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Veljko Ostojić

Director, croatian tourism association.

At the head of the HUT he came from the position of Director Agrolaguna Poreč, and before that he was President of the Managing Board of Karisma Hotels Adriatic.

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Tourism-reliant Croatia and Montenegro cautiously optimistic as summer approaches

When the Covid-19 pandemic first hit Europe last year, no country was truly ready.

Amid lockdowns, curfews, businesses shutting down, the economic damage was felt across the continent. The tourism sector, reliant on the freedom of movement and on the hospitality sector being able to operate, was hit especially hard.

In Croatia, a country where tourism contributes significantly to GDP (18.9 per cent according to a 2018 estimate by the OECD), foreign tourist arrivals fell by 68 per cent in 2020. Montenegro, another popular tourist destination (and a country where the tourist sector accounts for nearly a quarter of GDP) in South East Europe fared even worse with an estimated 83 per cent reduction in foreign arrivals.

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This year, countries in the region are trying to ensure that they are better prepared for the upcoming tourist season. Being seen as a safe destination is a priority, and in doing so they hope to attract more visitors than in 2020.

Meanwhile, the European Commission has unveiled plans for a Digital Green Certificate, a proof of vaccination or negative test result or Covid-19 recovery, that would allow for free movement within the EU and the European Economic Area. EU officials are planning to roll-out the certificate before the summer tourist season begins, which might be good news for Croatia and Bulgaria who are EU members.

In Croatia, State Secretary for Europe Andreja Metelko-Zgombić hs expressed hope that the Digital Green Certificate could be in operation by June.

‘Stay Safe in Croatia’

The country’s Ministry of Tourism and Sport meanwhile has launched a “Stay Safe in Croatia” initiative as part of the World Travel and Tourism Council’s “Safe Travel” label.

Tourism stakeholders such as air carriers, airports, stations, nautical ports and marinas can register with the system as proof that they are following all necessary epidemiological safety measures recommended by the Croatian Institute of Public Health.

According to data available by March 26, around 6,500 travel stakeholders have already requested to be registered in the system, with many already being confirmed with the “Stay Safe” label.

Inspectors from the ministry will conduct random and unannounced checks for compliance.

Veljko Ostojić, a former tourism minister and director of the Croatian Tourism Association told the press at the beginning of March that the epidemiological situation will be the key for a successful year.

“The only situation where nobody can hurt us [tourism in Croatia] is we’re epidemiologically in the green. This must be the main goal, and all the other promotional activities need to be forgotten and put on the back burner,” he said.

When it comes to travel restrictions, the Croatian Ministry of Tourism and Sports has said that people entering Croatia will have to supply a negative PCR test result no older than 48 hours, confirmation that they’ve recovered from Covid-19 within the last three months, or confirmation that a minimum of 14 days have passed since they received the second dose of a vaccine.

The ministry has also asked for priority jabs to be given to tourism sector workers in May, when the new doses are expected to arrive.

In the region of Istria, which is traditionally visited by tourists from Germany and Central Europe, Denis Ivošević, the director of the Istrian Tourism Board, hopes that the region will maintain its current good epidemiological situation.

“In May we have the Pentecost and other holidays in Austria and Germany that are very important for us. That’s why the primary goal is to stay epidemiologically positive so we can communicate that we’re a ‘safe and sound’ destination,” he says.

In Montenegro, there is currently a curfew from 9pm to 5am, although certain measures differ from city to city based on the local epidemiological conditions.

Just like Croatia, Montenegro hopes to be communicate that they’re a safe travel destination ahead of the summer tourist season. In both countries, tourism is highly seasonal, which means that the summer months see the lion’s share of overnight stays and therefore profits.

In February, the country’s new foreign minister Đorđe Radulović criticised the previous year’s coronavirus measures as being too restrictive. Back in March 2020, Montenegro shut down its borders. By May the country had zero Covid-19 cases, but saw a strong surge in November, becoming – at the time – the second-worst hit country in Europe.

The country continued to ask for a negative PCR test until January 2021, when the new government lifted those requirements, becoming one of the rare countries to allow unrestricted travel during the pandemic.

In March 2021, Montenegro again started asking for PCR tests. Meanwhile, the government has begun with measures aimed at helping the struggling tourism sector. They include travel vouchers for doctors and teachers valued at a total of 5.5 million euros. Under the aid package, those in the tourism sector can apply for a subsidy on the reprogramming of credit, a measure aimed at increasing liquidity in the sector.

However, on the ground, those in tourist trade seem unsatisfied. The liquidation of Montenegro Airlines, and the new government cutting the Tourism Ministry didn’t seem to help.

Owners of rental properties have cited a lack of information and ambiguity around the current pandemic containment measures as issues they are facing.

“They [potential tourists] say they are not finding in our websites enough information on the strategy of immunisation and the ways the tourists can enter the country,” said Zorka Raičević, the director of the East West Voyage tourism agency.

The president of the parliamentary group for tourism Dragan Krapović said at the beginning of March that the health situation is the priority and therefore there hasn’t been adequate preparation of the tourist season.

Cautious optimism

“The Ministry of Economic Development and the Ministry of Health should closely collaborate to get the epidemic in order by June, and that’s priority number one,” he said. “I am cautiously optimistic we’ll see the light at the end of the tunnel this year.”

