Oko! Magazine Edition 7

N°7

March/April 2020 1

Contents 4 Vietnam and Czechoslovakia Brother Nations 12

From Hanoi to Prague An Interview With Pham Huu Uyen

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From Graffiti to Hip-Hop

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Vilém Spilka On Jazz and Its Certain Future

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The State Opera Opens a New Chapter

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Čestmír Suška Artist of Alchemical Proportions

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Interview With Pavel Kopp

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Červený Jelen The Red Stag Rising From The Depths

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Brno in the Spotlight

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The Future of Travel

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Tomáš Tomeček Conquering the Desert One Race at a Time

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The Czech Franchising Market

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Comics

From the Editor Following Oko!’s first full year in circulation, we took some time to reflect on what went well in 2019 and what didn’t.

Through a considerable amount of trial and error along with large efforts to greater familiarise ourselves with our readers, the lessons we have learned throughout the past 12 months have helped us to fine tune our content, making 2020 an exciting year for the magazine!

In the upcoming year, you can expect higher quality and more in-depth articles complemented by beautiful images in a clean, minimalistic and sophisticated design. Through detailed interviews, we will be giving more focus to the cultural icons who over the years have shaped and influenced the country.

We’ll also be covering some of the most pressing global issues in the areas of climate change, sustainable development, healthcare, and security with particular attention being given to the implications of each on the Czech Republic and central European region. Also part of Oko!’s mission in 2020 is to keep our readers updated and well-informed on innovative ideas and solutions to help combat these critical problems and shape a more positive future for future generations.

Of course, our most popular regular features such as Artist in the Spotlight, photo reportage and technology trends will remain and promise to be better than ever. In this issue of Oko! we have some incredible articles including a brilliant piece on Tomáš Tomeček - who recently finished in third place at the Africa Eco Race, a fascinating insight into the future of travel, and much more!

The team at Oko! has also been working tremendously hard over the past few months to develop our presence online.

We’re excited to announce that we have a shiny new website brimming with freshly updated content, much of which is written exclusively for online. We’ve also dedicated the past several weeks to enhancing our social media platforms, so besides reading the printed and online versions of the magazine, you can also follow and support us on Facebook, Instagram, and LinkedIn! Until next time, Leigh Woods, Editor-in-Chief.

Photos for this article were provided by: 1) Paolo Bendandi 2) Cristian Lozan

Vietnam and Czechoslovakia Brother Nations Labour exports from Southeast Asia to Central Europe

By Ro Daniels

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To people unfamiliar with the special relationship that was forged between Czechoslovakia and Vietnam, the number of Vietnamese immigrants in the Czech Republic today might be somewhat surprising. Prague’s Sapa market is known locally as Little Hanoi, and people of Vietnamese origin, stereotypically running corner shops or bistros, seem to have settled in towns across the country: you can find a steaming bowl of authentic pho in even the smallest Silesian village.

In fact, the Vietnamese diaspora represents the third-largest immigrant community in the Czech Republic, after the Ukrainians and Slovaks. The exact size of the community is hard to measure, but in 2012 the documented number of people of Vietnamese origin living in the Czech Republic was almost 60,000.

Estimates of the number of Vietnamese people living and working without documentation range from 5,00015,000. Indeed, the Czech Vietnamese diaspora ranks among the largest in Europe, after those in France and Germany. How did this situation arise? What specific circumstances encouraged migration from Southeast Asia to Central Europe?

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The nations’ relationship was originally formed based on their shared socialist ideals. A migration flow was first created in the 1950s as part of Czechoslovakia’s conformity to Soviet internationalist ideology – it was thought that short-term migration between socialist countries would be mutually beneficial. Labour shortages could be addressed, and migrants would gain experience to help strengthen their domestic economy.

The first Vietnamese immigrants who took part in this labour-for-expertise exchange were either students or highly skilled workers, usually engineers or medical professionals. In the late 60s, when Czechoslovakia was experiencing a significant labour shortage, the programme was opened up to a small number of lowerskilled workers.

From the 1980s, trade between Vietnam and Czechoslovakia expanded to include large-scale one-way labour transfer from Asia to Czechoslovakia. The programme was expanded to address labour shortages in Czechoslovak factories, meaning that lower-skilled workers were now eligible. The Vietnamese government profited enormously from this arrangement – not only would

returning workers theoretically bring back skills and expertise that would enrich the struggling economy, but a portion of their wages was converted to dong and paid to the Vietnamese foreign office. With around 120,000 young workers earning Czechoslovak crowns at the end of the 80s, this constituted a significant cash flow.

Post-war Vietnam was incredibly unstable – at one point, interest rates reached a staggering 700%. In response to the economic situation, the government introduced the Đổi Mới reform programme in 1986. These drastic reforms, while superficially fulfilling their aim of making the Vietnamese economy more competitive, had widespread negative social and economic effects on the poorest social strata. They effectively converted the country from a socialist to a capitalist marketplace.

Socialist ideology was sacrificed for productivity; Gore Vidal described the post-reform society as “free enterprise for the poor and socialism for the rich.” The country became a capitalist economy in all but name, with huge wealth gaps opening between the richest and poorest parts of society. These inequalities remain today: it’s estimated that in modern-day Vietnam, a rich family’s income is 25 times greater than that of a poor family.

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With these factors in mind, it’s hardly surprising that at least 20,000 Vietnamese nationals opted to stay in Czechoslovakia after the Velvet Revolution. The Republic’s drastic econo-political upheaval meant that the existing agreement between the brother nations was severed, but migration policy remained liberal until the start of the mid-2000s. Many people living in rural Vietnam took advantage of this “golden age” in Czechoslovak migratory policy to apply for work permits, either joining family and friends already established in Central Europe or making the journey independently with the help of newly established labour agencies that profited from the transfer of workers from one country to another.

While the Czech government has since formalised the immigration process making it harder to obtain work and residency permits migration from Vietnam still remains relatively consistent. In addition to people’s personal motivations for moving to the Czech Republic higher wages, a better standard of living, more opportunities for young people the Vietnamese government continues to encourage people to move abroad. This might seem counterintuitive, but emigration represents an important boon to the Vietnamese economy. In 2006, in response to significant long-term net emigration, the government formalised its right to claim remittances from overseas workers. In essence, the Vietnamese government retains the right to claim taxes from citizens working abroad.

Because migration from Vietnam to Czechoslovakia and then the Czech Republic occurred in waves over several decades, the Vietnamese immigrant community has developed an identity distinct from both its home and host culture. This group of people especially when second- and third-generation immigrants are considered occupy a liminal zone between traditional Vietnamese and Czech cultures. Not only that, the community has begun to stratify itself, and a class system based on wealth and length of residency is emerging.

The Xứ Mộc is the most successful part of the Vietnamese community. These individuals – the Vietnamese term means “old mouldies” – came to Czechoslovakia in the first wave of immigration in the 60s, either as skilled workers or as students, and gained permanent residency or citizenship before the Velvet Revolution. Many chose to open small businesses rather than continue their original career path and are now established entrepreneurs. Almost indivisible from this group are the Doanh Nghiệp Mới, whose stay began a decade or two later. Largely economic migrants, these people were convinced to leave Vietnam after the adoption of the Đổi Mới reform programme. They typically own smaller businesses than the “old mouldies”, but also enjoy a considerable level of financial success. Members of both these strata usually speak fluent or functionally fluent Czech and many have sufficient income to have their children raised by Czech nannies leading to a strange situation where some children and grandchildren of Vietnamese immigrants do not speak Vietnamese.

Photos for this article where provided by Adam Trachtman

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The least autonomous and newest Vietnamese immigrants occupy the lowest strata of this proto-society. They are known as Thóc (grains of rice), and those compelled to work illegally in factories are called Gà (poultry), terms which call to mind the number of these people, their living conditions, and perhaps their perceived social value.

Now that the nations’ shared history extends over almost six decades, scholars are beginning to examine the nature of the Vietnamese-Czech community, paying particular attention to how much this group has integrated into mainstream Czech society.

The Vietnamese diaspora in the Czech Republic is noticeably different from the Czech majority, but it also differs from its Ukrainian and Slovak counterparts: members have significantly lower access to political institutions and health insurance than either Czechs or second-generation Ukrainians and Slovaks; its population is much more evenly dispersed across the country than Slavonic immigrant groups, which tend to be concentrated in big cities; and a disproportionately high number of people of Vietnamese origin are self-employed.

The key differentiating factor between the Vietnamese diaspora and other large immigrant communities in the Czech Republic is the extent to which Czech and Vietnamese cultures diverge. Four of the five largest immigrant communities in the Czech Republic are Slavonic; while integrating into Czech mainstream culture is a challenge for any individual, these challenges are significantly mitigated when one’s host country has a similar culture and related native language. It would be ridiculous to claim that a person from Bratislava moving to Prague would experience the same difficulties as someone from Hanoi. Even people from eastern Russia, while certain to encounter some hiccups, especially when it comes to culture shock, will have a significant head start with the Czech language, which has been identified as integral to successful integration.

Vietnamese cultural integration has also been impeded by the nature of the state-sponsored migration programmes in the 60s. These programmes were based on Soviet internationalist ideology, which required more affluent socialist states to support their less developed socialist brother nations. However, there was no impetus to extend economic trade to cover cultural exchanges: Vietnamese workers and students in the 60s were not encouraged to share their culture with the Czechs and Slovaks they knew. Indeed, it seems the opposite was true – Vietnamese workers were housed separately from Czechs and Slovaks until after the Velvet Revolution. Czechoslovak-Vietnamese marriages were not technically illegal, but the organisers of labour movements seemed to try to segregate the communities to the greatest extent possible, even limiting their interactions outside of work.

