers, a distinct impression is achieved by the archaic songs of a specific intonation, performed by the so-called “kantaduri”, who create a special atmosphere and add mysticism to the event. The main religious song performed is actually a take on the medieval passion narrative Gospin plač (“Lamentations of the Virgin Mary”) in the form of a dialogue.

Probably the most impressive part of the procession takes place at the end of the night, in front of the entire crowd. The whole procession reaches a climax when the cross-bearer, taken over by religious fervour, runs the last 50 or so meters to the church, thus bringing an end to the Za Križen procession. This custom is a unique example of intangible heritage in the world, and has been recognised as such by UNESCO. However, for the people of Hvar it is a deeply-rooted tradition that should be approached with an open heart and deep reverence. For any travellers that find themselves in the area, participating in the procession is a chance to experience a unique spiritual journey through five centuries of Hvar history.

Festivity of St. Blaise, Patron Saint of Dubrovnik
The oldest festivity in these parts begins on the eve of the Festival of Saint Blaise, on the second day of February or Candlemas, by a symbolic release of white doves – an image that is certain to sear into your memory. This tradition dates back to the 10th century and has its roots in the legend of the saint who helped the people of Dubrovnik defend their freedom during the Venetian siege of the town. As a token of gratitude, he was made the patron saint of Dubrovnik, and during the Middle Ages the locals built a new, Baroque Church of St Blaise on the foundations of the old Romanesque edifice. The church became a focal point of the festivities in the saint’s honour for the locals, as well as for the inhabitants of the islands of Mljet and Lastovo and the area of Konavle, located south of Dubrovnik.

The festivities officially begin by raising the flag of St Blaise in front of the church that is decorated for the occasion, and by carrying out a gilded relic of the saint, a statue of him holding a model of the town. A special honour is bestowed on the festanjuli, whose role is to lead the procession, while the trombunjeri take care of the most entertaining part of the festivities, firing antique guns in the town’s port. The procession makes its way down the beautiful main street of Stradun accompanied by the notes of the hymn “Čuj Sveti Vlaho naš” (“Hear us, St Blaise”). Alongside church dignitaries, the procession is attended by everyone regardless of age, including ever-growing numbers of tourists. Special attention is given to the lovely girls of Dubrovnik who wear traditional costumes, unparalleled in their richness. During the festivities, people from all over Croatia would come to this town at the foot of Srđ mountain. Just how much this saint was revered and how much the spirit of freedom was upheld is evidenced by the fact that everyone was welcome to attend the festival, even criminals, who were free from any form of prosecution during the two-day festival.

This tiny but powerful and rich city-state owes part of its survival precisely to the devotion to St Blaise, which shaped social relationships, since patricians and peasants alike were united in their faith in the saint, thereby defining the local identity. Thanks to the efforts of the pious people and the Fraternity of St Blaise, the festivity has retained all of its traditional characteristics and customs throughout history, which has helped preserve the intangible heritage of the Dubrovnik Republic and the spiritual wealth of the local community.

Spring Procession of Ljelje/Kraljice (Queens) from Gorjani
The village of Gorjani near the town of Đakovo is the focal point of a very special tradition that was once widespread across Slavonia, Baranja and Syrmia. The proud and tenacious people of this small village managed to preserve the custom of the spring procession of the queen that takes place on Pentecost Sunday, when young girls (or ljelje) take a walk around the village bearing sabres, of all things. Weapons are an integral part of their costumes as they are used in the ritual dance that the ljelje perform, accompanied by bagpipe (gajde) and tambura players or bećarac singers. The festive atmosphere, filled with song and dance, is complemented by colourful attires, silk dresses, ribbons and scarves (called ljeljare) decorated with gold ducats. Each detail is made to perfection, all for the purpose of making the ljelje look magnificent.

An unusual element of the costumes is the rule which stipulates that some of the girls wear white wreaths, which is why people call them “queens”, while others who dress as men and wear hats with flowers on them are called “kings”. Legend has it that the women of Gorjani dressed in men’s clothing and took up sabres during the Ottoman siege, making the frightened soldiers think they were ghosts.

Ethnographers, on the other hand, claim that the custom is ancient Slavic in origin, with the distinction between men and women pointing to a matrimonial context and ceremonies involving girls of marriageable age. All in all, no-one can say no to the songs and dances performed by the ljelje in their backyards. The central part of the procession, the sabre dance, involves the queens who comment on the dance steps of the kings in verses. The tradition of hosting and treating the ljelje to gifts such as food and drink, and especially to the well-known alcoholic drink rakija, is particularly respected and cherished. The happy group, comprised of the queens and music players, continue their spring procession in other villages of the greater Đakovo area, riding in horse-drawn carriages specially decorated for the occasion. Like many folk customs, protectors of this intangible heritage take pride in preserving the tradition. These sabre-bearing queens really do seem to be something else, since they’ve managed to earn global recognition. Whether or not the reason lies in the sabres, we may never know 🙂

Gingerbread craft from Northern Croatia
The licitar heart, probably the most beautiful souvenir you can buy in northern Croatia, takes only a few ingredients to make – some water, flour and sugar. Even though it’s edible, this souvenir is designed to bring joy to the giftee, and make any space where it’s on display feel warmer and more cheerful, especially at Christmas time, when it’s used to decorate the Christmas tree. Its shape, the heart, is no coincidence –these traditional items are made with lots of love, and the knowledge of producing them has been carefully preserved and passed down through the centuries in its original form.

