Mayor Zoran Janković declared himself “a purebred mixed race” on Facebook, rejecting labels such as “cefur,” a derogatory term often used to describe someone of mixed heritage in Slovenia. The post, which was almost certainly written by the mayor, known for his aversion to computers, highlighted his personal background and philosophy of governance. He wrote: “I am the end of the line of migrants. If you want to call me ‘cefur,’ fine. I say I am a purebred mixed race.” According to the post, he arrived in Ljubljana at age twelve, with a Slovenian mother and a Serbian father. He stated that among people, he distinguishes only between good and bad, emphasizing values over ethnicity. The mayor’s statement reflected his broader approach to leadership. He described how success in life comes when one enjoys going to work, whether in an office, on a construction site, or meeting locals on the street or at Golovca. Conversely, he noted that hardship requires seeking alternatives. His tone was one of optimism and connection to the community, particularly through family ties. He expressed joy in daily life, mentioning that his grandchildren frequently call him and even invite him to meals or sporting events. For him, these moments represent the greatest achievements in life. The post was published on the mayor's Facebook page, which has become a platform for expressing his views on identity, culture, and community. It underscores his efforts to bridge cultural divides and promote inclusivity, while also asserting his personal narrative of belonging. This declaration aligns with broader discussions around multiculturalism and national identity in Slovenia, where debates often revolve around the role of immigrants and their integration into society. Meanwhile, in another part of Ljubljana, a different kind of cultural legacy was being celebrated. In the heart of the city, near the market square, a historic venue known as Šentjakobsko gledališče (Šentjakob Theatre) hosted a conversation that highlighted its rich history and enduring significance. The discussion took place in a restored old townhouse, filled with the echoes of past performances. Attendees included notable figures from the theatre world, including Bojan Kapelj, a respected actor with over 1,000 plays under his belt since 1974, and his wife Breda Kapelj, who has been active in the theatre since 1968. Also present were Peter Teichmeister, a long-time stage director, and Saša Strnad, a contemporary representative of the theatre scene since 2010. The atmosphere was intimate yet vibrant, reflecting the unique character of this space. The theatre, more than just a cultural institution, serves as a symbol of passion, dedication, and communal spirit. Its 105-year history is preserved and told by those who have contributed to its legacy, actors who once left their youth behind on its stages, and caretakers who ensure the light on the stage continues to shine. As Saša Strnad remarked, “Teater isn’t just actors, walls, or technology, it’s people.” The conversation touched on the theatre’s origins, tracing back to the aftermath of World War I. At that time, Ljubljana was filled with orphans and children born outside marriage. A former noblewoman’s estate, originally a palace, became the site of a charitable initiative after a tragic incident involving a baker and a lost ring. Eventually, the building was transformed into a home for orphans, earning it the nickname “usrana šola” (wet school) due to the frequent washing and drying of laundry. Over time, the administrative district of Šentjakob decided to relocate the orphanage, freeing up space that would later become the theatre. Formally established in December 1920 in a tavern called Lozar, the theatre moved to its current location in 1921. Its first official performance took place on June 9, 1921, marking a revival of artistic expression in the city. The theatre’s rich history includes numerous triumphs and unexpected turns, all contributing to its status as a cultural landmark. The ongoing dialogue at the theatre underscored its role not only as a place of entertainment but also as a living archive of Slovenian cultural memory. Both the mayor’s public declaration and the theatre’s historical narrative reflect broader themes of identity, resilience, and cultural continuity. While one speaks of personal heritage and community, the other highlights collective memory and artistic tradition. Together, they illustrate the complex interplay of individual and societal narratives in shaping Slovenia’s modern landscape.
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