My hands-down (hands-in!) favourite feed in India was the Thali. These ‘set meals’ were always the best value and represented an assortment of typical, local food of the area, varying enormously between states and regions. Thali’s were always the most popular choice in cafes and restaurants so you were eating the freshest food, albeit often a mystery as to what would appear on the table in front of you. Thalis are incredible value, in Thokkilangadi, Kerala, we paid the equivalent of 45p for a Fish Thali, with as much as you could eat. The word ‘Thali’ can be translated directly as the Hindi word for ‘plate’ or ‘tray’, on which the set meal is served. The only choice you generally have is Veg, Fish or Non-Veg, with vegetarian being the most common. As everything is prepared and bubbling away in huge pots in the kitchen, your meal is presented in minutes. The meal is like a colourful, symmetrical, work of art; sometimes the selection of curries and dahls are ladled into small, round, individual, metal bowls, sometimes piled carefully directly onto a round metal tray or banana leaf, occasionally into pre-formed plastic trays. On the side, pickles, chutneys, sauces, salad, salt, fresh chillies, onion and yoghurt raita are carefully placed. Some Thalis include a desert also, a tidy portion of syrupy Gulab Jamun, sweet semolina rice, ice-cream or sticky Jilabi. If you’re hungry, the Thali is a delight as once you’ve emptied one small bowl, it is re-filled; in busy restaurants men with narrow metal buckets filled with Sambar, Dahl and Curry fly round the floor ladling out top-ups to every table. Cutlery is not an option, locals expertly mix the components of the Thali together with deft fingers- food unanimously tastes better when eaten by hand. Variations are endless, in the south rice is a more common accompaniment whereas breads feature more heavily in the north. Thali’s reflect the wide-ranging cuisine of the country, coconut-based down south with fish, and creamy, meaty curries in the north, every time is a surprise and a delight with no tough menu decisions to be made.
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There is simply no better way to start your day in the South of India than feasting on one of the regions fresh, mouth-watering breakfasts. Roadside, beachside, village, town or city, tiny cafes, restaurants and street stalls churn out simple breakfast staples to a steady flow of hungry morning diners. Varying from a simple shack with a single steaming pan of Idli to a shiny modern canteen with a Dosa list as long as the monster pancakes themselves, breakfast is a meal not to be missed when in the southern states. Dosas are thin pancakes made from fermented rice flour batter, they can be crispy and plain (Saada Dosa), stuffed with spicy potato curry (Masala Dosa), made with semolina flour (Rava Dosa), a pile of thick and fluffy dosas with lentils (Set Dosa) or white and watery (Neer Dosa). Flat, round, rolled-up, triangular or conical, the Dosa shape is often as diverse as its filling. The same rice flour batter is also used to make Uttapam, a thicker crepe that often has onion or tomato mixed in with the batter. Ubiquitously served with fresh coconut chutney and Sambar, the chutney is often so fresh we once waited for the guy to climb a nearby palm tree to cut down the coconut to make it. Sambar is a watery, spicy lentil-based vegetable stew which is synonymous with south Indian dishes, dunking your Dosa or Idli into a small metal bowl of piping hot spicy liquid is a standard part of the breakfast routine. Idli are soft, white, steamed lentil rice cakes, like round fluffy pillows of deliciousness waiting to be dipped into fiery Samba and velvety coconut chutney. Vada are doughnut shaped fritters made from lentil or chickpea Dahl, deep fried so they are fluffy and light on the inside and golden and crispy on the outside. Sometimes served alongside Idli, they are also dipped in the universal Chutney and Sambar.