For the 2021 tourism season, which in Bulgaria officially kicks off on May 1, the country’s Ministry of Tourism has decided to issue a list of measures that will apply to the tourism sector during the entire season. The fourteen-page document was released on March 15, and includes such measures as distancing rules for beaches and a mask mandate to be observed in all indoor areas.

“The goal is for all tourist places to introduce the same practices to ensure the health and safety of tourists and for Bulgaria to defend its status as a healthy and safe destination,” the ministry said.

Like Montenegro, Albania seems to be relying on vaccination as a means to ensure a safe tourism season. Vaccination started in the country in January, but was slow until mid-March when doses of the Chinese-developed Sinopharm vaccine finally arrived from Turkey. So far, around 65,000 people have been jabbed in Albania — the elderly, healthcare staff and schoolteachers.

A further 500,000 doses of the Chinese Sinovac vaccine are slated to be delivered within the next two months. Whether or not the doses will be enough to ensure a healthy tourist season – in every sense of the word – remains to be seen.

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PRODUCTION: European Legend Veljko Bulajic Preps New Project at 88

ZAGREB: Acclaimed 88-year-old writer/director Veljko Bulajic is in preparation with Escape to the Sea , a coproduction between Croatia, Montenego, Macedonia, Slovenia and Germany.

Escape to the Sea / Bijeg do mora mixes reality with imagination and the present with the past, as it follows a Wehrmacht veteran Karl who, not long after becoming a widower, visits a village in Croatia where he fought in WWII. Five decades ago, after his entire unit was killed, Karl fled through partisan territory. Covered in wounds and exhausted by fear, hunger and the harsh environment, he is visited by his wife Inge in hallucinations. Another woman is also in Karl’s thoughts: Anka, a Croatian widow who helped him escape from the partisans.

Negotiations are underway for a German actor for the main role. The cast will include actors from Croatia, Montenegro, Macedonia, Slovenia and Germany.

Tomislav Žaja is producing through Croatia’s Gral Film in coproduction with Montenegro’s Dogma Studio and Macedonia’s Geyzer Production. Negotiations with German and Slovenian partners are also underway.

The budget is 1.5 m EUR, with 75% already in place, Tomislav Žaja told FNE. Additional coproducers and broadcasters are expected to join the project. The film will also apply to Eurimages and has already secured grants from the Istria Film Commission , Maistra , Montenegro Tourist Board , Hipotekarna banka and Orbico .

The 40 shooting days are scheduled for March-April 2017, including 30 days in Istria (Croatia) and 10 days in Montenegro. The film should be completed by November 2017, with the premiere set for December 2017 or January 2018. Negotiations with sales agents and local distributors are underway.

The director of the acclaimed Kozara (produced by Bosna Film), Train without a Timetable (Jadran Film), The Day that Shook the World (Jadran Film) and The Battle of Neretva, which received an Oscar nomination (United Yugoslavia Producers), returned to film industry in 2015 with the documentary Place of Remembrance: Vukovar / Mjesto sjecanja: Vukovar after a nine year break.

Production Information:

Director: Veljko Bulajic Scriptwriter: Veljko Bulajic DoP: Stanko Herceg

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The Hajduk Veljko Museum

Hajduk veljko petrović – the hero of the first serbian uprising.

By Museums of Serbia

Ministry of Culture and Media of the Republic of Serbia

Hajduk Veljko Museum (2015-05-30) by Sanja Radosavljević Museums of Serbia

The beginnings of the work on the protection of movable cultural heritage in most cities in Serbia was accompanied by a noble idea that a new life should be breathed into old buildings, by transforming them into museum spaces. So, in 1983, when the Hajduk Veljko Monument was unveiled on the square, marking the fiftieth anniversary of the Krajina Museum, the Hajduk Veljko Museum was opened in the residence of Knez Todorče.   

The Hajduk Veljko Museum (2013-06-18) by Ivan Hadži Zdravković - Sosa and Zoran Radosavljević - Kiki Museums of Serbia

The Krajina Museum displayed a part of the historical collection, which formed the display of the First Serbian Uprising and Hajduk Veljko. However, the Museum was closed as soon as in 1989. After that the building had different purposes. In the meantime, the conditions for the reopening of the Museum were met, so in 1997, the inscription The Hajduk Veljko Museum was put on Knez Todorče's residence.

It was a rectangular bronze relief with Hajduk Veljko's face engraved in its centre, with  the name of the Museum above, the work of the sculptor Milko Pavelk. Since the Museum was reopened after eight years, the display became more diversified than the previous one. Today, twenty years later, the Hajduk Veljko Museum is still located in the house of Negotin obor-knez from the 19th century–in the residence of Knez Todorče.The residence of obor-knez Todorče is one of the oldest houses in Negotin.

A part of the historical and ethnological settings in the hall of the Hajduk Veljko Museum (2013-06-18) by Ivan Hadži Zdravković - Sosa and Zoran Radosavljević - Kiki Museums of Serbia

In 1950 the house was dilapidated. At that time, upon the invitation of the administration of the Museum, Ivan Zdravković, an architect from Belgrade, examined the old house in Negotin, owned by the late Dušan Jovanović, a former trader, in Stanko Paunović Street, and proposed a plan for the adaptation of the building.