That’s not to say that the Vietnamese community is still ghettoised; indeed, studies suggest that people of Vietnamese origin are remarkably evenly spread across the country, which is likely to promote more significant integration in coming years. Young Vietnamese people are significantly more visible in mainstream Czech society than their parents and grandparents, and often identify themselves as spiritually Vietnamese but socially and psychologically Czech.

As this Czech-Vietnamese generation reaches adolescence, wider Czech society has become more accepting of people of Vietnamese origin. This corresponds to a much greater sense of familiarity with Vietnamese culture, as well as a greater ability to socialise with people who identify as ethnically Vietnamese. While certain members of Czech society remain hostile to “visibly foreign” individuals, the widespread xenophobia of the 90s is rapidly disappearing. Young Vietnamese people still report low-level discrimination and bemoan stereotypes about Vietnamese people, but the situation seems to be getting brighter for the Vietnamese diaspora.

As linguistic hurdles are overcome and the diaspora becomes more legally and socially established, the Vietnamese community becomes more accessible. Indeed, since the Czech government named the Vietnamese a legal minority in 2012, there has been a significant increase in cultural events that aim to close the gap between mainstream Czech and Vietnamese immigrant culture. People are more used to the presence of a Vietnamese diaspora, and trends suggest that Czech people’s acceptance of a heterogeneous society will continue to increase. It seems likely that Czech culture will continue to be enriched by immigrants from Vietnam and beyond in years to come.

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From Hanoi to Prague An interview with Pham Huu Uyen

By Jules Eisenchteter

The Vietnamese community, estimated to be around 70,000 strong, is an essential part of Czech society. Yet, the real story of this Southeast Asian diaspora at the heart of Europe remains a mystery to many.

Born in a small village in north Vietnam, Pham Huu Uyen came to Prague in the early 1980s on a government scholarship, as part of a bilateral agreement that enabled thousands of Vietnamese guest workers and students to gain experience and know-how in communist Czechoslovakia. Like many of his compatriots, he thought his stay would only be temporary. But his story took a different turn.

After an intensive year of Czech language courses, Pham Huu Uyen completed his studies at the Mathematics and Physical Faculty of Charles University. Amidst the turmoil of the early 1990s, he started an independent, pro-democratic magazine, Diễn Đàn (Forum), with some friends, an endeavour which landed him in the cross-hairs of Vietnamese authorities and forced him to apply for refugee status. A few years later, he received Czech citizenship and founded his own company, KITE System, which provides IT solutions and software in the aviation sector and thrives to this day.

The uncertain rise of the Vietnamese community The integration of Vietnamese into Czech society after the fall of communism wasn’t painless. “The early 1990s was a very difficult time for us,” he explained. “Although it had probably always existed, hidden beneath the surface, xenophobic sentiment and racist attacks against Vietnamese people suddenly became quite common and widespread.”

The storm eventually passed. “The situation has continuously improved since, and Vietnamese are now well integrated, even though some children still have some problems at school,” Pham Huu Uyen said. Acceptance grew as their numbers skyrocketed, nearly doubling in 20 years. In 2013, the Vietnamese community, now the third-largest in the country, became the first non-European minority to join the Council for National Minorities, an advisory body set up to assist the Czech government in all matters pertaining to a dozen officially recognised ethnicities established in the country.

Beating two other candidates, Pham Huu Uyen was appointed that year as the first official chief spokesman and representative of the country’s Vietnamese population. “I was a bit sceptical at first, but my friends eventually convinced me that I would be right for the position,” he said with a wry smile. Despite its limited powers, the Council for National Minorities has been instrumental in improving the situation of the Vietnamese community.

But Pham Huu Uyen won’t be their standard-bearer once his second term ends in 2023. “It’s time to let the younger generation run the show.”

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The dilemmas of a partially successful integration Mostly concentrated in Prague, Karlovy Vary, and northern Bohemia, Vietnamese are now an essential part of Czech society. Most Czechs will buy their groceries at the nearby Vietnamese-owned potraviny, while pho and other local delicacies have become a central part of the diet of many Praguers. More importantly, they’re here to stay. “Contrary to 30 years ago, most Vietnamese families will now tell you that they have no intention of going back, unless the situation in Vietnam dramatically improves.”

Tellingly, the Vietnamese community has been largely spared the resurgence of hate speech and the wave of xenophobic rhetoric that has swept the country in recent years. “Many politicians actually parade their acceptance of Vietnamese people to ‘prove’ they’re not racist,” Pham Huu Uyen explained. “We’re being used as a shield of respectability, and this can be dangerous in the long run,” he warned.

This observation hits the raw nerve of the issue: despite being largely accepted and well integrated, the Vietnamese community is still seen by many as a separate, self-contained, and somewhat closed entity within Czech society. This diagnosis is confirmed by ethnologist Stanislav Broucek who, in his 2017 study The Visible and Invisible Vietnamese in the Czech Republic, argues that many Czechs hold one of two equally simplistic and stereotypical views about Vietnamese people: the “hardworking and quiet immigrant” or the “criminal and drug dealer.”

After decades of mostly peaceful coexistence, a gap remains. As it so often does, it all boils down to language and communication, according to Pham Huu Uyen.

“Many Vietnamese people, including those who arrived after 1990, don’t speak Czech. It’s a shame, even more so considering the fact that, in my opinion, Vietnamese are by nature very open people.”

The younger generation takes the floor As tensions between Czechs and Vietnamese receded, another type of storm was brewing on the horizon: tensions between first-generation parents and their second-generation children – the latter Czech-born and bred. “That’s a very big problem within families,” Pham Huu Uyen confirmed. “The first and second generations of Vietnamese have very distinct sets of values and systems of belief. They don’t behave or think in the same way. Most Vietnamese parents want their children to study economics, which they see as the ultimate career path and holy grail to succeed in life. Although their children might beg to differ, they’re often too shy to confront their parents about it.”

How to reconcile their Vietnamese heritage and Czech upbringing, their parents’ expectations with their own aspirations? “That truly is the main question when it comes to second-generation Vietnamese. There isn’t any miracle recipe, and every family deals with it in a different way,” Pham Huu Uyen said.

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He’s no stranger to seeking that fine balance with his own two sons, aged 19 and 22. “I taught them Vietnamese, but as soon as they started going to school, they switched and answered me in Czech! But I’m not too worried. Every time we travel to Vietnam, I see that they can still speak the language.”

The future of the Vietnamese community in the Czech Republic lies in this second generation, born in the late 1980s or early 1990s and now coming of age, scrambling on a day-to-day and individual basis to strike the fine balance between the two cultures that make up their complex and unique identity. This voyage into uncharted territory is only just beginning.

Photos in this article were provided by: 1) Pham Huu Uyen 2) Bundesarchiv, Bild 183-1989-1215- 003 / CC-BY-SA 3.0

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From Graffiti to Hip-Hop How a country with a history of protest still uses the spoken and written word as a form of rebellion

By Jacklyn Janeksela Hip-hop culture started before the Velvet Revolution.

The changes of the 80s and 90s spawned fans of hip-hop and rap. Many hip-hop artists today started as graffiti artists in the 80s tagging the city in revolt, going against the grain and regime in search of liberation. American and Czech hip-hop have much more in common than meets the eye basic human rights, freedom of speech, and artistic expression.

The first true expression of hip-hop in the region was graffiti.

Breakdancing became famous when Petr Ježek performed before and after 1989 in front of two different presidents.

DJ-ing was on the rise, although its popularity grew slowly due to a lack of technology and funds. Graffiti, however, was much more accessible and easier to do. It was a way to unleash truth under the cover of night. Once upon a time Prague even ranked as one of the top cities for graffiti art.

Freestyle rap from across the sea found a home on the Czech scene as a version of tagging – self-expression sparked by a need to fight back against the powers that be.

Hip-hop communities popped up and the blending of graffiti, sound, and body movement was in full effect. While graffiti has since died down due to punishments for “vandals,” hip-hop musicians have maintained their role in the culture.

Photos in this article were provided by: 1) Gabriel Barletta 2) Hellwana Evans

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For those wanting to learn more about hip-hop culture, have a listen to two prominent women. An expert in the field, MaryC (Marie Čtveráčková), host of the RadioWave show Kruton, highlights local and international hip-hop performers. On Radio Spin, the show Cypher garners attention thanks to the famous Czech hip-hop-culture scholar Anna Oravocová. She’s even written a book, Hip-Hop in Europe, which discusses the tension between mainstream and underground expressions of hip-hop.

On the current scene, a powerful feminine influence is developing. Hellwana, winner of the Czeching Song Export Competition in 2017, has blown up on the scene.

While she started in product design, she has, “found [her] own way to rap via some of my friends’ influence.”

Being a female hip-hop artist doesn’t mean she boxes herself in. “I don’t just listen to rap, I love music in all genres.” And she stays true to herself, too, saying, “I’m the same girl I used to be.” One thing she’s sure of? “I want to refresh the scene with another woman’s opinion.

The Czech scene needs more girls. That’s why I also decided to make an EP in Czech. But it doesn’t mean that I won’t be making music in other languages, too. I like to break the walls and it’s always better when the pond is not filled with only one type of fish.”

When asked about the heavy hitters on the scene, she replied, “Indy&Wich, PSH, Yzomandias, Nik Tendo, Viktor Sheen, and Stein27 are the trendsetters. I like the punchlines of Maniak, the energy of Pain DOTS, and the voice and dance moves of Annet X.” Hellwana has noticed various influences on the Czech scene.

