Forget-Me-Not

Rebeka Hren Dragolič is a Slovenian born in Nürnberg, Germany. She graduated with honours in classical flute and singing from the Academy of Music in Ljubljana and Zagreb, studied ethnology and cultural anthropology in Ljubljana and graduated in art therapy in Brisbane, Australia. During her studies, she won several first prizes at national and international music competitions.

For several years, she lived and worked with her family in the seaside town of Hobart, Tasmania. She is currently performing as a classical soloist or folk musician throughout Europe, Asia, America and Australia. In addition to other bands, Rebeka is also a member of two well-known music groups. The first is the Slovenian-German classical trio under the name of ‘’The Petticoat Girls’’. In 2018 the trio went on a tour under the name of Art Circle organized by the German Embassy. They successfully conquered the stages of Australia and Europe.

The second group is the Slovenian-Tasmanian folk trio ‘’Lastovke’’. The latter released their first solo album in 2022, entitled Homecoming. The album blends Aboriginal, Tasmanian and Slovenian traditional songs. The songs are for the purpose of greater recognition and understanding of all three cultures translated into both languages. Rebeka is also an author of multimedia project titled ‘’Ivanka’s forget me nots’’, which is a story of her grandmother’s life from the war times. It’s a ground breaking performance, opening troubling truth that is still not talked about very much in her home country.

Trained in classical violin and piano, Luke Plumb began teaching himself the mandolin and swiftly became one of Australia’s most sought after session musicians. He spent 12 years touring with the cult acid-croft hypno-folkadelic band, Shooglenifty.

During this time he also recorded and toured three albums with his own band the Funky String Band, spearheaded a Scottish Arts funded project examining the music collected by the Scottish National poet Robert Burns, released his innovative and critically acclaimed solo album A Splendid Notion, and travelled to southern Greece to record a suite of his own compositions, Ten Titles, for the pan European, Eumelia Ensemble.

Through his work with Shooglenifty, Andy Irvine and his many collaborations in Australia, Luke Plumb has established a reputation as a driving force in acoustic music on the global stage. He has performed with the Australian Ballet, toured nationally with the theatre show Cafe Rebetika, and is a regular collaborator with Van Diemen's Band. He is also in high demand as a teacher and producer, also producing tours in his "spare time" including 2024's lutruwitan/Tasmanian tour by Greek-Turkish duo NikoTeini.

Violinist Khalida De Ridder hails from a remote property in the far north of Australia born to Belgian and Dutch parents. Beginning to play at the age of four, soon after, began to perform at every major community event both as a soloist and folk musician, invited to collaborate and perform with high profile visiting folk artists. Khalida went on to receive numerous scholarships and prizes for further study, first in Sydney and eventually at the Royal Danish Academy of Music.

She has performed in The Netherlands, Denmark and Spain. Khalida has worked in professional orchestras such as the Arhus Symphony Orchestra (DK), the Tasmanian Symphony Orchestra, the Melbourne Chamber Orchestra. Khalida took the position of Concertmaster with the Frankston Symphony Orchestra (2020-2023) and has consistently performed in various chamber ensembles at major Australian venues including the Sydney Opera House and Melbourne Recital Centre. In 2019 she signed to Italy’s leading classical music label ‘Stradivarius Milano Dischi’.

Khalida graduated with a Doctorate degree in Creative Arts in 2020 at the University of Tasmania, mentored by Dr. Susan Collins and Guillaume Sutre via residency in Paris. Khalida is in demand as a guest tutor at many string camps in Australia, conducted masterclasses for various string teacher associations and tertiary level string meetups and presents her performance practice research at National and International Research conferences. She directs a chamber music festival in North Queensland and an outreach program focusing on regionally based students.

Based in Nipaluna/Hobart, Katie is known for her deeply personal performances as modern and baroque violist; and a flair for thoughtful, narrative-driven programs as a curator. She is the 2022 Freedman Fellow, a 2023-4 Musica Viva Australia FutureMaker, a 2024-5 ANAM/Ian Potter Emerging Performer Fellow, 2025-6 Van Diemen’s Band Curation Fellow, and was the founding artistic director of 3MBS’ festival ‘Music, She Wrote’. She plays with an array of chamber music groups, including the Gryphon Baryton Trio, synth/harpsichord & viola duo Bronzewing, and Wattleseed Ensemble, and with Australia’s top orchestras, from Van Diemen’s Band to the Australian Chamber Orchestra.

In her spare time, she is apprenticed in the fine arts of making Hainanese chicken rice and Dutch apple tart; and loves to watch turbo chooks chase each other down near the Newtown Rivulet.

Brett has been a full time cellist with both the Australian Opera and Ballet Orchestra and the Tasmanian Symphony Orchestra. He was a founding member of the Trigon ensemble in Hobart, a string trio which broadcast for the ABC radio and television. More recently, Brett is a founding member of the Kettering Piano Quartet which has a regular concert series around Tasmania. Brett also has a very keen interest in early music and has played Viola da Gamba in several ensembles, and currently performs with the ensembles Sequenza and Van Diemen’s Band.

Dave McNamara is a musician and educator from Hobart. Since graduating from the University of Melbourne with a BMusic/BTeaching double degree, he has performed as a soloist and in a wide range of ensembles and performance situations on piano, accordion, trumpet, percussion, guitar and vocals. Dave has performed at many of the major folk and arts festivals around the country, including Maldon, Cygnet, Illawarra, Newstead, and National Folk Festivals, as well as collaborating on projects for major Tasmanian festivals 10 Days on the Island and The Unconformity (formerly known as Queenstown Arts and Heritage Festival).