Art exhibition and the exhibition of Hajduk Veljko library collection (2013-06-18) by Ivan Hadži Zdravković - Sosa and Zoran Radosavljević - Kiki Museums of Serbia

In 1966, a decision was made to buy off the house and, considering its very characteristic architecture, to open an ethnographic department in it. The restoration and adaptation followed. The building was constructed of hard materials. The ground level walls were built of rough stone, arranged in straight horizontal rows with a thickness of 75 to 95 cm.

The upper level was made of bricks, and a special beauty was given to it by the arcaded balcony and the ingeniously triangle shaped wall surface over the entrance, i.e. full tympanum, decorated with a luxuriant garland of bricks arranged in a zigzag combination, modeled after church buildings of Byzantine origin.    

The Krajina Museum wanted to repay the duke of Negotin nahia appropriately, by displaying the material heritage exhibits from its collections. The permanent museum display, in addition to a historical and ethnological collections, also contains an art collection, which possesses, besides its artistic value, a significant documentary importance. 

Historical exhibition (2013-06-18) by Ivan Hadži Zdravković - Sosa and Zoran Radosavljević - Kiki Museums of Serbia

HISTORICAL EXHIBITION

The historical exhibition is quite heterogeneous, which increases its significance because it also covers a part of the ethnological heritage from the same epoch, which is directly or indirectly related to military equipment and weapons. The frameworks of  the collection are traditional Serbian arms - yataghans. Yataghans date back from the early to mid-19th century, and represent all major workshops of the Balkans - Bosnia and Herzegovina, Kosovo and Metohija, Albania and the Bay of Kotor.

Practically equally represented two types of yataghans with white bone or black ivory grips, a significant portion of the blade with descriptions that indicate the time of preparation, owners and masters. Several swords from the same era were also collected. Basically it is a weapon with a handle in the form of a “gun” and a blade type “shamshir”.

As with yataghans, this type of weapon was a product of primarily Balkan workshops, although there were copies that were made in the important centres of the Ottoman Empire. Sabres were from the time of the late 18th century. The copy probably belonged to the Turkish cavalry from the time of the reforms of Mahmud II, so it could certainly be categorized as regulated weapon.

Guns that are now kept in the collections of Negotin Museum are typical examples of craft workshops of the Balkans used in the first half of the 19th century. On the arms there are almost equally represented mechanisms with a system of fire flint, local, “ Miquelet” variants, as well as modern French “mechanisms”. The collection includes guns made in Prizren and Debar and also weapons imported from workshops of North-Western Europe.

Finally, certainly the most important pieces in the collection are two cannons. In our collections there are rare pieces of artillery from the time of the First and Second Uprising, so these two cannons, with partly preserved gun-carriages, are rarities themselves. In addition, one tube is iron, which was in 1804–1813 Serbia quite rare. It is known that on the defensive line in 1813, there was a set of five cannons and it is quite possible that these specimens came from the bastion of one of the trenches.

Iron three-pound cannon (2013-06-18) by Ivan Hadži Zdravković - Sosa and Zoran Radosavljević - Kiki Museums of Serbia

They both come from loot. The first, three-pound iron cannon, was given to the Turks as the British military aid and was then seized by the insurgents. The second, one-pound brass cannon, represents the typical famous light mountain Serbian “Haiduk” cannon which was mentioned in many Austrian reports as a kind of technical innovation with significant tactical advantages in rough Serbian battlefields.   

The largest, but no less important part of the collection consists of weapon accessories: powder horns, bandoleers (cartridge boxes), Holy book cases, grease and ramrods. This part of the collection is significant not only in terms of ethnology, but also in terms of applied arts and overlapping influences of Eastern and Western cultures. Items originate mainly from the first half of the 19th century and present the works of the Balkan workshops, including those in Macedonia and Greece.     

Yataghan (2013-06-18) by Ivan Hadži Zdravković - Sosa and Zoran Radosavljević - Kiki Museums of Serbia

At first glance, it is interesting that a large part of the collection consists of both lead and iron balls of various weapon calibres and front charging weapons relatively rare in other museums - hand grenades of early 19th century. However, the fact that there was a workshop for the repair of weapons and ammunition production in the immediate vicinity of Đorđe Bulukbaša’s tower -  fully justifies frequent findings of similar items. 

Sabre (2013-06-18) by Ivan Hadži Zdravković - Sosa and Zoran Radosavljević - Kiki Museums of Serbia

Besides, we can certainly say that those items are products of the epoch and the work of local insurgent masters when Veljko Petrović defended Negotin. Unfortunately, there are no exhibits in the collection that can directly or indirectly be related to the personality of Haiduk Veljko Petrović.   

“Odžaklija” (2013-06-18) by Ivan Hadži Zdravković - Sosa and Zoran Radosavljević - Kiki Museums of Serbia

ETHNOLOGICAL EXHIBITION

On the ground floor of the Haiduk Veljko Museum there are traditional viticulture and winemaking ethnographic artefacts, and on the first floor, in “Odžaklija”, there are 19th century furniture  items. The goal of the Haiduk Veljko Museum ground floor exhibition (housed in Todorče’s Lodgings) is to present the traditional viticulture and winemaking. The exhibits were selected from existing ethnological collections in order to highlight important aspect of this production for Negotin economy.  