With plates of Idli or Vada costing as little as the equivalent of 30p and a Dosa around 50p, breakfasts in the south were fast, fresh, inexpensive and utterly delicious, we miss them already! Yoga is big business in India, wander around the tourist hubs of Goa and Kerala early morning and you will see many committed souls in designer yoga pants, clutching their rolled-up mates under their arms, faces full of serenity, smugness yet definitely a little self-regret as they file to ashrams and yoga centres for a few hours of uplifting uncomfortableness. Invited by a fellow road-trip enthusiast to stay at his family’s Ayurveda resort, I was presented with the opportunity to attend a dawn yoga class. So many people do this weird spiritual stretching that I was intrigued to see what all the fuss was about. I was reassured by staff and fellow guests at the resort that “yoga was about your own personal abilities, with no competition or stress” and that the teacher was “not aggressive” and the class “suitable for beginners and all abilities… just do things at your own pace”. These people, I would like to point out, were not at the 5.45am class and based on their advice had never attended one. The teacher, a young, slim Indian man, was sat crossed-legged at the front of the class, egotistically in front of a large portrait of Buddha in the same position. The room was lit only by a small candle at the front. I sat in the far corner at the back, alongside three perfectly-toned European women. Everyone lay down and the three women covered themselves with floaty, ethnic-patterned scarves (should have done my research, thought lycra and mat was the total checklist)… surely not a scarf for warmth, this is South India? Mosquito’s maybe, I was struggling to hold my hands in the gyan mudra position without the odd swipe at my bare ankles to deter the blood-thirsty buggers. Until now, the lycra leggings in my clothing box served only the purpose of an extra layer under trousers in sub-zero temperatures so at least they were getting extra wear. We all sat up, crossed-legged and the teacher began humming and chanting. The three women joined in, chanting and humming in unison. I closed my eyes and cringed, hoping they would soon stop this kind of trendy Hindu humming.
One of the reasons for choosing at 5.45am class was that it was dark, therefore surely reducing the humiliation factor. Once the spiritual singing was over, the teacher turned on a small light in the far, back corner of the room. My far, back corner. Now in my own personal spotlight he made a beeline for me and asked if I knew “something something Samsara” I managed to whisper to the instructor that it was my first time trying Yoga, clearly giving him an “I’m inexperienced, not crap” look. And that will be a definite no to the ‘something something samsara’. The other women launched expertly into some kind of routine under softly, sung instructions from the teacher; standing with hands ‘praying’, stretching arms above head and bending backwards (slightly unnerved by the fact the women in front of me was now looking at me, despite her body still facing the opposite direction). There was leg lunging, back-arching, arm-stretching and head twisting. Each position I successfully managed to achieve was pushed expertly into the pain threshold by the teacher; knee a little bit further over (ouch), leg a bit higher (ouch), chest closer to the floor (ouch). Even my ‘relaxed’ lying on my back was changed to widen my legs (seriously even I wouldn’t have touched my feet after 2 months wearing only flip-flops adventuring round India). Every time I closed my eyes I would hear his feet echoing on the wooden floor coming towards me to contort my body into more pain. How could I inhale and exhale deeply when I literally held my breath whenever he walked past for fear he would actually try and tie me in a knot. It is not easy to attain the perfect position in line with the universe when your head is twisting in line with the person next to you so you can copy them. Even before sunrise, the Keralan backwaters are stiflingly hot and humid so now with hair stuck to my face with sweat I was hoping he didn’t move any clammy, sticky part of me for both our sakes. We lay on our backs and lifted alternate legs into the air, momentarily impressed with my straight (yet shaking) leg I noticed the woman in front of me had managed to hook her foot to the back of her head. Lying stretched out with back arched unnaturally our Indian instructor encouraged us to “try and look at the ceiling” I admit I was stretching more to try and look at the clock on the wall (only half way, another 45 minutes to go). I have never been able to ‘clear my mind of