“French, American, and UK sounds, and that means rap is definitely evolving here.”

Her opinion about the future of hip-hop in the Czech Republic? “It’s definitely fresh and new for the Czech Republic. Everything takes a bit more time here.”

Jakub Hošták, another hip-hop artist on the scene, believes the following artists are top-ranked: Metrix Steel, Kraus MC, Pokoj25, Fosco Alma, Marpo, and Svarta.

Non-native Czech speakers might feel marginalized by Czech hip-hop. Considering most, if not all, hip-hop in the Czech Republic is in Czech, some foreign listeners might struggle to identify themselves in the lyrics. Unable

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to understand, non-native Czech hip-hop enthusiasts can only evaluate based on samples, beats, and song development rather than lyrical content. Nonetheless, experts in the field have assured listeners that most Czech hip-hop differs greatly in lyrical content from its foreign counterparts – predominantly white and middle class, the lyrics include minimal references to drugs and almost zero talk of guns, money, or girls. While some have the simple life, fun, and friends as common themes, others protest and rebel against fascism and neo-nazis.

Language barrier aside, Czech hip-hop is highly respected.

An 80s group called Manžele (Husbands) toured illegally, breaking down walls built by the regime. They drew attention to the original intention of hip-hop – a form of self-expression in oppressive circumstances.

Some groups who have been marginalized in Europe have carried the hip-hop banner. Roma rappers speak to the unjust nature of the environment in which they live, survive, and flourish. Still a minority on the scene, they are slowly gaining popularity. Gypsy.cz, Angel Mafia, and United Gypsy Crew have surfaced to prove themselves within the hip-hop game.

Contrary to other hip-hop scenes, Czechs are not in the business to get rich. With very little capital to be made in the Czech Republic, many claim they are in the game because it is their calling – the drive comes from the heart.

Passionate about the style and form, Czech hip-hop artists are moved by something that goes beyond the bling-bling and cha-ching.

Hip-hop captured the attention of film director Pavel Abrahám, who recently followed the rappers Hugo Toxx, Orion, and James Cole in his documentary The Česká RAPublika. Painting portraits of the rappers, Abrahám highlighted the correlation between the Velvet Revolution, graffiti, and protest as key factors in Czech hip-hop evolution. The roots of hip-hop might not be very old, but they run deep to the soul of the Czech people.

As the world of hip-hop grows, so does the number of followers. Hip-hop fans recognise the value embedded in beats and rhymes as today’s version of graffiti on the wall.

Much like the protestors of yesteryear, hip-hop artists will not be silenced – their voices rise up like fists and flames, reminders that the spoken and written word are a version of poetic justice. Hip-hop ignites people’s will to move both their minds and their bodies and, if nothing else, gives us the freedom to march to the beat of a different drum track.

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VilĂŠm Spilka

On jazz and its certain future

By Anna West

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Some believe jazz music is on its way out, but Vilém Spilka says jazz is not going to die. Spilka is a Czech jazz guitarist, educator, and founder and artistic director of JAZZFESTBRNO, an annual international jazz festival in Brno that hosts over 10,000 visitors each year. A graduate of the Janáček Academy of Music and Performing Arts (JAMU) in Brno, he has been the director of the university’s Department of Jazz Performance since 2011 and also teaches guitar. He currently holds the position of programme director at the crossover festival Strings of Autumn in Prague.

When he is not organising the programmes of these music festivals, Spilka writes and performs music with his current band, the Vilém Spilka Quartet. Their latest record, Waiting for Tom (Čekání na Toma), was released in November. We spoke about the inspiration behind his latest album, the influences of other genres on his jazz style, and the future of jazz music in the Czech Republic and abroad.

Photos for this article were provided by: Jakub Gulyás (1-2) Petr Neubert (3) Tomáš Brabec (4)

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Tell me about your latest record, “Waiting for Tom” Tom is the name of our saxophone player’s son. He is six years old and has autism. “Waiting for Tom” means that we are waiting for him to unfold, to speak, and to be a part of our world. If he wants to. The record is made up of original songs. The idea was to continue with the sound that we created in previous circuits, but at the same time bring something new.

Your previous album, released in 2016, with the Vilém Spilka Quartet, is titled Podvod (Fraud) and was nominated for the 2017 Czech Anděl Award. Would you say the album has an overwhelming musical motif or theme?

The album is a remake of popular songs by the famous Czech songwriter Jan Nedvěd. He is a former member of Spirituál kvintet (Spiritual Quintet), a famous folk group from Prague, and a founding member of Brontosauři, another popular folk group. He also has a successful solo career. I’ve been listening to his songs throughout my life, especially when I was young. I had them in me to a certain degree. Nedvěd’s songs have a particular quality in the writing, so I thought it would be a good vehicle for the arrangements in jazz style. The whole idea around that album was taking something which was never redone conceptually and doing it in the sound of our band.

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What was the inspiration behind the name of the album?

Podvod is the name of one of Nedvěd’s songs. There is a sort of joke in calling the album by that name. We say, as musicians, that if you do something not sincerely, it’s fake, it’s a kind of “podvod” or fraud. We named it that to make fun of ourselves in a way. The idea is to be a bit ironic.

In preparing for creating this album, did you listen to Nedvěd’s music to get his sound in your head?

I listened to him quite a bit to select the songs we wanted to play on our album and also to get the feeling of each song. I think it’s important to be respectful to the songs in their arrangement. Not to copy it, but to maintain the soul of the song in the arrangement. Each of the songs have a different colour or different mood, and that’s what we wanted.

Going back in time, when you graduated from the Janáček Academy of Music and Performing Arts (JAMU) in Brno, you undertook an internship at the University of North Texas in Denton. I am curious, did your time in Denton, which is known for its music scene, end up informing your style of jazz?

Yes, Texas definitely did have an influence on my music.

Perhaps today I am more open in my perspective on music, but at the time I was in Texas, 21 years ago, I thought that American jazz was the ideal. Now I’m more open to different types of music.

You mention that perhaps now you are more open to different types of music. What other genres have influenced your musical style?

I started with bluegrass, another genre of American music. That was my initial background. Also, Czech folk music was very important to me when I was growing up.

That was the real base for me. Also, I should mention classical music because I played violin between the ages of five and 14. That’s another influence, perhaps not too obvious, in my music. All these influences are reflected in my music to a certain point.

You are the artistic and programme director at JAZZFESTBRNO, an annual music festival in Brno that has over 10,000 visitors each year. What is the mission of the festival?

In short, our mission is to look for new music and new acts which carry a message in their music and can speak to people. We try to open ears by providing original music. The selection of the groups is always a mixture of different approaches; some groups I approach, some groups approach me, and part of the program is also selected from groups touring throughout Europe. The basic characteristics of the programme is to have variety so that we can accommodate the different tastes of our audience. Not only jazz listeners, but also crossover listeners who like to listen to indie rock, indie pop, symphonic music, world music, or folk music. We try to be as colourful as possible. The event is 15 nights each spring and has featured a lot of legends, from Herbie Hancock to John McLaughlin. But we also try to feature less well-known groups. Part of the mission is to feature groups from our region.

How was the event started?

The festival was founded in 2002 by myself and two of my classmates from the academy (JAMU). We thought that there was not enough high-quality music in Brno at the time. There was a festival called Jazztival which started under communism and continued until around 1995, but there was a gap when there were no concerts of quality jazz in Brno. We thought we should start an event to feature these musicians and artists. We were lucky because we got Diane Schuur, who at the time already had two Grammys, to headline the concert in the first year. It was well attended and then after the concert, word of mouth helped us. Then we just went on from there.

What is the jazz scene like today in the Czech Republic? Is there a young audience for jazz? How do you see the future of jazz?

Jazz used to be very important for society, like in the 1930s to 1950s, which is no longer the case. When jazz started, it was important for pop music, especially in the swing era. It was the pop music of its time. Jazz’s status now is closer to classical music than pop music.

It’s received the status of high-quality art music. In this respect, now its influence in society is less important, but it is important for many people who like to watch and listen to it. The level of jazz musicians is high – sometimes even too high, because maybe they become a little submerged in the technique. This could be hurting jazz music, but only in some of the cases.

As for the Czech Republic, the jazz scene is vital.

Especially the younger groups are very open to new sounds. There is a good jazz scene in Prague and also Brno because there are two music academies – one in each city – with jazz programs. Part of the scene revolves around the schools. In general, jazz is not going to die. It’s found its place and it will stay there.

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15/3—9/6 2020 .jazzfestbrno.cz JOSHUA REDMAN QUARTET • CHRIS POTTER TRIO FEAT. BILL FRISELL • AVISHAI COHEN TRIO • LIZZ WRIGHT & FILHARMONIE BRNO • PAT METHENY • JASON MORAN SOLO • ERIK TRUFFAZ QUARTET • TENSION: SKALPEL • JAROMÍR HONZÁK DJ SET • DELVON LAMARR ORGAN TRIO • NUBYA GARCIA • LIBOR ŠMOLDAS NYC TRIO FEAT. ADAM NUSSBAUM & JAY ANDERSON • KAREL RŮŽIČKA QUARTET FEAT. CLARENCE PENN, PIOTR WYLEŻOŁ & TOMÁŠ BAROŠ • NIKOL BÓKOVÁ TRIO • CAMILLE BERTAULT • SZABÓ/TURCEROVÁ/ MACEČEK • POINTS SEPTET • FRANTIŠEK UHLÍŘ 70 • SKETCHBOOK QUARTET • E CONVERSO • ERDOĞAN TURUMTAY LIŠKA DÉS • KJI JAMU hlavní partneři

oficiální partneři

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partneři

Festival se koná pod záštitou ministra kultury ČR Lubomíra Zaorálka, hejtmana Jihomoravského kraje Bohumila Šimka a primátorky statutárního města Brna Markéty Vaňkové.