Museum items, such as barrel, water container (balon), two kinds of jugs-ewer and mug, and the like, illustrate traditional winemaking. Nowadays it is dying out, which made us want to remind people of this kind of production and usefulness and value of these  items. Ordinary people are skilled at making certain objects of different materials: wood, metal, clay, glass ... that in addition to prior mentioned values ​​ have a great importance, because they are used in wedding or funeral rituals.

By creating within traditional culture, a man remains in the spirit of conception prevailing in that particular society. His works were a reflection of the economic and social conditions, as well as customary and religious beliefs, which still live at home and are passed from generation to generation. These examples show the skill and talent of those who make them, most made freely, without a rigid frame, and that's the joy of living, because every item tells a story, and often is a work of art.

In Eastern Serbia and Negotin-Krajina viticulture was once a very important and lucrative industry. By selling good wine, one could gain good fortune, thus increasing one’s household. The containers used in wine making (casks, jugs, flasks, etc.) were decorated with symbols and motifs, which show a great breadth and rich ornamentation. They creators used what was around them. The exhibits show the achieved harmony between the useful and the beautiful.   

At the Museum of Hajduk Veljko there is “odžaklija”. It is the smallest room in the living quarters constructed in the middle of the magnificent 19th century, which the citizens call Todorče’s Lodgings. Odžaklija was a typical kitchen area, where food used to be prepared on the open hearth. Odžaklija, kitchen, house, hearth - these were the names of the space that was used for cooking and heating homes.

Appropriate Museum ethnological collection items from the second half of 19th and the first half of the 20th century were selected for this permanent exhibition. Hearth was the most important part of the house. Its position depended on several factors: the method of construction of the house, the family economic diversity and the number of family members.

Mug, Flask (2013-06-18) by Ivan Hadži Zdravković - Sosa and Zoran Radosavljević - Kiki Museums of Serbia

In this region, up to the mid-19th century hearth commonly stood in the middle of the room; in the second half of the 19th century it was moved to the side of the room, mostly next to the eastern wall, and its open part was facing the room. In our Odžaklija, the hearth is in the middle of the room. There is a chimney over the hearth which is called “odžak“, hence the name „odžaklija“.

Saltshaker (2013-06-18) by Ivan Hadži Zdravković - Sosa and Zoran Radosavljević - Kiki Museums of Serbia

People didn't extinguish the hearth fire, they kept the embers covered by ashes. They cooked in cauldrons that hung on chains, hanging from a bar - chain mail, and in pipkins placed on a triangular metal frame – „sadžak“. Bread was baked in shallow clay containers called „crepulja“  covered with large metal or ceramic lids called „sač“. People used lifting hook  for „crepulja“, coal shovel  and Mulch grilled tongs to work in „odžaklija“.

Strainer (2013-06-18) by Ivan Hadži Zdravković - Sosa and Zoran Radosavljević - Kiki Museums of Serbia

There are tripods and a table set in „odžaklija“ for sitting and dining. This room was used for heating other rooms with built earthen ovens. Most of the family activities happened in this hearth smoke darkened room – eating, sleeping, cult performing and immolating to the ancestors. Therefore, the hearth is the sacred symbol of the family.

Cezve (2013-06-18) by Ivan Hadži Zdravković - Sosa and Zoran Radosavljević - Kiki Museums of Serbia

In many civilizations the domestic hearth fire became a deity whose cult was preserved by the family and the state (the same thing happened with the Phoenicians, Greeks, Romans, and Indians). By respecting the hearth one respected the ancestors and spirits  that were the protectors of the house. The cult of the domestic hearth was preserved in many folk traditions. It is a sacred space of each house, which is respected and preserved. The aim of the museum exhibition is to convey the life of our national culture in the past.  

Hajduk Veljko (2013-06-18) by Ivan Hadži Zdravković - Sosa and Zoran Radosavljević - Kiki Museums of Serbia

ART EXHIBITION

One of the most important moments of Negotin culture was the opening of the Museum of Haiduk Veljko Petrović. The Krajina Museum wanted to repay the Duke of Negotin Township in an exemplary and worthy way , with its contribution, summarizing exhibits from its collections to present our material heritage. In the permanent museum exhibition, besides historical and ethnological, art collection plays an important role, which represents both artistic value and a documented testimony.

Veljko, Vuk and Stana (2013-06-18) by Ivan Hadži Zdravković - Sosa and Zoran Radosavljević - Kiki Museums of Serbia

The exhibits of art collections, displayed in the permanent exhibition rooms were built in the nineteenth and throughout the twentieth century, with emphasis on portraits of Haiduk Veljko Petrović. Also there is a special place for the Karađorđe portrait located in the weapon display room. His portrait completes the exhibit unit not only as the leader of the First Serbian Uprising but also as a „Vožd“ (supreme commander) who appointed Haiduk Veljko the Duke of Negotin Township.

Portrait of Hajduk Veljko (2013-06-18) by Ivan Hadži Zdravković - Sosa and Zoran Radosavljević - Kiki Museums of Serbia

When Haiduk Veljko liberated Krajina he left a deep mark in the constitution of national identity. The rich folk tradition has inspired many in the fine arts. Vuk and his contemporaries left a detailed description of Veljko, which facilitated his portraiture. His brother Milutin and contemporaries chose people who were most similar to Veljko in order to create his character.  Felix Kanitz wrote about one of them- a young Arnautin Duke Petar Vukotić.