thoughts’, especially difficult when the yoga hall is above the kitchen and you can smell the mornings Sambah cooking and I’m more focused on what’s for breakfast rather than aligning my Chakras. Inhale downwards dog… exhale upwards dog. What?!? When I was up, they were down, when I was stretched out in a leg lunge, they were already in a tight ball. I found myself crumpling in a heap when he wasn’t looking, then straining to obtain physical, contorted perfection when his gaze turned to my direction. This is supposed to be relaxing? This actually hurt, I was relieved when the dogs of all directions slowed down and the session seemed to be winding down. Back in our lotus-like sitting positions we were instructed to cover our right nostril with our right thumb, then breathe out rhythmically and forcefully through the opposite nostril. Repeated several times with each nostril, then both nostrils together, until you resemble something of an asthmatic pig trying to free a stone wedged up its nostril. Or maybe that was just me. It was difficult to know if the people around me were actually enjoying what they were doing. I certainly felt good at the end of the class, but mainly because it was over. As the sun rose over the misty backwaters, my attention veered to try and identify the bird I could see wandering across the grass from the window… birdwatching, now that’s actually a relaxing hobby that I can get up at unearthly hours for. Keep your mat, I’ll stick to my binoculars. The account of the Iranian Royal Family prior, during and after the revolution of 1979 is an interesting one. My interest in the story comes through my love of architecture. I’d previously learnt that Queen Farah Diba Pahlavi had studied architecture and after visiting her personal library at the Royal Palace of Niavaran I was curious to find out more. Unexpectedly I discovered that the Frank Lloyd Wright Foundation had three buildings registered in Iran; two of which were commissioned by Princess Shams Pahlavi, the deposed Shah's sister and her husband, Mehrdad Pahlbod - the then minister of culture and art. The remaining building, The Damavand Higher Educational Institute, also has an inspirational story attached to it, one that will have to wait for another blog! Of the two properties commissioned by the Princess, the summer residence known as Mehrafarin Palace in Chalous, is incredibly difficult to find any information on. My understanding is that it was never completed due to the revolution and I’m uncertain of its location or if it is actually still standing. The most prestigious and spectacular of the two palaces, the Morvarid Palace, also known as ‘Pearl Palace’ in Mehrshahr, Karaj was completed in the early 1970’s and then promptly abandoned shortly before the revolution of 1979. After the revolution the majority of the complex was occupied by a local Baseej Militia chapter who neglected its upkeep. For a very brief period of time the palace was open to the public but has been closed for many years and the uncertainty of it’s future has been greatly debated on the internet as photographs of its disrepair circulated. Through a few carefully orchestrated enquiries by our film crew we were privileged enough to organise a visit to this truly remarkable building. Frank Lloyd Wright is considered by many to be one of the most influential architects of the 20th Century. The Frank Lloyd Wright Foundation was set-up after his death in 1959 to manage his estate. As part of the foundation the Taliesin Associated Architectural practice was founded by Wright’s protégé and son-in-law William Wesley Peters to continue Wright’s architectural vision. The Pearl Palace was designed primarily by William Wesley Peters, but undoubtedly Charles Montooth, Frances Nemtim and Cornelia Brierly contributed to the design. Associated senior fellow at Taliesin, Thomas Casey served as chief engineer and spent a considerable amount of time in Iran. It is my understanding that when the Princess was presented with the original drawings she was so emotionally moved, because they had envisioned the Palace that she dreamed of, that she burst into tears and had to leave the room to collect herself. Nestled into a large site over low-sloping hills adjacent to a small artificial lake, the palace is not what you’d typically expect a Princess’ palace to look like! The building is a study and exploration of the circular form. As we explored the space I struggled to spot a straight line or a room consisting of four walls. The large central space was once covered by a huge tetra-dome Plexiglass matrix, the framework of which still exists, creating a huge greenhouse-like area filled with fountains, pools, gardens and communal spaces. Unfortunately