Za finanční podpory Ministerstva kultury ČR, Státního fondu kultury ČR, Jihomoravského kraje a statutárního města Brna

generální mediální partner

hlavní mediální partneři

hlavní partner pro internet

mediální partneři

oficiální dopravce festivalu

Oficiální dopravce Avishai Cohen Trio, Lizz Wright a Pat Metheny

velkoplošný tisk

vstupenky zakoupíte v síti

člen asociace

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The State Opera Opens a New Chapter The landmark building is reopening after two-and-a-half years with a new look and new attitude

By Raymond Johnston

A new era is starting at the State Opera, one of Europe’s most opulent high-culture venues. A multiyear renovation has just been completed, and the management is reaching out to attract a wider audience to this Neo-rococo landmark.

Per Boye Hansen, artistic director of the National Theatre Opera and the State Opera, talks about the building in reverent terms.

“When you open the door of the State Opera, it’s like entering a different world or a beautiful church. It is a place where you will find a totally different atmosphere, beauty, tradition,” he said as the renovation entered its final stages.

The opera house was reopened on 5 January, exactly 132 years after it first saw an audience in 1888 when Wagner’s Die Meistersinger von Nürnberg (The Master-Singers of Nuremberg) was performed. It had been closed since July 2016.

People will see some of the fruits of the renovation, which carefully preserved the building’s history while adding modern touches. Much of the modernisation was behind the scenes, as the theatre technology was outdated and long neglected. The building was last renovated in the 1970s.

There is also a new stage curtain that was created over the course of two years in the National Theatre workshops according to the design of the 1888 curtain, also by Veith. The original mysteriously disappeared in 1945. The new curtain will replace the one made for the 2002 production of Mozart’s The Magic Flute.

New seats with reading devices to show subtitles have been installed in the auditorium.

This will make it easier to follow the story, and eliminate the intrusive lit sign above the stage, which made people crane their necks to read along. In addition to this technological update, there is a rebuilt rotating stage. On the second underground floor, a modern rehearsal room has been created, and other hidden spaces renovated.

Hansen also wants to reinvigorate the opera program and show people it is a vibrant art form, not just dusty museum pieces sitting on a shelf.

The ceiling paintings by Eduard Veith in the auditorium had been obscured by decades of smoke and grime, and seemed to be painted in shades of grey. These have been cleaned to make them bright and colourful again.

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He has already overseen a flash mob, with members of the State Opera ensemble dressed as a police officer, janitor, and various travellers breaking into classic arias at Prague’s main train station, on the same street as the opera house. Leading up to the reopening, there was video mapping on the facade from 31 December to 5 January.

“The dramaturgy of the State Opera must be rooted in its history. Since its foundation in 1888, it has played an important role in European operatic life, not only absorbing but also creating the most important artistic impulses of that time, always in dialogue with other European opera houses, hosting many of the world’s leading artists of that time,” Hansen said.

“For me, Alexander Zemlinsky is a great inspiration. From 1911 to 1927 he was music director of the State Opera, then the New German Theatre. Zemlinsky was a very innovative experimenter and the State Opera under his leadership has reached a high international standard,” he added.

While Austrian-born Zemlinsky is not nearly as famous as his countryman Wolfgang Amadeus Mozart, who once conducted at the rival Estates Theatre in Prague, he is a very significant figure in modern music. He composed the popular fairytale opera Es war einmal (Once Upon a Time), as well as Eine florentinische Tragödie (A Florentine Tragedy) and Der Zwerg (The Dwarf), the latter two based on writings by Oscar Wilde. In Prague, Zemlinsky conducted the world premiere of Arnold Schoenberg’s Erwartung (Expectation) in 1924.

The State Opera began as the Neues deutsches Theater (New German Theatre) when Prague was still part of the Austro-Hungarian Empire, and was intended to primarily serve German-speaking opera fans, while the historical building of the National Theatre, which opened in 1881, catered to a Czech audience. The Estates Theatre concentrated on drama at that time.

The basic plans came from Viennese firm Fellner & Helmer with assistance from Karl Hasenauer, architect of Vienna’s Burgtheater, and Prague architect Alfons Wertmüller.

The first director was Angelo Neumann, who made an effort to bring in high-profile names to put the new venue on the world map. One name from the early days is Otto Klemperer, a composer who began conducting there in 1907 on the recommendation of Gustav Mahler. If the name rings a bell, he was the father of Werner Klemperer, the actor and singer remembered for playing Colonel Klink on the American television sitcom Hogan’s Heroes.

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Guest vocalists included Enrico Caruso, who sang in Rigoletto in 1904, and Nellie Melba, who sang in La Traviata in 1900.

Kurt Adler conducted there in 1929-32, before eventually making his way to the New York Metropolitan Opera, where he held the baton from 1943 to ’73.

The venue underwent a number of name changes throughout the 20th century. Between 1938 and 1945, there were only a few performances from visiting companies, and the venue was known as Deutsches Opernhaus (German Opera House). It also hosted political rallies for the occupying government.

From 1945 to 1948, it became known as Divadlo 5. května (5th of May Theatre) and hosted Czech operas for the first time. The name refers to the date of the

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Prague Uprising at the end of World War II. One name associated with this era is set designer Josef Svoboda, who would later help to develop black light theatre, launched at Expo 58 in Brussels. Some sets he made for the National Theatre are still in use, and he won numerous international awards.

Next, the venue was known as Smetanovo divadlo (Smetana Theatre) from 1948 to 1992, and its organisation was merged with the National Theatre for the first time. The surrounding area was greatly altered in the late 1960s and early 1970s, with the construction of the National Assembly, now the New Building of the National Museum, and the cross-town D1 motorway, which complicates pedestrian access. The Bolshoi Ballet visited during this time.

Renovations in this era reduced the number of seats but increased visibility. Marble floors and the decorative plaster were repaired. and then-modern lighting was installed.

Photos for this article were provided by: Jakub Gulyás (1-2) Petr Neubert (3) Tomáš Brabec (4)

The theatre became independent again in 1992, and changed its name to Státní opera Praha (State Opera Prague). A highlight from this period was a symphonic concert featuring George Michael in 2011.

At the same time, plans were announced to merge the State Opera and National Theatre once again, with the transition starting in 2012. The word Praha was dropped from the official name.

The renovation that began in 2016 was supposed to end in 2018, in time for the 130th anniversary, but legal issues over the selection of contractors caused a significant delay.

The next chapter after the renovation kicks off with a gala concert called The State Opera: Transformations in Time (1888–2018), directed by Alice Nellis and featuring music from the venue’s history. The first premieres will be the opera King Roger by Karol Szymanowski, the ballet Sleeping Beauty by Tchaikovsky, and Wagner’s opera The Master-Singers of Nuremberg, which links this new phase to the theatre’s origins.

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Čestmír Suška

Artist of alchemical proportions

By Jacklyn Janeksela Transformation is the goal of any alchemist. Alchemy takes an item of little to no worth and breathes new life into it. Through applied processes and a touch of magic, the alchemist revamps identities. Čestmír Suška is an alchemist. Over the past few decades, he’s gravitated towards objects that have been abandoned or forgotten – even those in the grip of deterioration.

Where others see trash, he sees treasure. “My approach is that something new emerges from what is old, an ugly object becomes an object of admiration.”

In a world where single-use objects and waste are on the rise, it makes sense that Suška’s work would gain further recognition. If more artists followed his ideology, not only could we reduce waste, we’d change the way we approached, looked at, and engaged with art. It is through the bravery of artists who use rubbish that we can see the extraordinary value in all life’s objects.

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Oxidized and corroded metal beer and gas tanks get a second chance at life, thanks to Suška’s vision – the opportunity to become a piece of art. Suška envisions something the ordinary eye might not ever see. This is the genius of his work. In these gigantic pieces, he imagines patterns – most stemming directly from nature, while others are extracted from textile and fashion designs. While he has excelled in the areas of metal and glasswork, he astounds when using natural objects in a more organic state. Tree trunks are one of his mediums of choice. Some of the titles are Rusty Flowers, Wood, and Universes. He does not shy away from large-scale sculptures. As a matter of fact, it appears as though he welcomes the challenge. The challenge goes far beyond the object itself – while large in stature, what’s captivating is his ability to create a new narrative for these objects. In this way, his mission becomes being a storyteller carving new timelines and chapters.

In his pieces, one feels the rebirth of something on the verge of dying, as if he’s imbued life into something where life was on its way out. Perhaps Suška is equal parts alchemist and healer. There’s a sense of Shiva the destroyer and Brahma the creator in his creative process. It’s refreshing to witness an artist care about the cycle of life in such a meaningful and intimate fashion.

Alchemists John Dee and Edward Kelley surely would have collaborated with Suška had he been alive during the reign of Rudolf II – alchemists are like birds of a feather, gathering on the branches of the same tree.

Inspiration happens without warning, on the fly, even. “I get the ideas when I’m on the move, like when walking or on a train. Preferably when implementation is very complicated.” When asked who his muses are, Suška is quick to respond, “My wife and nature all around.”

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Nature speaks to Suška. He is drawn to trees and feels a kindred relationship with them. “I respect trees and their stories and I leave trunks as they have grown over the course of time. I make geometric openings in them from which, for example, old cramp irons or nails protrude that people have hammered into them.”