He wrote that Čučuk Stana visited Prince Miloš in Bucharest after Veljko's death and on that occasion Miloš asked the Arnautin to dress as Hajduk Veljko and appear before her. The similarity was so strong that she became speechless upon seeing him and thought that he had risen from the dead. The portrait was later donated to the National Museum, and Pavle Čortanović had copy of the portrait sent to the Mayor of Negotin Mihail Lazarević.

Nikola Kusovac noted that the portrait of Raka, the son of Hajduk Veljko, was kept in the National Museum. It was done by Petar Palikruškić and also served as a model for future portraits of the famous duke. This museum exhibition is in some ways trying to bring Hajduk Veljko closer to visitors, to point out his courage and  dignity and bring the spirit of heroic pride. The museum is proud of the good concept of the exhibition, which is backed by a large number of visitors. 

The first artists who portrayed Hajduk Veljko were Anastas Jovanović in his most important enterprise in the field of lithography “Serbian Monuments” and Uroš Knežević in one of his greatest portait enterprises “vivid galleries of famous people of 1804”, which was created on the initiative of Prince Aleksandar Karađorđević. Ljiljana Konstantinović studied Hajduk Veljko's character and in her paper showed that, although the portraits of Jovanović and Knežević differed in details, the character was the same.

“Death of Hajduk Veljko” was painted by Steva Todorović; “Hajduk Veljko overrides the Turkish camp” painted by Petar Ranosović; “Hajduk Veljko breaking through the Turks alone near Banja” painted by Živorad Nastasijević, like many others, among them Pavle Čortanović, Milisav Marković ...    

The exhibition of Hajduk Veljko library collection (2013-06-18) by Ivan Hadži Zdravković - Sosa and Zoran Radosavljević - Kiki Museums of Serbia

THE EXHIBITION OF HAIDUK VELJKO LIBRARY COLLECTION

The Krajina Museum library has collected many professional literature titles and local history records since 1934 when it was founded.  An important part of those records are publications about Haiduk Veljko Petrović, the Krajina Duke and Serbian revolution hero (1804–1813) whose prowess was sung about and celebrated in folk tradition and in both oral and written literature as it can be seen in many stories, poems, legends, novels and plays.

Haiduk Veljko’s heroism was described not only by his contemporaries - Vuk Stefanović Karadžić, Sima Milutinović Sarajlija, Đura Jakšić, Jovan Dragašević and Dušan Baranin but he inspired many modern writers as well.  The permanent exhibition of the Haiduk Veljko Petrović Museum contains literary works dedicated to the hero and the First Serbian Uprising, which were collected over the years and are an integral part of the Krajina Museum library. 

In the yard of Todorče’s residence there’s an open summer stage for various art performances.

Ministry of Culture and Media of the Republic of Serbia THE HAJDUK VELJKO MUSEUM The narration was provided by Sanja Radosavljević, museum pedagogue. The Krajina Museum 

National Museum in Belgrade

Museums of serbia, the national museum of valjevo, national museum of pancevo, the archaeological museum of đerdap in kladovo, art gallery ''nadežda petrović'' čačak, terra museum, muselim’s lodgings, town museum vrbas, gallery of frescoes, terra gallery.

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Haiduk Veljko Museum

Location: Negotin Krajina Museum Negotin Vere Radosavljević 1 http://muzejkrajine.org.rs

‘I will give my life, but I won’t give Krajina’ was his life motto. What is yours?

Haiduk Veljko Petrović (1780-1813), voivode of Krajina, is famous for his numerous feats in the defence of Negotin Krajina and the borders of eastern Serbia. His life motto ‘I will give my life, but I won’t give Krajina’, his personal courage and heroism quickly made him one of the greatest Serbian heroes that songs were sung about and made him a legend in his lifetime. Serbian Vožd Karađorđe appointed him a voivode and entrusted him with the defence of Negotin, where he died a hero defending Krajina from the Turks. The greatest Serbian composer Mokranjac dedicated his 6th ‘’Garland’ (collection of songs) to him.

The house in which Haiduk Veljko Museum is located was built in the 1860s by obor-knez of Negotin Todorče. Powder chamber is located in the churchyard of the Holy Trinity church in Negotin. It was built of stone and until this day it has completely preserved its authentic appearance. It was an integral part of the fortress ‘Baba Finka’ and today it is its only remaining part since the fortress was torn down in 1883.

Veljko Ostojic: If COVID Passport Is Precondition for Traveling, It Is Discrimination

Total Croatia News

Updated on: May 11, 2023

“First, we need to define what a COVID passport is. In my opinion, if it is a precondition for crossing the border, then it is discrimination. If it is a document that will allow those who have been vaccinated to cross the border faster and easier – I’m for it,” Ostojic told HRT ‘s Dobro Jutro, Hrvatska show.

Although it is not yet fully defined, the COVID passport should be given to those who have been vaccinated, those who have recovered, and those tested by PCR just before the trip, said Ostojic.

Asked whether entering Croatia will be similar to last year’s, given that the vaccination will not be as expected, Ostojic said he hoped so. However, the priority goal for Croatia should be to “get green” as soon as possible. In that way, we could say that we are managing the epidemiological situation and that we are a safe country.