now exposed to the elements many of the concrete steels have started to corrode and water damage is prevalent throughout the building. Off this central space, satellite rooms are accessible by an internal incline, which gently ascends in a spiral, reminiscent of the ramp in Wright’s most famous building, The Solomon R. Guggenheim Museum in New York. The building clearly fits into Wright’s ‘organic’ architecture ethos, “form and function are one”. Offices, reception rooms, family living room, dining room and bedrooms are often joined in a very natural and fluid way through a series of ramps. The integrated spaces produce a coherent whole that feels incredibly natural to navigate. The large shell-like forms clearly echo nature and mimic the Fibonacci spiral, also poignantly named ‘The Golden Spiral’. The building features uniformly placed diamond shaped wall lights throughout, on the interior and exterior, in its full illuminated glory the building must have looked somewhat UFO-like. Some interior spaces are lit through natural daylight bounced through small Perspex domed skylights in the ceiling. The interior decorations are not overly typical of other Wright buildings, although the spirit of some of the decorative elements and the applied proportions are greatly reminiscent. Unlike other palaces of the Pahlavi era, traditional Iranian carpets and decoration are missing in Morvarid Palace. Instead contemporary 1970’s design is prevalent throughout, including an incredible Plexiglass staircase. The fixtures and fittings were selected to suit Iranian taste, moving around the building we are constantly dazzled by golden chainmail curtains, glittering geometric crystal chandeliers and perfectly proportioned golden coffee tables; one ‘entertainment’ room even features a Perspex billiards table! In typical Iranian style nothing is left undecorated with the exception of the frequent application of Plexiglass and the occasional raw concrete surface, unlike characteristic Iranian pattern and tile work, the surfaces are generally covered in flat colour, predominantly gold! Lots and lots of gold! The lavish interior, including numerous bars, hot tubs, saunas and a full size cinema, reeks of 1970’s hedonism. It’s easy to imagine a ‘Boogie Nights’ style party going on in the space or a Xanadu-esq roller disco. The Princess’ private bathroom with a matching golden toilet and hot-tub, rumoured to be filled with milk, are extravagances that feel more Hollywood than Iran. The Princess demanded everything should be specially designed. Much of the furniture is integrated into the spaces including the Princess’ circular bed. Sham’s even commissioned John Hill who designed a golden silk bedspread that reportedly cost $25,000. What is astounding about the building is that after nearly 36 years much of it has not been touched, looted or vandalised. The bed is still made and the golden silk bedspread is still in place, the original 1970’s Finnish Ball Chairs by Eero Aarnio are exactly as they were left, various wardrobe doors have been left open giving you the feeling that whoever left, left in a hurry. This may or may not be the case but the occasional knocked over sofa cushion certainly leaves you with this impression. Unfortunately our visit was cut short due to a thunderstorm that shorted out the temporary lights that have been installed. We managed to look around a large majority of the building including the cinema of which I’d never seen any photographs. We didn’t however have a chance to look around the kitchen or the rooms towards the back of the building. The gaudy ostentatious interior is considered by many of Wright’s fans to be an abomination whilst others consider it a masterpiece of 1970’s interior design. It is this uniqueness, the diversity in the forms, decoration and materials that make the palace quite distinct from other Wright Foundation buildings. For this reason alone the building is not only an important part of Iranian heritage it is an important building architecturally. In 2002, the building was recognized as important and registered by the Cultural Heritage Organization of Iran. Walking around the building is mildly depressing; it is currently in need of massive repairs. Large areas of the reinforced concrete have been penetrated by water and will take a huge amount of work to repair. Thankfully we learnt that the building is now under new management. Redevelopment plans for high-rise apartment blocks on the estate have been scrapped and plans are being made to restore the building to its original state. Hopefully the new owners, who seemingly are intent on doing the right thing, can find the cash to restore this incredible building to its former glory.