Of course, he is not the first or last artist to consider the tree trunk. However, what sets Suška apart is how he brings in elements of sacred geometry. Might the golden ratio be hidden among the geometric shapes?

Consider the egg, which happens to be Suška’s favourite shape – full of sacred geometry, the cycle of life, birth, death, and rebirth, it’s the quintessential emblem of continuity. His pieces reiterate the same sensation. A reclamation of something, transmutation, and the sturdy hand of a man on a mission.

He says Johann Sebastian Bach is his favourite musician, autumn his month of inspiration, and the hen his spirit animal. His opinion of favourite pieces goes as follows, “I do not have any favourite pieces, and the least favourite ones are the unfinished ones.”

When a piece remains unfinished, it does not fulfil its duty. The cycle is not closed; a gap remains, longing for union with its starting point. Suška dangles in unrest, incompleteness – until the final cycle reaches back to the beginning, he will not be satisfied. He reminds us that finishing is a vital part of the artistic process – starting again and again, the cycle and the continuation, creating and recreating something new every time.

In the vein of a true alchemist, Suška says if he were not making art, he’d be a hermit. One can only imagine the cave where he would dwell. It would be covered in geometric patterns and textures from floor to ceiling – and in the corner, a wild-eyed Suška debating his own nature as an artist, gripping the blunt end of a sharp tool ready to sculpt yet another shape, another masterpiece that will last for decades to come.

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Interview with Pavel Kopp Do you think that poetry can only be conveyed by words?

Then you haven’t seen the beautiful work of Pavel Kopp.

By Elena Ludovisi Pavel’s vast portfolio is a beguiling example of contemporary street photography. Using his Leica M5 (a tiny, practical, almost silent camera, perfect for using on-thego) the elegant 80-year-old has been capturing candid moments on the streets of the Czech Republic and Italy throughout his extraordinary life. Many of his best captures are spontaneous and embedded within city landscapes, with monuments and churches serving as picturesque backgrounds. A romantic at heart, some of Pavel’s best work embodies tenderness, with subjects like couples hugging and sharing the intimacy of a kiss.

While his most noteworthy work is in black-and-white, as a true master of depicting live action, Pavel also has a magnificent eye for capturing scenes with stunning colour palettes. However, he believes that the dichotomous filter gives a better sense of romanticism to the whole scene.

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Pavel’s passion for photography began in 1967, when he was studying film and television technology at the Czech Technical University in Prague. Here he met Anna Fárová, a Czech art historian who specialised in the history of photography, and Josef Sudek, a photographer who commended Pavel on his developing portfolio and remarked that if he took 10,000 more images with his Leica, he would go on to become an elite photographer.

Both Anna and Josef served as a great source of inspiration for Pavel, and through memories they continue to do so to this day.

In 1983, Pavel staged his first large exhibition in the Czech Republic. It was entitled “Italy is more than a country, it’s a feeling,” and was held at the Small Writer Gallery in Prague. Years later, he had some of his photos from the exhibition published in the book A strange joy in living by Sandro Penna. Pavel’s deep spiritual connection with Italy remained and his return to the bel paese must have been written in the stars, because six years later, following the Velvet Revolution, the Ministry of Foreign Affairs offered him the chance to return in order to find new personnel at the Czech embassy in Italy.

It is clear both through his artwork and when conversing with Pavel that he has always had a soft spot for Italy.

This connection also has deep roots, as some of his ancestors travelled from Trento to Bohemia in the 16th century for gold mining.

Pavel’s second stint living in Italy lasted four years (1990-94), where he worked as a diplomat at the Czech embassy in Rome. His time there was filled with amusing and interesting anecdotes. He accompanied a long list of Czech politicians and personalities and was once poured a glass of whiskey by the first president of the Czech Republic, Václav Havel. According to Pavel, Havel lifted the glass and said, “Gentlemen, tell me the truth, were you ever served by the president before?” Furthermore, in 1994, Pavel accompanied the president and the poet František Halason on a state visit to the Vatican, where he met Pope John Paul II. On that occasion, he received a medal with the papal number.

Pavel relocated to Milan in 1972 for work, and quickly discovered that his enchanting new surroundings were perfect for developing his artistic career. It was during his time in this city that he became acquainted with a group of fellow photographers at the art gallery IL DIAFRAMMA. This network was to serve as the platform for his illustrious artistic career.

In 1975, Pavel’s talent and hard work started to be rewarded and he had the opportunity to hold his first exhibition, Italian Moments, at the Czechoslovak consulate in Milan. Over the following months, he held a few more art events and exhibitions and established partnerships with several people involved in Milan’s artistic scene, but returned to his homeland in 1976.

Here, he continued his passion for street photography in Prague’s cobbled streets. Pavel could not have imagined back then that the pinnacle of his artistic career would come following a decision he made during Christmas 1977 to send a collection of his best work to the actor, writer, and theatre director Miroslav Horníček.

On 10 January 1978, Pavel received Miroslav’s response. It was full of enthusiasm and gratitude, and he joked that he would like not to return the photos. From that day, a close friendship was forged between the two, which later resulted in a collaborative photo-book entitled Chvilky s Itálii (Moments of Italy), a 241-page collection of novellas written by Miroslav, inspired by the scenes depicted in Pavel’s photos. It was published in 1988 and almost 10,000 copies were printed and distributed.

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In 1992, the Italian version of Chvilky s Itálii was published, and soon after Miroslav travelled to Rome to introduce the book together with Pavel and the famous actress Giulietta Masina.

Since returning from Italy, Pavel can be found wandering the streets of Prague taking photos of people caught up in their daily life, as he’s been doing for the past 53 years. His work is still regularly displayed in various galleries and exhibition venues across the Czech Republic, including his most recent exhibitions at the Italian Culture Institute and Špilberk Castle in Brno.

For more info, visit www.pavelkopp.eu.

Photos for this article were provided by:Pavel Kopp

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Červený Jelen The red stag rising from the depths

By Claire Dognini

Throughout its history, the beautiful Baroque palace at Hybernská 5 in Prague 1 has been home to hotels, offices, banks, and general stores. The building is better known as Špork’s Palace, named after the Renaissance man and noble František Antonín Špork. After nine months of reconstruction in 2019, the building will now also host Červený Jelen, a hospoda run by Hospodska z Plzně.

Luboš Kastner, one of the founders, explains that one cannot talk about Červený Jelen without taking a trip into the past. Špork bought the palace in 1699 after his father passed away and he inherited a fortune. Besides being a patron of the arts and hosting numerous events such as concerts, plays, and operas, he was also a renowned hunter and founder the hunters’ guild, with a deep understanding of and love for nature. He despised the spirit of consumption in Prague at that time. Legend has it that Špork, after a night of drinking absinthe, had a dream about red stags invading Prague. “When we found out about this legend, we just knew that would be the right name for our new establishment,” says Kastner.

The discovery of its name was just the beginning of a journey through history. As the building was redesigned and reconstructed by Stanislav Fiala, its hidden mysteries started to unfold. Besides finding original features, such as wall paintings and wallpaper, dating back to Špork’s time, the team also uncovered elements of Cubism from around 1926, when architect Josef Gočár was in charge of reconstruction and adding a two-story underground safe. The original flooring was revealed, which has been preserved by a layer of resin. In the vault, you can even see the original huge vault door. The features that couldn’t be salvaged were replaced with ethically sourced, upcycled materials, including the furniture – very few of the furnishings are brand new. It’s the little details that make the restaurant special, and each floor has its own energy.

Kastner mentions that the design of the space ensures people don’t feel hidden and out of sight. No matter where customers are seated, they always have natural light and views of the open kitchen, bars, staircase, and tower of beer tanks.

The whole space has an aura of timelessness, despite its contemporary features. These complement the historical features, and the modernisation has been done with such respect and integrity for the building that it is a true homage to Špork and Gočár.

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Photos for this article were provided by: Renáta Muchová

The tower of power The 30m-tall tower of tanks was designed and built for practical reasons. As the restaurant’s three floors can hold anywhere between 700 and 1,000 customers, the team had to come up with a way to ensure the same quality of pilsner on each floor. The solution was to build a tower of tanks on top of each other. All the tanks have their own individual cleaning and delivery system to make sure the freshest beer travels the shortest distance possible. The beer’s journey from tank to glass can be measured in mere metres! What’s more, the cooling system keeps beer at a crisp 7°C, which Kastner says is the ideal drinking temperature.

To have so many tanks stacked on each other, with each empty tank weighing 180kg and able to hold 529 litres of beer, is unheard of and has not been seen anywhere else. It is no wonder that the tower has become a focal point in the restaurant.

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With beer must come food!

When quality beer is flowing, it is vital to have it accompanied by good, tasty food. At Červený Jelen, diners can see the big, open kitchens with state-of-the-art cooking equipment, full of technology to ensure that everything runs smoothly and on time. It also serves as a great focal point, as you can see what is going on in the kitchen, which is fascinating to watch. There are two menus on offer, the Bank menu and the Vault menu. Both have been created by master chef Marek Fichtner and his team, and the main goal is to produce good, honest, creative dishes.

The Bank menu is centred around the rotisserie and the grill, where steaks are cooked to perfection. The Vault menu showcases the innovative, diverse dishes

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prepared by Fichtner. The menu is meat- and fish-oriented, and is definitely rooted firmly in traditional Czech cuisine. Whether you choose the meatloaf with potatoes, vegetables roasted in duck fat, or a rib-eye steak with barbequed porchetta, or whether you go for a more Czech classical dish, you can taste the new mixed with the old. This harmonises with the concept behind Červený Jelen.