“Common European criteria for crossing the border should be defined, the epidemiological situation in our most important emitting markets should be monitored, from Germany, Austria onwards,” says the Croatian Tourism Association director. He adds that it is still too early to talk about this topic because we still have a month, a month and a half.

Regarding the vaccination of tourist workers as a condition for the safe destination status, about which a promotional campaign was also launched, Veljko Ostojic says that tourist workers’ vaccination will never be 100 percent. The Croatian Tourism Association conducted a survey with the Association of Hoteliers and the Croatian Camping Association. About 70 percent of employees expressed interest in vaccinations a month ago, Ostojic said.

There will likely be an organized vaccination of tourism workers after the first and second priority groups are vaccinated. We hope that it will be during April so that we can readily and vaccinated enter the primary tourist season, concluded Ostojić.

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Hajduk Veljko Petrović – The hero of the First Serbian Uprising

THE HAJDUK VELJKO MUSEUM

The beginnings of the work on the protection of movable cultural heritage in most cities in Serbia was accompanied by a noble idea that a new life should be breathed into old buildings, by transforming them into museum spaces. So, in 1983, when the Hajduk Veljko Monument was unveiled on the square, marking the fiftieth anniversary of the Krajina Museum, the Hajduk Veljko Museum was opened in the residence of Knez Todorče.

The Krajina Museum displayed a part of the historical collection, which formed the display of the First Serbian Uprising and Hajduk Veljko. However, the Museum was closed as soon as in 1989. After that the building had different purposes. In the meantime, the conditions for the reopening of the Museum were met, so in 1997, the inscription The Hajduk Veljko Museum was put on Knez Todorče’s residence. It was a rectangular bronze relief with Hajduk Veljko’s face engraved in its centre, with the name of the Museum above, the work of the sculptor Milko Pavelk. Since the Museum was reopened after eight years, the display became more diversified than the previous one.

Today, twenty years later, the Hajduk Veljko Museum is still located in the house of Negotin obor-knez from the 19 th century–in the residence of Knez Todorče.The residence of obor-knez Todorče is one of the oldest houses in Negotin. In 1950 the house was dilapidated. At that time, upon the invitation of the administration of the Museum, Ivan Zdravković, an architect from Belgrade, examined the old house in Negotin, owned by the late Dušan Jovanović, a former trader, in Stanko Paunović Street, and proposed a plan for the adaptation of the building. In 1966, a decision was made to buy off the house and, considering its very characteristic architecture, to open an ethnographic department in it. The restoration and adaptation followed.

The building was constructed of hard materials. The ground level walls were built of rough stone, arranged in straight horizontal rows with a thickness of 75 to 95 cm. The upper level was made of bricks, and a special beauty was given to it by the arcaded balcony and the ingeniously triangle shaped wall surface over the entrance, i.e. full tympanum, decorated with a luxuriant garland of bricks arranged in a zigzag combination, modeled after church buildings of Byzantine origin. The Krajina Museum wanted to repay the duke of Negotin nahia appropriately, by displaying the material heritage exhibits from its collections. The permanent museum display, in addition to a historical and ethnological collections, also contains an art collection, which possesses, besides its artistic value, a significant documentary importance.

Historical exhibition

The historical exhibition is quite heterogeneous, which increases its significance because it also covers a part of the ethnological heritage from the same epoch, which is directly or indirectly related to military equipment and weapons. 

The frameworks of the collection are traditional Serbian arms – yataghans. Yataghans date back from the early to mid-19th century, and represent all major workshops of the Balkans – Bosnia and Herzegovina, Kosovo and Metohija, Albania and the Bay of Kotor. Practically equally represented two types of yataghans with white bone or black ivory grips, a significant portion of the blade with descriptions that indicate the time of preparation, owners and masters. Several swords from the same era were also collected. Basically it is a weapon with a handle in the form of a “gun” and a blade type “shamshir”. As with yataghans, this type of weapon was a product of primarily Balkan workshops, although there were copies that were made in the important centres of the Ottoman Empire. Sabres were from the time of the late 18th century. The copy probably belonged to the Turkish cavalry from the time of the reforms of Mahmud II, so it could certainly be categorized as regulated weapon.

Guns that are now kept in the collections of Negotin Museum are typical examples of craft workshops of the Balkans used in the first half of the 19th century. On the arms there are almost equally represented mechanisms with a system of fire flint, local, “Miquelet” variants, as well as modern French “mechanisms”. The collection includes guns made in Prizren and Debar and also weapons imported from workshops of North-Western Europe.

The largest, but no less important part of the collection consists of weapon accessories: powder horns, bandoleers (cartridge boxes), Holy book cases, grease and ramrods. This part of the collection is significant not only in terms of ethnology, but also in terms of applied arts and overlapping influences of Eastern and Western cultures. Items originate mainly from the first half of the 19th century and present the works of the Balkan workshops, including those in Macedonia and Greece.

At first glance, it is interesting that a large part of the collection consists of both lead and iron balls of various weapon calibres and front charging weapons relatively rare in other museums – hand grenades of early 19th century. However, the fact that there was a workshop for the repair of weapons and ammunition production in the immediate vicinity of Đorđe Bulukbaša’s tower (commander of the fifth ditch fortifications in the defence system of Negotin) – fully justifies frequent findings of similar items.  Besides, we can certainly say that those items are products of the epoch and the work of local insurgent masters when Veljko Petrović defended Negotin.