The gingerbread craft dates back to the Middle Ages, primarily to the convents and monks all across Europe who worked diligently to produce votive candles, gingerbread cookies and even some beverages from honey and wax, among other things. As the craft made its way to Croatia, it was slowly taken up by laymen and became a trade, and thus a wonderful tradition was born in northern Croatia, particularly in Zagreb, Karlovac, Varaždin, Samobor, Koprivnica and Marija Bistrica, lasting to this day. It was mostly men that produced these items. Licitari, as they were called, were well-respected craftsmen, and each had his own particular style that was reflected in the sugar-paste decorations applied on the surface.

The natural white, yellow and green pigments were based on secret recipes and were used to dip the licitar hearts after they were done. The distinctive red colour became specific to gingerbread products originating in these parts. Through hard work and long tradition, licitar hearts became a colourful and unique symbol of Croatia and an original souvenir. The colourful licitar products, which can take on the form of wreaths, horseshoes, mushrooms, birds and horses, can be further decorated with small mirrors and messages of love, which reveal the true creativity of the artists. The licitar heart is one of the most beautiful gifts to share with a loved one and a sign of loyalty. Don’t wait for a special occasion to give someone a licitar heart as a present; use it to show your appreciation of your loved ones – or those you wish were your loved ones – each day!

Mediterranean diet
“Your body is not a temple, it’s an amusement park – enjoy the ride.” These are the words of one of the world’s most famous chefs, and words to live by when it comes to the Mediterranean cuisine on the Adriatic. Sure, you can try Mediterranean cuisine halfway across the world, but the real “spice” of this particular type of food has always been the ambiance – the thousand islands of the Adriatic offer a thousand different gastronomic delights. Take your pick – each place is a treasure trove of specific ingredients that are still being grown and prepared using traditional methods. Along with Spain, Italy, Greece and Morocco, the Croatian islands of Brač and Hvar are centres of protected Mediterranean cuisine, since a part of the ingredients and spices, as well as the customs surrounding the preparation of some dishes, represent a shared cultural heritage.

Each dish tells a story, whether it’s the fish stew gregada from Hvar, or mutton and the fish stew brudet from Brač – a typical fisherman’s dish – or different foods prepared on a grill. Connecting to traditional customs of preparing food among the locals is as important as enjoying the food itself. Large family gatherings or communal parties are a unique opportunity to delve into the customs, food-gathering skills, and all the knowledge and technique that go into cooking, which experienced very few changes throughout the centuries, other than a few tweaks here and there. Eating is a social activity and an extremely important factor in the Dalmatian cultural identity, and each meal is prepared with pride and eaten with respect for the maker.

Marenda is a favourite meal among people of all generations on the Mediterranean, regardless of whether they are the hosts or the guests. The meal can be eaten at any hour of the day, as long as it’s between two main meals, and there’s a special joy in preparing it. It can consist of only a few pieces of salted fish in olive oil, a piece of goat cheese, or a large pot of cooked fish. It doesn’t matter what you have, as long as you are in good company and have a glass of fine wine. As the old Dalmatian saying goes, a fish is to be washed in three liquids – the sea, oil, and wine – so try and resist this important delicacy that’s part of global cultural heritage!

The Batana Ecomuseum
The Batana Ecomuseum from Rovinj was inscribed in the UNESCO Register of Good Safefuarding practices for intangible cultural heritage of the world as the first Croatian project in this Register.

The Batana Ecomuseum (2004) is a unique project for the preservation of local maritime culture of Rovinj, founded on the respect of tradition, consideration of modern social needs and the synergy of man and the environment. The innovation lies in the active engagement of the local community in order to protect the intangible and tangible culture and to jointly manage all parts of aspects of the Ecomuseum. The main elements of the Batana Ecomuseum are:

Kuća o Batani (the House of Batana), also know as muòstra, which represents the central interpretation and documentation centre.
Mali škver (Little Shipyard), also known as peîcio squèro, lies on the town riviera where batanas are built in the summer, combining in the best way public presentation and sustainability of batana building as a way of life.