Challenges are inevitable when running such a large restaurant, but Kastner and his partners are ready to conquer them. What they have already created in such a short time is an amazing achievement of which they should feel very proud – and František Špork would surely say cheers to that..

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Brno in the Spotlight The jewel of the South

By Julie Orlow Simply put, Brno is a very curious city. As Moravia’s capital and largest city, Brno has always had a strong sense of identity. It has been heavily influenced by the Roma, Jewish, and German ethnic communities who have lived there at different points in history. Brno’s mixed population and its position between Prague and Vienna is reflected in its character, language, and sarcastic sense of humour. The name of the city refers to the location of the original settlement, which, according to legend, grew around seven adjacent wells, surrounded by dense forest. And, since “well” is “Brunnen” in German, the emerging town was named Brunn, Brünen, and then Brno.

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First in the South Brno’s true soul is hidden somewhere between the locals’ acceptance of the city’s complicated origins, self-irony for always coming in second place, and newly found self-assurance stemming from historical and recent successes.

No longer are Brno residents defensive about being countrymen, wine drinkers, cimbalom players – they own it.

The typical response has changed from the apologetic “Oh yeah, but we’re not Prague” to a grinning “Well, it’s good enough for Brno! (No, na Brno dobrý!)” The latter sarcastic comment inspired the name of a summer bar now famous for raspberry cold brew and refreshing cocktails.

Brno was a pioneer in many respects. The original city charter, granted in 1243, established the legal system and gave equal rights to all of Brno’s different ethnic communities. The letterpress arrived in Brno in 1486, long before it reached Prague. Brno was also the first to recognise coffee and bring it to the masses in the form of the first coffee house, opened by Turek Ahmed in 1702. Sorry, Prague coffee lovers.

Another interesting historical detail is that Brno is the home of industrial espionage. The future capital of the Czech textile industry, soon to be known as the Moravian Manchester, was still in its early days. A Freemason, Hugo František Salm, went to England in 1801, stole the designs for the most modern textile machines, and smuggled them across Europe disguised as a labourer before passing them to Brno’s wool workers. This early example of intellectual property theft kickstarted the whole industry; the Moravian metropolis became the most important textile centre in the Habsburg Empire.

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Bells and Dragons The citizens of Brno cherish their legends and are not afraid to bring them into the present. One of the most perpetuated tales is the one about the bell on the Cathedral of Saints Peter and Paul. It was 1645, and a Swedish general promised that he would take off if he didn’t manage to invade Brno before noon. The bell-ringer that day saw an opportunity and started ringing the bells an hour earlier – the general was upset and that was the last they saw of him. That’s why you will hear the clock in Brno’s main cathedral strike at 11:00, not noon.

Another celebrated tale is Brno’s dragon, who terrorized the locals far and wide, devouring everything and everyone to satisfy its hunger. People were petrified and didn’t know how to get rid of it. The council promised a great reward to the brave soul who would dare to kill it. At once, a butcher journeyman volunteered to kill the dragon.

To do so, he asked for an ox skin and a bag of quicklime. The people of Brno were sceptical, but they brought what he asked for. The butcher sewed the lime into the ox skin, loaded it onto a wagon, and left. When he arrived at the river where the dragon was lying, he quickly laid the ox skin on the ground and waited. After a while, the dragon crawled out of the water and devoured the skin, later washing it down with some water from the river. The lime began to boil,

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and the dragon swelled until it burst. The dragon was defeated and Brno celebrated.

The butcher got his reward and went on wandering the world.

As a reminder, the locals put a wooden copy of the defeated dragon in the courtyard of the City Hall, which is still there today.

Spoiler alert: it’s just a crocodile. Nevertheless, the legend is also kept alive by the locals, convincing tourists that smoking pipes around the city are signs of a new hibernating dragon in the depths of the earth.

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Form and Function

Big city life

Brno is unique and stands apart from other Bohemian and Moravian towns. Sure, it still offers the magic of venerable churches, but they tend to give the impression that you are visiting friends – Jakub, Tomáš, Pavel, and Petr. There are plenty of charming nooks and crannies, green spires with volutes, and the universally beloved red-tiled rooftops. But what is most impressive is the parade of modernism and functionalism, the latter being, at the time, an innovative architectural style. Vila Tugendhat and the Moravian Bank, cafés ERA and Zeman’s, the Czechoslovak Hussite Church, and the crematorium are all worth visiting. Clean lines; a predominance of white, grey and black; geometrical patterns; function over crudeness – small flashes of functionalism that look as if Scandinavian designers or Marie Kondo’s admirers could have added them. But don’t be fooled, most of these architectural structures arose in the 1920s and 1930s.

What is it like to live here? First, it doesn’t have the same isolated vibe as a metropolis. Brno sometimes feels very centre-concentrated, and the fact that the average time to get anywhere is a 15-minute walk is not the only factor. Thanks to shorter distances and great public transportation, there are objectively fewer cars, which slows down the tempo of life. Nobody ever hurries, your lateness is excused in advance. Brňáci (Brno locals) know a lot about the slow lifestyle – they invite friends for coffee when they want long, meaningful conversations; spend mornings at the Cabbage Market; and in the evening, they gather in local wine and beer bars.

So, while Brno doesn’t offer as many traditional sights as you would expect, it is a city of surprises, where instead of a standard-looking main tower clock, there is a giant black slug crawling out of the ground. Well, we have to admit, when locals refer to this work of architectural art, the emphasis is on its resemblance to a phallus. Don’t worry if you can’t tell the time by it – you’re not the only one. And while you might not find any Bohemian-style ornate patterns on the windows, the concentration of peculiar art installations, whimsical stickers, graffiti, and sculptures per square metre is so high here that it doesn’t feel like your typical Czech town, but more like a district in Vienna.

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Brno’s social life is unique. The inhabitants here meet, support each other, and cooperate more. There is little social distance – with so many intergenerational and interdisciplinary connections, it’s virtually impossible to go out without running into somebody you know.

Erasmus students and expats usually have a good chance of befriending a local, feeling supported and integrating more seamlessly – again contributing to the city’s overall level of happiness and tranquillity. Thanks to this, there is much less segregation, the community is more tight-knit, and people generally seem happier.

The diversity of the population goes some way to explaining the city council’s general openness to new art and social projects, such as starting to clean the city of visual smog, showing Czech cinema classics with English subtitles, or opening the South Moravia Integra-

Photos for this article were provided by: Julie Orlow

tion Centre, whose mission is to create a network of young professionals and potential investors. The varied, affordable, and above all high-quality gastronomy scene – including bars, hipster cafés, and unconventional cultural events – also owes its success to the historical influence of nearby Vienna and to Brno’s numerous students and young people. Go to minimalistic SKØG for a coffee, to Soul Bistro for some pie, to Café Atlas for some soup, or to L’Eau Vie for a wild mixture of French and Czech cuisine and the warmest welcome.

Brňáci tend to speak multiple languages: Czech; Brno’s dialect of Czech; and Hantec, a secret language created by combining Czech, German, and Yiddish. Although Hantec was historically only spoken by the lower strata of society, certain words are now accepted and understood everywhere in Brno. Everybody knows there is no tram in the city, but šalina.

To summarise, Brno has plenty to offer, and the familiar signs of globalisation are increasingly evident. Sure, at the Cabbage Market you will find no radicchio, but a lot of purple cabbage. But the people of Brno are no strangers to coriander and oat milk flat whites. Of course, the biggest reason to visit is to taste Moravian red wine, or maybe it’s the unique music, playful street art, and functionalist architecture. And don’t forget the unshakable sense of irony and self-awareness. So, do visit: you just might stay forever.

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The Future of Travel Hyperloops, Flygskam, Pepper Robots, and much more

By Dominik Ježek

It’s the turn of spring and the warmer days have all but melted away the last bits of winter, sending the ski equipment and puffy jackets into a peaceful slumber in the dark recesses of our closets. As the old saying goes (which I just might have made up) when one holiday is over, it is time to plan another one. This time probably a bit further away than the Giant Mountains or the Alps. Being that it is 2020, it’s time to explore and dream about the new adventures the coming decade has to offer and the ones we can take advantage of right now. Although we still have to wait before we sit in hydrogen-powered self-piloted planes, technology has always been around to make travelling faster, cosier, and less stressful.

Smartphones are the best example. Travelling around the world with them makes a ton of difference. I experienced it firsthand when I arrived for work in Beijing in 2014 with my beloved five-years-old-and-still-going-strong dumbphone Nokia C5-00. Surprisingly, almost no one in the Chinese capital spoke English, including taxi drivers whose vocabulary only contained the vital question “T2, T3?” That does not mean which Terminator sequel you prefer, but whether you’re going to airport terminal 2 or 3.

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移动翻译 and flygskam After hanging around with expats for a few weeks, I bought my first smartphone, a Sony Xperia Z3, and downloaded all the Chinese apps I could handle. I checked if I needed a breathing mask with Air Quality China, planned my travels with Ctrip, shared my real-time location with friends through WeChat, and called a taxi with a few taps on DiDi Dache.

Whenever I needed to translate Chinese signs, I aimed my phone camera at them and turned on Pleco OCR to see the English translation. Furthermore, many translator apps can now do direct speech-to-speech pretty well and turn your “hello” into “你好” in a wink.

Even though smartphones facilitate many things on the spot, first you need to transverse hundreds or thousands of kilometres. If you like flying, but feel the Swedish flygskam (flight shame because of aeroplanes’ high carbon emission), the global air industry has some good news for you.