During the 50’s, 60’s and 70’s Iran and the U.S.A. were chummy bedfellows but in the fickle world of politics, international relationships can turn sour very quickly. Iran’s pre-revolution links with the U.S.A. are, for me, one of the most fascinating aspects of the country’s recent history. Throughout my lifetime the media has been telling us that the Islamic Iranian government has held fairly staunch anti western sentiments since the revolution of 1979. A claim backed up by Anti U.S. paintings in central Tehran where the side of a building is painted with a downwards facing ‘Stars and Stripes’ made of dropping bombs and skulls, the words “DOWN WITH THE U.S.A.” emblazoned across it in 2m tall letters. From a western perspective what is interesting about post-revolutionary Iran are the remnants of America’s influence that have been absorbed into everyday Iranian popular culture. On the surface there doesn’t seem to be any internal conflict between the acceptance of western symbols of consumerism and the Islamic government’s defiant standpoint on outside influence, this was after all one of the many reasons the revolution happened. The irony is somewhat lost that cans of Coke and Pepsi are being sipped on every street corner by Levi wearing Muslims who are happy to embrace the west. Now the process of the removal of the sanctions has begun I suspect it won’t be long before Tehran sees its first McDonalds, unless the Islamic Republic stand strong! For me though nothing says ‘The American Dream’ like a hulking great big lump of American steel, sculpted into a 1950’s futuristic vision of what a car should look like, with aerodynamic chrome tipped fins and bullet shaped chrome bumpers; a car so huge it should probably have two licence plates! In 1959 President Eisenhower drove through the streets of Tehran to cheering crowds in just this, a silver coloured Cadillac Eldorado gifted to the Shah. Prior to 1979 Buicks, Chevys, Cadillacs, Oldsmobiles, Plymouths and Jeeps were a common sight in Iran. Due to it’s relatively warm climate many of these vehicles have survived in pretty good condition. For some the American cars are just a car, they just happen to still own one because it still works after all these years. For others Iran’s vintage and classic car scene is hugely popular, especially with owners of American muscle cars (Camaros, Pontiacs, Monte Carlos, Mustangs and Chargers) with many groups organising gatherings and ‘spins’. We’ve spotted many fine original examples as well as a few stunning restored vehicles (unfortunately we've seen very few parked up to photograph). The popularity and appeal of restoration doesn’t come easy though, restoring American vehicles and keeping them running is costly. Searching for parts outside of Iran is near impossible due to internet restrictions. If you manage to find the appropriate parts it is impossible to purchase anything online as all bank dealings with Iran are sanctioned.
The classic cars are not just beautiful, powerful, well built, luxury machines, but symbols of a different time, the embodiment of freedom with bench front seats, conducive for drive-in cuddles. The vehicles themselves, full of romanticism and nostalgia represent a era in Iran that many people would probably like to see return! The inspirational story of the Queen Farah Diba Pahlavi’s life is a complex one of fairy tales, politics and tragedy. A commoner and young architecture student, she was chosen to replace the King Shah Mohammed Reza’s second wife, Soraya Esfandiari Bakhtiari, after she failed to produce an heir to the throne. Their engagement in November 1959 was announced to the world via the cover of Life Magazine where the glamorous ‘soon-to-be’ Queen was pictured wearing a stunning dress by Dior. One month later, aged just 21, and 19 years the Shah’s junior, Farah Diba married Shah Mohammed Reza garnering worldwide press attention. Dressed in a gown designed by Yves Saint Laurent and wearing a newly commissioned Diamond Tiara designed by Harry Winston their marriage announced the arrival of possibly one of the most loved, stylish, forward thinking and inspirational royals to have ever reigned. Just 10 months after the wedding she gave birth to a son solidifying her position; the occasion was marked by dancing in the streets. A succession of children followed; another son and two daughters. After the birth of the Crown Prince the Queen was free to dedicate more time to activities that interested her. As time progressed the she became much more involved in government affairs. Using her husband’s influence and proximity she drew attention to causes that concerned and interested her, particularly in the areas of women's rights and cultural development. Over time she became one of the most vocal and highly visible figures in the Imperial Government and became the patron of 24 educational, health and cultural organizations. Her significant contributions to social reforms and her influence in the emancipation of women played a vital part in bringing Iran into the modern era. During her reign women played an increasingly important role in public life and occupied important positions in all areas of