Finally, certainly the most important pieces in the collection are two cannons. In our collections there are rare pieces of artillery from the time of the First and Second Uprising, so these two cannons, with partly preserved gun-carriages, are rarities themselves. In addition, one tube is iron, which was in 1804–1813 Serbia quite rare. It is known that on the defensive line in 1813, there was a set of five cannons and it is quite possible that these specimens came from the bastion of one of the trenches. They both come from loot. The first, three-pound iron cannon, was given to the Turks as the British military aid and was then seized by the insurgents. The second, one-pound brass cannon, represents the typical famous light mountain Serbian “Haiduk” cannon which was mentioned in many Austrian reports as a kind of technical innovation with significant tactical advantages in rough Serbian battlefields.

Unfortunately, there are no exhibits in the collection that can directly or indirectly be related to the personality of Haiduk Veljko Petrović.

Ethnological exhibition

On the ground floor of the Haiduk Veljko Museum there are traditional viticulture and winemaking ethnographic artefacts, and on the first floor, in “Odžaklija”, there are 19th century furniture  items. The goal of the Haiduk Veljko Museum ground floor exhibition (housed in Todorče’s Lodgings) is to present the traditional viticulture and winemaking. The exhibits were selected from existing ethnological collections in order to highlight important aspect of this production for Negotin economy.

Museum items, such as barrel, water container (balon), two kinds of jugs-ewer and mug, and the like, illustrate traditional winemaking. Nowadays it is dying out, which made us want to remind people of this kind of production and usefulness and value of these items. Ordinary people are skilled at making certain objects of different materials: wood, metal, clay, glass … that in addition to prior mentioned values  have a great importance, because they are used in wedding or funeral rituals (e.g., some types of jugs-mug, pitcher, ewer, etc.). By creating within traditional culture, a man remains in the spirit of conception prevailing in that particular society. His works were a reflection of the economic and social conditions, as well as customary and religious beliefs, which still live at home and are passed from generation to generation.

These examples show the skill and talent of those who make them, most made freely, without a rigid frame, and that’s the joy of living, because every item tells a story, and often is a work of art.

In Eastern Serbia and Negotin-Krajina viticulture was once a very important and lucrative industry. By selling good wine, one could gain good fortune, thus increasing one’s household. The containers used in wine making (casks, jugs, flasks, etc.) were decorated with symbols and motifs, which show a great breadth and rich ornamentation. They creators used what was around them. The exhibits show the achieved harmony between the useful and the beautiful.

At the Museum of Hajduk Veljko there is “odžaklija”. It is the smallest room in the living quarters constructed in the middle of the magnificent 19th century, which the citizens call Todorče’s Lodgings. Odžaklija was a typical kitchen area, where food used to be prepared on the open hearth. Odžaklija, kitchen, house, hearth – these were the names of the space that was used for cooking and heating homes. Appropriate Museum ethnological collection items from the second half of 19th and the first half of the 20th century were selected for this permanent exhibition. 

Hearth was the most important part of the house. Its position depended on several factors: the method of construction of the house, the family economic diversity and the number of family members. In this region, up to the mid-19th century hearth commonly stood in the middle of the room; in the second half of the 19th century it was moved to the side of the room, mostly next to the eastern wall, and its open part was facing the room. In our Odžaklija, the hearth is in the middle of the room. There is a chimney over the hearth which is called “odžak“, hence the name „odžaklija“. 

People didn’t extinguish the hearth fire, they kept the embers covered by ashes. They cooked in cauldrons that hung on chains, hanging from a bar – chain mail, and in pipkins placed on a triangular metal frame – „sadžak“. Bread was baked in shallow clay containers called „crepulja“  covered with large metal or ceramic lids called „sač“. People used lifting hook  for „crepulja“, coal shovel  and Mulch grilled tongs to work in „odžaklija“. 

There are tripods and a table set in „odžaklija“ for sitting and dining. This room was used for heating other rooms with built earthen ovens. Most of the family activities happened in this hearth smoke darkened room – eating, sleeping, cult performing and immolating to the ancestors. Therefore, the hearth is the sacred symbol of the family. 

In many civilizations the domestic hearth fire became a deity whose cult was preserved by the family and the state (the same thing happened with the Phoenicians, Greeks, Romans, and Indians). By respecting the hearth one respected the ancestors and spirits that were the protectors of the house. The cult of the domestic hearth was preserved in many folk traditions. It is a sacred space of each house, which is respected and preserved.

The aim of the museum exhibition is to convey the life of our national culture in the past.

Art exhibition

One of the most important moments of Negotin culture was the opening of the Museum of Haiduk Veljko Petrović. The Krajina Museum wanted to repay the Duke of Negotin Township in an exemplary and worthy way , with its contribution, summarizing exhibits from its collections to present our material heritage. In the permanent museum exhibition, besides historical and ethnological, art collection plays an important role, which represents both artistic value and a documented testimony. The exhibits of art collections, displayed in the permanent exhibition rooms were built in the nineteenth and throughout the twentieth century, with emphasis on portraits of Haiduk Veljko Petrović. Also there is a special place for the Karađorđe portrait located in the weapon display room. His portrait completes the exhibit unit not only as the leader of the First Serbian Uprising but also as a „Vožd“ (supreme commander) who appointed Haiduk Veljko the Duke of Negotin Township.