Tiptoeing cat noise levels Just as modern football jerseys have shed buttons and collars and evolved into modern V-neck designs, aircraft are following suit. The airline KLM came up with an all-wing plane design, Flying-V, which has no torso because luggage, fuel, and passengers are occupying the widened wings. Apart from the cool aesthetics, the new design promises fuel savings of 20% compared to an Airbus A350 carrying the same number of passengers. While some experts warn that people toward the back of the aircraft might experience an unwanted rollercoaster ride when the plane turns, climate change isn’t going away by itself.

Meanwhile, NASA stepped in and announced its all-electric plane, Maxwell, a few months ago, with flight research centre project manager Brent Cobleigh stating that they want to fly the aeroplane later this year. The propeller plane with 14 electric motors should be able to reach a maximum operational altitude of 4.2 kilometres (about one-third the height at which commercial airlines operate) and aims to set government standards for safety, energy efficiency, and noise levels.

Speaking of noise levels, remember Concorde? No one likes to be grounded for long and we are happy that supersonic commercial flights are making a comeback.

NASA is currently constructing X-59 QueSST, the goal of which is to make supersonic flight possible without producing the ear-splitting “sonic boom.”

QueSST stands for Quiet Supersonic Technology, which uses shape and configuration changes to manipulate the shockwaves coming off an airplane travelling at supersonic speed in order to reduce noise. But do not assume the engineers involved in this project have found a way to reduce the noise to tiptoeing cat levels. The aircraft’s maiden flight is planned for next year.

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Planes in space When it comes to ingenuity, the UK Space Agency (NASA’s British counterpart) certainly does not want to be left behind. They are developing a synergetic air-breathing rocket engine (SABRE) that uses a combination of hydrogen and oxygen as fuel. Engineers have already successfully tested the engine in simulated Mach 3.3 conditions (3.3 times faster than the speed of sound, 4,075 km/h) which is more than 50% faster than Concorde’s cruising speed.

The major challenge facing the SABRE engine is the mess created by high-speed airflow. Tying yourself to a plane flying at supersonic speed sounds like something only Tom Cruise would survive. At such speed, the air will probably tear your flesh off, so no poking your head out of the windows while onboard SABRE planes.

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Though engines are much less susceptible to being torn apart by high-speed winds, you have to deal with the aerodynamic heating. That’s why most asteroids burn up in Earth’s atmosphere. At Mach 3.3, engineers had to tame temperatures of 420°C. Last October, they tested their HTX precooler technology at Mach 5 and managed to cool the hot air of over 1,000°C to ambient temperatures in one-twentieth of a second. That’s a totally new dimension of barbecue safety.

The engine should be able to power the plane up to the hypersonic speed of Mach 5.4 for commercial travel in Earth’s atmosphere. That’s just one hour from London to New York or four hours to Sydney. While you are imagining this incredible speed, we might add that when travelling at sufficient altitude, the plane can transition to full rocket mode, combining the fuel with a small supply of oxygen, reaching Mach 25 (30,870 km/h) and saying hello to space. Test flights will commence this summer, with commercial flights planned for the 2030s.

Real-life Czechoslovak Futurama Space travel is a topic in itself and national space agencies, including NASA in the US and Roscosmos in Russia, promise to bring tourists to space this year or the next. If they have a spare million dollars, that is. But very soon, you might also be enjoying supersonic speed without ever boarding an aircraft.

In 2012, Elon Musk mentioned his hyperloop, the concept of a passenger capsule travelling through an evacuated tube, and thanks to the open-source nature of the project, many joined in and sped up its development.

You don’t have to blink back tears, though. HTT signed a similar memorandum in Brno agreeing to run a feasibility study for deploying this project in the Czech Republic.

Travelling from the South Moravian city to Prague in just 20 minutes is a beautiful fantasy, but the hilly landscape, changes in temperature throughout the year, and the populated area through which the hyperloop should pass might prove to be too much of an obstacle. Nonetheless, I am not giving up on the dream of a real-life Futurama in our country, and Brno seems more than willing to give it a go.

This gave rise to competition as well. US companies Virgin Hyperloop One and Hyperloop Transportation Technologies (HTT) both publicly stated they want to construct a fully operational hyperloop system by 2021.

The latter even signed a memorandum of cooperation with the Slovak Ministry of Economy in 2016. However, the shining promise of hyperlooping Bratislava with Vienna and Budapest disappeared after two years due to the lack of a suitable location for the project.

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Back to the present

Choosing your reality

Testing all these fancy new modes of transport sounds lovely, but they probably won’t impact your travelling experience in the very near future. What might, on the other hand, is facial recognition. Several airports in China, the USA, the UK, and a number of other countries are currently testing this to speed up security checks.

The last thing on the list is virtual reality (VR). Although Google has ditched its Daydream View VR platform and open-sourced its Cardboard, many travel agencies and tourist resorts jumped at the immersive experience concept like hungry tigers. If you have ever tried Google Earth VR or even browsed through Google Street View to get a better picture of the place you were staying, you’ll know what we are talking about. Why would you look through photos when you can put on a headset and get a virtual tour?

Hotels are poised to catch up very soon, with Marriott in China being the frontrunner. The hotel giant partnered with Alibaba to roll out facial-recognition check-in kiosks at fifty of its locations. Just scan your Chinese ID, take a photo, and input your contact details on the self-help machine, which will dispense your room key cards. This should trim down the average check-in time from three minutes to 30 seconds.

Furthermore, anyone can try Alibaba’s futuristic FlyZoo hotel in Hangzhou. There, you can use your face for taking the elevator or unlocking your room door.

But that’s already old news. Mastercard rolled out its Identity Check Mobile, better known as “Selfie Pay,” in Europe in 2016 and in the rest of the world in 2017. Even Tinder introduced photo verification that compares your selfie to your profile picture this January. While you’re raising your security eyebrows and pondering about the Minority Tindereport world, we’ll go back to the futuristic robot-staffed FlyZoo hotel.

Every hotel room there has a smart assistant device. If you order food or drinks to your room, a robot comes to your door. You enter a verification code you received on your phone and the one-metre Alibaba robot opens its drawer where your order awaits. The same applies to ordering food in the hotel restaurant. At the bar, you are served by a large robotic arm that can make 20 different cocktails. There are very few human staff that take care of general operations such as housekeeping.

And it’s not just the hotel itself. You can check out the surrounding attractions too. Just imagine, you’re planning a trip to Paris, so pop a headset on and teleport yourself to the top of the Eiffel Tower. Or perhaps you’d like to take a dive with sea turtles along the coral reefs of the Hamilton Islands before committing to booking.

While we can acknowledge the mesmerising possibilities offered by modern technologies, it is important to be mindful of how deeply intertwined we can allow them to be with our everyday lives. Sometimes it is better to disconnect and go somewhere without a mobile signal, where the loudest sound around is the crackling of the fireplace. Our country’s forests and mountain ranges contain many cosy cottages which are only a few hours away by train. So hop on and switch your devices to flight mode. Hashtags can wait.

Photos for this article were provided by: Illustration - Vecteezy (1) Henri Werij (2) Nasa (3) Franck V. (4)

Airports are becoming a robot domain as well. Prague Airport has been testing autonomous cleaning robots for several months, and deployed everyone’s favourite humanoid robot, Pepper, at Terminal 2 in October 2018.

We bet some of you have already taken a selfie with this 130-cm-tall helper.

Pepper has become a robotic star thanks to his cute design, his ability to provide basic information about your trip, speaking both Czech and English, and adapting his communication according to your emotions. Not only can you find this little robot at airports all around the world, but also in hotels, such as Hotel Pyramida in Prague 6, or retail locations like the T-Mobile store in Chodov.

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Tomáš Tomeček

Conquering the desert one race at a time

By Ethan Paki

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“I feel more free when I am in the driver’s seat. I like the open space, places like the desert, away from the internet, away from the noise, and away from people. Just yourself and the vehicle. For me, this is freedom.”

Oko! Magazine caught up with Tomáš Tomeček at the recent PVA Racing Expo in Prague. Since 1995, Tomáš has competed at the highest level with Czech-owned and -operated Tatra. In the famous Dakar Rally, he has achieved one third-place finish (1999), two second-place finishes (1996 as navigator, 2003 as the pilot), and a firstplace finish (1995 as navigator). He’s also a three-time winner of the Africa Eco Race (2011, 2012, and 2014), in which competitors race from Europe to Africa, beginning in Monaco and finishing in the Senegalese capital of Dakar.

His career has spanned across more than two decades, during which he has competed in competitions across the world, including in Germany, Poland, Portugal, and Tunisia.

He has made eight appearances in the Africa Eco Race and 15 appearances in the Dakar Rally.

When asked about what motivated him to continue competing at the highest level for more than 25 years, he simply says, “Freedom. I feel more free when I am in the driver’s seat. I like open spaces, places like the desert.

Away from the internet, away from the noise, and away from people. Just you and the vehicle. For me, this is freedom.”

When asked about how he developed a passion for motorsports and racing in general, he points to Tatra and his father as his biggest influences.

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“It was my father that encouraged me to pursue motorsports. I used to try and balance my passion for racing with my studies at the University of Technology in Brno but my father told me I had to choose one or the other. This is when I decided to purchase a Jawa 500 motorbike and where things really started to take off. The decision led all the way up to 1992 when I competed in my first rally as a pilot in Belgium.”

Speaking about why he chose to represent Tatra, Tomáš says, “I’m very proud of the fact that I am Czech.