administration; parliament deputies, senators, ministers, ambassador, lawyers, judges etc. During the early 1970’s, her humanitarian role earned her immense popularity. She travelled a great deal within Iran, visiting some of the more remote parts of the country. Wherever she went, people cheered her and struggled to touch her. She would meet with local citizens earning her the title ‘The Empress of Hearts’. Her popularity was not just confined to Iran, it was told that Charles de Gaulle liked her more than any other first lady, even more than Jacqueline Kennedy! The Imperial Government in Tehran was aware of her popularity this was exemplified when she was crowned as the first Shahbanou, or Empress, of modern Iran. The naming of a woman as Regent was highly unusual for a Middle Eastern or Muslim Monarchy. Visiting the former Royal Palace of Niavaran the Queens love of architecture becomes blatantly apparent. Designed by Mohsen Foroughi and finished in 1968 the building mixes traditional Iranian architecture with 1960’s contemporary design. The huge eccentric electric retractable roof has a hint of James Bond baddie lair about it whilst traditional Iranian furnishings bring the design back down to earth. Located nearby, in a beautiful piece of 1970’s contemporary architecture, is the Queen’s personal library. The interior is designed by Aziz Farmanfarmayan and consists of three levels: the main reading room, a balcony and an underground basement for storing artefacts and paintings. Untouched for over 35 years the library is a fascinating time capsule, the collection of over 22,000 books reveals and typifies the Queens interests. Mainly comprising of books about art, philosophy and religion, a quick glance across the shelves reveals a sneaky peak at how Iran’s future could have turned out radically different had the royal family not been ousted. Books about Islam share shelf space with titles like ‘Eastern Religion and Western Thought’ and ‘Western Modern Art’. The library also houses a fascinating collection of autographed books, including a Walt Disney signed book presented to the young Prince, that highlight the relationship Iran had with the U.S. at that time. Amongst her many patronages she supported the often controversial Shiraz Arts Festival which ran from 1967 until 1977. The festival featured live performances from Iranian and Western artists including avant-garde performances by John Cage and Karlheinz Stockhausen. The Queen’s interest in Contemporary art is also expressed throughout the entirety of the palace although the majority of the collection is now housed in a designated gallery. Impressive works by Warhol, Dali and Picasso share wall space with a fine collection of Iranian contemporary art from the 1960’s and 1970’s. Her love of contemporary art was exemplified in 1976 when Empress Farah commissioned Andy Warhol to do her portrait after they met at a White House dinner hosted by President Ford. In the summer of 1976 Andy Warhol spent a week in Tehran to photograph the Empress with his Polaroid camera. The Empress’ most enduring accomplishment was the founding of the Tehran Museum of Contemporary Art. In the early 1970’s the Queen began assembling an absolute collection of modern and contemporary art, from the Impressionists (Monet, Pissarro, Renoir) right through to the cutting edge minimalists of the 1970’s (Sol LeWitt, Donald Judd, Dan Flavin). The Empress took advantage of a depressed art market and led a panel of experts who toured European and American auction houses in order to build the prestigious collection. More than 300 significant works were purchased, reportedly for less that $100 million. The collection was seen as a gift to the people of Iran. The museum opened in 1977. Two years later Ayatollah Khomeini deemed the collection to be unfit for Islamic eyes and the newly formed anti-western Islamic Republic promptly put the collection into storage where it remained mostly unseen for 25 years. The collection which includes prominent works by Gauguin, Toulouse-Lautrec, Picasso, Braque, Miró, Magritte, Dali, Pollock, Johns, Bacon, Warhol, Hockney, Lichtenstein, Stella and Richard Smith, who I had the pleasure of working with in 2002, is estimated to be worth as much as $5 billion. It is considered the most comprehensive collection of modern art outside of Europe and the U.S. The Queen was not only interested in contemporary art she took an active interest in promoting traditional Iranian art and culture to the world. Under her direction and through her patronage numerous organizations were formed to promote Iranian heritage inside and outside Iran. She oversaw the return of hundreds of historic Persian artefacts from foreign institutions and private collections and built national museums to house the recovered antiquities. During her reign Queen Farah Diba Pahlavi was the epitome of style, the essence of sophistication and an embodiment of how far women had come under her husband's reign. Her significant contributions to social reforms and the emancipation of women continue to be associated with her name. She was an intellectual and stood up for the things she believed in, the quintessential Queen.