When Haiduk Veljko liberated Krajina he left a deep mark in the constitution of national identity. The rich folk tradition has inspired many in the fine arts. Vuk and his contemporaries left a detailed description of Veljko, which facilitated his portraiture. His brother Milutin and contemporaries chose people who were most similar to Veljko in order to create his character.  Felix Kanitz wrote about one of them- a young Arnautin Duke Petar Vukotić. He wrote that Čučuk Stana visited Prince Miloš in Bucharest after Veljko’s death and on that occasion Miloš asked the Arnautin to dress as Hajduk Veljko and appear before her. The similarity was so strong that she became speechless upon seeing him and thought that he had risen from the dead. The portrait was later donated to the National Museum, and Pavle Čortanović had copy of the portrait sent to the Mayor of Negotin Mihail Lazarević. Nikola Kusovac noted that the portrait of Raka, the son of Hajduk Veljko, was kept in the National Museum. It was done by Petar Palikruškić and also served as a model for future portraits of the famous duke. 

The first artists who portrayed Hajduk Veljko were Anastas Jovanović in his most important enterprise in the field of lithography “Serbian Monuments” and Uroš Knežević in one of his greatest portait enterprises “vivid galleries of famous people of 1804”, which was created on the initiative of Prince Aleksandar Karađorđević. Ljiljana Konstantinović studied Hajduk Veljko’s character and in her paper showed that, although the portraits of Jovanović and Knežević differed in details, the character was the same.

“Death of Hajduk Veljko” was painted by Steva Todorović; “Hajduk Veljko overrides the Turkish camp” painted by Petar Ranosović; “Hajduk Veljko breaking through the Turks alone near Banja” painted by Živorad Nastasijević, like many others, among them Pavle Čortanović, Milisav Marković …

This museum exhibition is in some ways trying to bring Hajduk Veljko closer to visitors, to point out his courage and  dignity and bring the spirit of heroic pride. The museum is proud of the good concept of the exhibition, which is backed by a large number of visitors.

The exhibition of Haiduk Veljko library collection

The Krajina Museum library has collected many professional literature titles and local history records since 1934 when it was founded.  An important part of those records are publications about Haiduk Veljko Petrović, the Krajina Duke and Serbian revolution hero (1804–1813) whose prowess was sung about and celebrated in folk tradition and in both oral and written literature as it can be seen in many stories, poems, legends, novels and plays. 

Haiduk Veljko’s heroism was described not only by his contemporaries – Vuk Stefanović Karadžić, Sima Milutinović Sarajlija, Đura Jakšić, Jovan Dragašević and Dušan Baranin but he inspired many modern writers as well.

The permanent exhibition of the Haiduk Veljko Petrović Museum contains literary works dedicated to the hero and the First Serbian Uprising, which were collected over the years and are an integral part of the Krajina Museum library.

In the yard of Todorče’s residence there’s an open summer stage for various art performances.

Krase 20, 52203 Medulin, Croatia – Show map

Veljko Reserve now

• Entire apartment
• 646 ft² size
• Washing machine
• Free parking
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• Private bathroom
• Non-smoking rooms

Veljko is located in Medulin, 1.2 km from Bijeca Beach, 12 km from Pula Arena, as well as 49 km from Cathedral St. Eufemia Rovinj. The air-conditioned accommodation is 700 metres from Alba Chiara Beach, and guests can benefit from private parking available on site and free WiFi. The property is non-smoking and is set 800 metres from Belvedere Beach. The apartment is fitted with 2 bedrooms, 1 bathroom, bed linen, towels, a flat-screen TV with satellite channels, a dining area, a fully equipped kitchenette, and a balcony with city views. Guests can enjoy a meal on an outdoor dining area while overlooking the inner courtyard views. For added privacy, the accommodation features a private entrance. Vižula Archaeological Site is 2.9 km from the apartment, while MEMO Museum is 12 km away. The nearest airport is Pula Airport, 17 km from Veljko.

Distance in property description is calculated using © OpenStreetMap

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No cots or extra beds are available.

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Guests must be quiet between 22:00 and 08:00.

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Please inform Veljko in advance of your expected arrival time. You can use the Special Requests box when booking, or contact the property directly with the contact details provided in your confirmation.

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Quiet hours are between 22:00:00 and 08:00:00.

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Veljko is 0.7 miles from the centre of Medulin. All distances are measured in straight lines. Actual travel distances may vary.

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Yes, Veljko is popular with guests booking family stays.

Does Veljko have a balcony?

Yes, there are options at this property that have a balcony. You can find out more about this and the other facilities at Veljko on this page.

What are the check-in and check-out times at Veljko?

Check-in at Veljko is from 15:00, and check-out is until 10:00.

The best of Medulin

• Bijeca Sand Beach

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• Brijuni National Park

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• Small Roman Theatre Pula
• Pula Airport (PUY) 5.9 miles
• Losinj Airport (LSZ) 27.9 miles
• Rijeka Airport (RJK) 41.5 miles

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MOSCOW DIARY. Introd. by George Kennan. Hardcover – January 1, 1980

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