Spacio Matika was intergrated into the Ecomuseum in 2006 as one of the last taverns of Rovinj where the local community and guests gather together and enjoy the local gastronomy, the Istriot language and local music (unique àrie da nuòto and bitinàde characterised by the polyvocal imitation of musical instruments accompanying the soloist).

Apart from managing the physical space, Batana also organizes numerous activities which contribute to the preservation of intangible and tangible maritime culture. Activities revolve around education and the financial support of shipwrights and owners of traditional vessels, workshops for children and excursions by the boat batana. However, the most popular activities are for sure the launching of batana into the sea and the Rovinj regatta founded in 2006 with the aim of revitalising the traditional vessels of the northern Adriatic and encouraging international cooperation. Aside from being given numerous awards in the cultural sector, the Batana Ecomuseum was also recognised as a cultural tourism project of high quality which recreates local cultural resources and promotes them for tourism in a responsible and sustainable way.

Međimurska popevka, a folksong from Međimurje
Međimurska popevka , a folksong from the north-western part of Croatia, has been included in UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity thanks to the generations of people who have managed to preserve and immortalise this traditional musical genre.

The first sheet music for this genre dates back to the 16th century, and even though the popevka was historically predominantly a genre practised by women, nowadays it is performed in various versions and occasions, and it is a part of the identity connecting all inhabitants of Međimurje. When it comes to its structure and the age of the lyrics, the popevka can be old or new, whereas, if we consider their stylistic features and central themes, there are lyrical and epic popevkas. Given the abundance of styles, it is no surprise that the popevka of today can be monophonic, multipart, vocal-instrument etc., but it must always respect the original form of having the lyrics match the melody, thus creating the traditional folksong.

The međimurska popevka is also an element found in dances traditional for this region, but the practice of this specific folksong isn’t necessarily linked to stage performances, but it is rather a part of everyday life in Međimurje, which is precisely what guarantees its future. The popevka is the soundtrack to growing up, loving, getting married, having fun, attending church, as well as crying, all with a smidge of that authentic melancholy, characteristic of this region ensconced between two rivers, the Mura and the Drava.

Societies for art and culture are mostly charged with preserving this valued tradition, and there are currently around fifty singers regarded as masters of the art of singing, whose knowledge and skills were critically important for including the popevka in the list of intangible cultural heritage of humanity, with the support from experts, as well as local and national institutions.

It should be noted that women from Međimurje are the mentors responsible for the transfer of the traditional popevka to future generations. There are many hardworking keepers of this heritage, and numerous singers, but Elizabeta Toplek, better known as teta Liza, is by far the most loyal voice and the face of međimurska popevka who will, with the help of other performers, introduce this Croatian musical treasure to international audiences and completely win them over.

Art of dry stone walling, knowledge and techniques
Tangible and intangible heritage as a way of experiencing a culture or a set of customs is in the centre of the journey towards recognising historical and social circumstances which create cultural identities. The traditional art of dry stone walling, i.e. the entire vernacular architecture, has been unjustly neglected for decades. It is the art of building without the use of bonding material, building “dry”, and it is a part of the cultivated landscapes throughout the Mediterranean coastline.

However, the true value of this intangible heritage hasn’t been recognised for a long time, which is why it has never been the subject of public and scientific discourse, or properly valuated. This is completely unjustified, since hardworking people from this entire region, regardless of various seas, borders and cultures, built beautiful structures using stones from the karst environment, thus forming their settlements and entire stone landscapes, the cradle of many European cultures.

This is why the inclusion of dry stone walling in the UNESCO List of the Intangible Cultural Heritage of Humanity is an extraordinary step towards the preservation of this tradition, because, although it would be impossible to protect all dry stone walls, stone objects or vineyards, we have set out to preserve the know-how acquired through centuries and transfer them to future generations. The skills of building dry stone walls, intended for the use by anyone working the land, have been passed on through generations, but with no physical records, which proved to be crucial when the continuity ended during the last decades of the 20th century.

The art of dry stone walling was thoroughly studied in 2016 thanks to the efforts of the 4 Grada-Dragodid organisation, as well as several individuals and institutions, and it was protected as an intangible cultural heritage of Croatia. The following year, through the joint nomination of Croatia, Cyprus, France, Greece, Italy, Slovenia, Spain and Switzerland, UNESCO’s intergovernmental committee recognised the extreme importance of this tradition and, finally, protected it as intangible cultural heritage of the world at the end of 2018.

We live at a time when every single trace of history is recorded through the quantity of megabytes, and it is increasingly important to be able to intuitively decipher objects such as the dry stone walls, and discover their structure and purpose, guided by ceremonies and customs of generations so far away from us.

The simplicity and complete functionality of the traditional construction heritage buildings, as well as the ecological aspect, are equally as important today and they present challenges for the modern society and architects, while the sustainable use of resources, as in times gone by (adapted to modern terms, of course), is the only way in which current and future generations can survive.