The Last Empress of Persia is now in her 70’s and has lived in exile since the Iranian revolution in 1979. Here is a summary of some of the minor pieces of equipment we carry that are so useful on a daily basis we now couldn’t imagine adventuring without them. At the start of any trip it’s difficult to know exactly what to take when you have limited space and budget but as this list of little gems proves, it’s often the most basic, cheap and unassuming objects which are the most ingenious, utilised and valued. The Red Basket
Pegless Elastic Washing Line
'Baby Legs' Torch
Cargo Net
Sticky Back Velcro
SPOT Locator
Sink
Knife, Fork and Spoon Set
Diesel Stickers
Galileo Pro Maps App
Key Lanyard
Paper Fan
Sunglass Case Multi-holder
Thermometer
Torches
Vegetable Bags
Back in 2012 we visited the National Centre for Contemporary Art in Nizhny Novgorod, Russia, where we watched a film by Anri Sala called ‘Dammi I Colori’. This intriguing film documented former artist and Mayor of Tirana Edi Rama’s controversial project to inject a riotous array of colour into the countries Communist era buildings. Naively we knew very little else about Albania. In the film Tirana looked horrifically run down, incredibly depressing and fairly dangerous - leaving Emma and I with the feeling that it should be avoided. Fast forward 2 years and we find ourselves at the Albanian border extremely excited at the prospect of visiting Tirana. During early 2014 I began to read more about Albania as it became a potential stop on our new route. The countries recent history was fascinating. After the Second World War the country became a Socialist Republic and was ruled from 1944, until his death in 1985, by Enver Hoxha. What was so shocking was Albania's self-isolationist policy and how it managed to exist in Europe during this period. The Communist model borrowed from the Russians led to a political allegiance that was superseded in 1960 when the Russians demanded that a submarine base be set-up in Albanian territory. Bizarrely, Albania realigned itself towards Maoist China and the country experienced a Chinese-style cultural revolution; older administrators were transferred to remote areas and younger trainees placed in positions of power. The introduction of Collective Farming and a total ban on organised religion was also enforced. The repressive political stance meant that tyrannical laws were enforced, people lived in fear of the secret police and private car ownership was banned. Until 1991 the total number of cars in Albania was only around 6000. Now the number of cars in the capital alone has increased to over 300,000 (3 in every 5 are stolen Mercedes from Western Europe). When chairman Mao died in 1976 Albania’s unique relationship with China came to an end and the country was left completely isolated. The economy was left in tatters and food shortages became common. The transitional period between Hoxha’s death in 1985 and the countries rebirth in 2000 saw much turmoil. The fall of communism in Albania, the last such event in Europe outside the USSR, started in December 1990 with student demonstrations. During this time most Albanians were unaware that the Berlin Wall had fallen the previous year! During the Balkans war in the mid-1990s, Tirana experienced dramatic events such as the Albanian Rebellion that unfolded in 1997. The unrest was kick-started by failing fraudulent pyramid investment schemes endorsed by corrupt government officials. Eventually the country descended into national civil disorder and violence resulting in 2000 deaths and the government being toppled. In 2000 Edi Rama became the mayor of Tirana. Rama entered office facing the challenges of corruption, a lack of citizen support, lawlessness and a miniscule budget. He also had the added pressure of working with European Union officials in the lead-up to Albania’s application to join the EU. Rama, a former artist, national basketball player and writer began his term by implementing his ‘Clean and Green’ and ‘Return to Identity’ projects. Rama’s deceptively simple plan to cut crime, curb corruption and win the people over was completely unique. The aim of Rama’s ‘Clean and Green’ project was to unite the residents of Tirana and to instill civic pride and a sense of security back to the city’s inhabitants. He planned to achieve this by reclaiming public spaces, demolishing illegal buildings around the River Lana and transforming the grey ‘Communist’ city into Europe’s most colourful capital. Rama’s first step in reclaiming ownership of the city for the people was to paint the drab grey Communist concrete facades in vibrant colours and geometric patterns. This simple injection of colour became a focal point and the people reacted with discussion. Despite split opinions, is was the first time there was a sense of a shared public space and community. "After communism and the events in 1997 people were lacking a sense of belonging to the country. There was a rage against everything that was a state building because it was perceived as property of the enemy… We are trying