We might be a very small country, but we are a very proud one. I’m from Moravia and around 70km from my childhood home was the Tatra manufacturing plant, where I actually ended up working from 1993.” So in a way, it was destiny that Tomáš, would wind up working and competing for this company.

He made his debut for Tatra at the Dakar Rally in 1995, navigating for Czech rally legend Karel Loprais, a six-time Dakar winner in the truck category. From here, he would go on to compete in a plethora of competitions across the globe over the next decade, achieving success again with a first-place finish (as navigator) in the Rally Granada in 1995, and a second-place finish in 1996. Later he became part of the first Czech team in history to compete in the Transsylvania Trophy in Ukraine, picking up a fair play award alongside Petr Kopečný.

Tomáš returned to the Dakar Rally in 1999 as part of a Czech-Brazilian team, finishing fourth overall. This was the first time he had competed as the lead pilot in the Dakar Rally, racing in his famous Tatra 815 VE. Over the next ten years, he would go on to compete in a further ten Dakar Rallies, finishing as high as second in 2003. In 2005 and 2006, he won back-to-back titles at the Rallye du Maroc (Rally of Morocco), along with wins in the Rallye Maroko Shamrock (2009) and the Tunisian Rally in 2008.

In 2011, he made his debut in the Africa Eco Race, winning the competition on his first outing, and triumphing a further two times in 2012 and 2014. However, in the most recent edition (2018), Tomáš made headlines throughout the rally community by becoming the first driver outside the bike category in the history of this competition to race solo without a navigator.

Tomáš explained the decision, “Since 1995 at the Granada Rally, I always noticed that the bikers in the race had a very difficult job. They encountered a lot of mechanical problems and had very minimal assistance throughout the race. Since I saw this, I always had an idea to try and experience the feeling that they had when they raced.

“When you drive a car or a truck like me, you have a navigator, a full support staff, and support vehicles to assist you throughout the race. But the bikers, they travel at top speeds across the same distance as us yet they are alone for almost the entire duration of the competition. So since I saw this, it was always a dream of mine to complete a race completely alone.”

And when asked what the experience was like, Tomáš simply said, “Super, absolutely fantastic. I felt total freedom when I raced like this.”

Looking back at a 26-year career, Tomáš talked about some of the major changes and differences in the sport since his debut in 1995.

“Technology has made us lazy. The drivers today are sometimes not as prepared for good old-fashioned ‘hard work.’

Previously, drivers were limited in the assistance they could receive during the competition. Nowadays, as long as the marketing, exposure, and partnerships are in place, drivers can receive all the assistance and comfort they need.

“The truck I drive has a limited setup, three pedals and a wheel. I am old-school. I’m proud to keep old traditions alive in modern rally truck racing, a simpler time because I am a simple man. And I’m thankful to have people and organisations that support me and this mentality, even if sometimes it presents a challenge.”

In January 2020, Tomáš and the Tatra racing team returned to Monaco for their tenth consecutive Africa Eco Race. Amazingly, Tomáš managed to finish in third place without the assistance of a mechanic or any form of navigation in his car.

Tomáš is now a seasoned veteran on the rally circuit so our final question to him was about what the future held.

He responded by saying, “I am 49 years old now and have no plans to retire anytime soon. One day, I will have to look in the mirror and make that decision. But for now, I still have great passion and determination to continue.

There is a 75-year-old driver who still competes on the circuit, so I think I have a lot of time left.”

Photos for this article were provided by: Tomáš Tomeček

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The Czech Franchising Market Czech franchising: early beginnings The Czech Republic’s relationship with franchising is significantly shorter than other countries’ as a result of the nation’s unique history. The first franchise systems weren’t introduced in Czechoslovakia until as late as 1991. Even then, the system didn’t experience significant popularity for several years, since entrepreneurs were unfamiliar with the concept and distrusted the idea of franchising, and the country lacked the specialised infrastructure to provide businesses with a basic framework. Furthermore, the political and economic climate in Central Europe in the 1990s, as many countries transitioned to democratic, capitalist economies, prevented franchising from developing quickly.

Some of the factors that contributed to this slow growth include financing problems, inadequate legislation, and an undeveloped business culture.

On a global scale, franchising is a highly profitable system that continues to grow, attracting more and more entrepreneurs. There is an increasing number of franchise systems, recipients, and businesses all over the world.

Franchising in the Czech Republic Today the Czech Republic plays host to 250 franchise systems and networks that incorporate elements of franchising. Much of what we understand about Czech franchising is thanks to research carried out by the Czech Franchise Association (ČAF).

A total of 65 representatives from franchise-related businesses responded to a questionnaire set by the ČAF. Of these, the majority (around 70%) identified themselves as service-based businesses, while the remaining 30% categorised themselves as commercial businesses.

Service businesses include areas such as hospitality, real estate, education (including specialist language schools and music schools), professional car cleaning, fitness, and nutrition.

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The most common areas of interest for trade-focused franchises were cosmetics, fashion, agriculture products, and non-food retail.

Several service-based franchises responded to the survey. The majority of respondents (59%) were Czech-based businesses. The high response rate from Czech businesses substantiates the upward trend in the incidence of franchising in the Czech Republic. As entrepreneurs seek out opportunities to develop their business at the lowest possible cost, they are beginning to turn to franchising.

In terms of initial investment, the financial burden for new franchisors varies significantly between businesses. ČAF estimates that several thousand Czech crowns are needed to set up a franchise in the field of education, but that figure soars to several million for those looking to create a franchise in hospitality.

Entrepreneurs tend to be interested in setting up franchises with an initial investment of between 500,000CZK and 1.5 millionCZK. Respondents to the ČAF survey largely refrained from disclosing what percentage of the initial investment was provided by individuals based in the Czech Republic, compared to how much of the investment was sourced from abroad.

The ČAF survey provided an interesting insight into the return on entrepreneurs’ initial investment. Franchisors stated that they expected to see a return of 11% of their investment within one year. This figure rose to 32% within two years and 38% within four years. Only 19% of an initial investment will be returned yearly after the first four years.

According to ČAF research, entrepreneurs running franchises rarely open up their own businesses. Instead, they tend to focus on acquiring new franchise partners and opening more branches. It’s not uncommon for one individual to own multiple branches of a single franchise.

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Further ČAF conclusions: Of the businesses working in the service sector, most franchises were engaged in hospitality (especially fast food), real estate, nutrition advice, fitness, and education, including specialist schools. Numerous businesses were also related to the fields of fashion, cheese, farm foods, and cosmetics.

The businesses with the largest number of branches – both their own and franchises – include RE/MAX Czech Republic, BENU Pharmacies, and McDonald’s. The longest running franchise-based businesses operating in the Czech Republic are McDonald’s and Yves Rocher.

Over half of the franchise concept surveyed are from the Czech Republic, with the remaining 41% being considered foreign-owned businesses. Parallel European organisations reported the same trend – more domestic concepts emerge on the market than foreign ones.

The term of a franchise agreement lasts anywhere between one and twenty years. Respondents most commonly signed agreements lasting five years, but longer terms are common in the field of hospitality.

Initial investments usually range from 500,000CZK to 1 million CZK, and from 1 million CZK to 5 million CZK. Franchises operating in hospitality are an exception to this trend, as the average initial investment they normally require exceeds 5 million CZK. More than half the businesses made public the progressive fee they were required to pay, which is calculated based on a franchise’s annual turnover. On average, this fee ranges from 3% to 5% of the annual takings, although companies can ask for anywhere between 2% and 14% of their franchises’ turnover.

Businesses stated that the marketing fee is between 2% and 4% of their annual profits.

When discussing expansion beyond the Czech Republic, businesses identified Slovakia, Germany, Poland, Hungary, and Russia as potential targets.

Franchise representatives characterised their franchisees as enthusiastic, eager to motivate their team, communicative, and well-organised. They value their franchisees’ competency in business, as well as their readiness to invest their own capital into the franchise.

Most franchisors provide support for their franchisees, in the form of training, marketing support, operations and management consulting, as well as advice when it comes to selecting a site and sourcing equipment for the branch.

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The Czech Franchise Association The Czech Franchise Association (ČAF) is a non-profit professional organisation which works at the national level to bring together franchisors and those involved in franchising, such as lawyers and consultants. The ČAF was established in 1993. Among the members of the Czech Franchise Association are large, international businesses and smaller, domestic franchising businesses.

The Association’s mission The Czech Franchising Association aims to support the development of existing franchise systems and to promote the necessary conditions for this industry to grow. The ČAF has identified its main mission as follows.

To represent the franchise business and be its professional guarantor; to inform the general and professional public about the nature and importance of franchising, as well as to promote it; to bring together business entities that are actively, successfully, and permanently involved in franchising; to provide information and support to its members and persons interested in franchising, and help in obtaining important information, expertise, contacts, and franchise references; to strive for a comprehensible application of the legal regulation (legislation) in areas relevant to the ​​franchising business, including competition, taxes, and financing; to raise awareness and consistent adherence to the ethical standards set out in the European Code of Ethics for Franchising; to support the macroeconomic benefits of franchising in the development of small and medium-sized businesses, quality of services, and job opportunities; to help Czech business entities “export” domestic franchise systems abroad, and to promote the “import” of proven foreign systems and investments in the Czech Republic, based on franchising; and to maintain contacts and co-operate with institutions, professional and trade unions in the Czech Republic, and with other franchise unions, especially from EU countries, in order to create synergic effects and inform members of these institutions about activities.

Photos for this article were provided by: Vaishnav Chogale (1) Chenyang Gao (2) Bageterie Boulevard (3)

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Illustrations by Adriana BendĹžalovĂĄ Instagram @ da.banjo

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