to make people understand that what is public is also yours." Edi Rama quoted in "You've got to tear this old building down" Throughout the 90’s hundreds of illegal kiosks and apartment buildings were constructed without planning on former public areas. Rama’s projects reclaimed public space by demolishing illegal buildings, which resulted in the production of 96,700 square metres of green land and parks. Within these spaces Rama planted nearly 55,000 trees, punctuating the grey of the city with lush green public areas. The simple act of painting and planting wasn’t just an aesthetic change, it was a political act, which prompted social transformation and much debate. This simple rebirth and the signs of change revived the hope of the people by making them proud of their environment; crime fell, people dropped less litter and eventually a collective responsibility crept into peoples consciousness. This painterly transformation didn’t resolve all the cities problems but it did begin to put the people first, it showed the citizens that they could have faith in their leaders once more. Despite the capitals development, Rama’s progressive efforts are not entirely understood or appreciated throughout the whole of Albania. Rama’s dramatic transformation of Tirana did however give birth to a rare breed of Balkan politician – one that drew positive interest from Western audiences. His Twitter, Facebook and TED Talk internet presence make him a PR dream, this coupled with his proven track record meant he landed the country’s top executive position, prime minister, in 2013. He now faces the challenge of shifting the West’s perception of the country. Some critics (mostly Rama’s political opposition) say that the facade of new Tirana is just that, a facade. Albania is still Europe’s poorest country and is plagued by drugs and arms trade, power-cuts, murders, corruption and organised crime. It may be true that not all of Albania’s ingrained problems can be solved with a lick of paint but it is certainly a good start in lifting Albania from its historical abyss. Rama’s legacy and vibrant attitude has had, and continues to have, a lasting effect on the country. New buildings are equally as colourful as the old and not only has he restored civic pride, he has inadvertently created cultural tourism to help the countries economy. Albania completely fulfilled all my expectations and I can confirm that Edi Rama fulfilled his goal of creating the most colourful capital in Europe. "Tirana has become the good news from Albania and has changed the image of the country. People that come here are surely surprised, because the stereotype is very strong, and is very different from the reality. And it's nice to see foreigners coming and being amazed, just amazed." Edi Rama quoted in "You've got to tear this old building down" With a very limited budget, as well as frequently being presented with a wide range of items of varying price and quality, we spent a lot of time deciding where best to splash our cash when purchasing our adventure equipment. These are the purchases we “ummmmed and aaaaahed” over buying at the beginning as, to us, they were expensive. In hindsight, the following we consider to be our top buys, our ‘best investments’. Bee-Bee
Rooftent
Pan Set
Fridge
Tyres
Cooker
Awning
Boxes
Chairs
Solar Panel
NB- these are all honest, independent reviews with no brand attachment or endorsement obligation. However, if you are reading this and represent the companies mentioned, free stuff is always warmly received ;-)
For the last 54 years the people of Ptuj in Slovenia have been celebrating the end of winter with a festival called Kurentovanje. The 11-day rite of spring and fertility is most likely connected to Slovene mythology and Slavic Paganism. The original organisers were strongly convinced that this event could help prevent what they perceived as the extremely rapid disappearance of traditional carnival customs in the area. The Museum at Ptuj Castle houses a large collection of traditional Kurentovanje masks and costumes. We were lucky enough to visit and learn more about this fascinating tradition and it’s costumes. The celebrations feature many different characters including the Ploughmen, Bears, Fairies, Cockerels, Log-haulers and Mourners. Undoubtedly the stars of the festival are the Kurents dressed in elaborate masks and heavy sheepskin coats. The Kurent’s primary roll is to scare away winter by jumping from side to side, bell ringing and performing rituals.
For the participants, the festival permits a certain amount of anonymity, allowing for much tomfoolery. The greatest disgrace a Kurent could face was to have his mask taken off.
Over the years the festival has grown, with many surrounding towns in the region also contributing. In 2013 the largest population of Slovenians outside of Slovenia, in Cleveland, Ohio, have started to run a smaller Kurentovanje event. For more information about the carnival and it’s characters please visit http://www.kurentovanje.net/en/ |
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