Dave has composed and arranged many songs and instrumental pieces for bands, school ensembles and radio commercials. As an educator, he has taught hundreds of students in both instrumental and classroom settings, as well as directing choirs, bands and orchestras. Dave is currently Head of Department (The Arts) at Mount Carmel College in Sandy Bay.

Ivanka's Forget-Me-Nots is a deeply personal story of Ivanka Hren, my grandmother, born in 1901 in Slovenia. In a series of secret, retrospective writings, Ivanka shares her extraordinary life story. Her narrative weaves together the experiences of being the blacksmith’s daughter, a farmer’s wife, a mother of six, a war widow and an extraordinary creative soul navigating the stormy periods of the Austro-Hungarian Empire, Kingdom of Yugoslavia, First and Second World Wars and Socialism that followed.

In her pages, Ivanka speaks of joy, love, music, customs, loss, and survival—universal themes that resonate across generations. These writings offer us a glimpse into the soul of Slovenia, capturing the essence of its identity. They are more than personal reflections; they are a testament to a shared national memory.

Through Ivanka’s eyes, we are reminded of where we come from, who we are, and learn about the songs that are echoing within us. Her story becomes not just a reflection of her own experiences but a source of inspiration—a courageous woman who endured immense joy and pain, yet survived and thrived. Ivanka’s words invite us to see her not only as a witness to history but as a teacher, a friend, and a guide for future generations. In a larger sense, her role as a guardian of Slovenia’s roots makes her story an indispensable part of the nation’s collective consciousness. As her granddaughters, we continue to carry her legacy into a world that has changed, yet still bears the imprint of the past.

Rebeka Hren Dragolič

Part of Ivanka’s story, especially the execution of her husband Janez Hren, is set against the backdrop of turbulent historical events—the Second World War and the internal ideological struggles that defined Slovenia’s fate. During this time, the partisan movement, led by the Communist Party, sought not only to resist foreign occupation but also to reshape the political landscape of the country. The brutal executions of civilians by partisans between 1941 and 1945, often targeting those deemed "class enemies," remain one of the most controversial aspects of the National Liberation Struggle. What began as a fight against the occupiers soon merged with ideological purges, leading to the persecution of intellectuals, clergy, former political figures, and ordinary citizens who were considered obstacles to the rise of socialism. While these events were once silenced or justified as a necessary part of wartime struggle, modern historians now recognize them as war crimes—an indelible stain on the country’s history.

The Slovenian split between 1941 and 1945 refers to the internal division of the Slovenian population during World War II. It occurred due to the simultaneous occupation of Slovenian territory by Germany, Italy and Hungary, and due to the different reactions of Slovenians to it. The most important organized resistance was the Liberation Front (OF), led by the Communist Party of Slovenia. Part of the population was against communism and the revolutionary goals of the OF. Initially, some of them collaborated with the occupier (e.g. village guards, later the Home Guard). Their main motive was to fight the communist revolution, although they formally presented themselves as fighters against the partisans. In addition to the fight against the occupiers, an internal conflict developed, the so-called fratricidal war between Slovenes – partisans and anti-communist forces. This caused a tragic split: Slovenians found themselves on different sides, leading to violence, repression and reprisals.

Brief historical overview

1867 – Creation of the Kingdom of Austria-Hungary

In 1867, the Austrian Empire transformed into the dual monarchy of Austria-Hungary, where Slovenia was incorporated into the Austrian half. The Slovene people, who had long been dominated by external powers, were now officially part of the empire’s southern region. This shift led to increased political awareness and demands for greater self-rule.

World War I – The Collapse of the Austro-Hungarian Empire

World War I (1914-1918) brought about the collapse of the Austro-Hungarian Empire, which had ruled over Slovenia for centuries. The war led to significant political and social upheaval. With the defeat of Austria-Hungary, Slovenia, along with other South Slavic nations, pushed for independence. The idea of a united South Slavic state, called the Kingdom of Serbs, Croats, and Slovenes (later Yugoslavia), was realized in 1918, marking the end of Slovenian existence within the Austro-Hungarian Empire.

1918 – Creation of the Kingdom of Yugoslavia

Following the dissolution of the Austro-Hungarian Empire, Slovenia became part of the newly formed Kingdom of Serbs, Croats, and Slovenes, which was later renamed the Kingdom of Yugoslavia. The new state was a monarchy, with the Serbian royal family at the head. Slovenes, alongside Croats and Serbs, were granted some degree of self-rule, but tensions remained between the different ethnic groups, especially regarding the role of the Serbs.

1930s – Rise of Authoritarianism

In the 1930s, Yugoslavia moved toward greater centralization of power, with King Alexander I establishing a royal dictatorship in 1929. The democratic system was abolished, and opposition parties were suppressed. Slovenes were increasingly marginalized in the central government, which led to growing dissatisfaction, particularly among the Slovene intellectual elite.

World War II – Slovenia in the Axis and Partisan Resistance

World War II had a profound impact on Slovenia. In 1941, after the Axis powers invaded Yugoslavia, Slovenia was divided between Nazi Germany, Fascist Italy, and Hungary. The Slovene population was subjected to occupation, forced labour, deportations, and mass killings. Many Slovenes resisted occupation through the Partisan movement, which was led by the Communist Party of Slovenia and fought for the liberation of the country. The war in Slovenia also saw brutal internal conflicts, with the rise of pro-communist partisans and anti-communist collaborators, resulting in widespread violence on both sides. The post-war period saw the victory of the communist partisans, and Slovenia became part of the Socialist Federal Republic of Yugoslavia. After the end of World War II in 1945, Slovenia became one of the six republics of the newly-formed Socialist Federal Republic of Yugoslavia, under the leadership of Josip Broz Tito. The communist regime established a one-party state, and many of the pre-war political elites were either imprisoned, executed, or exiled. Slovenia, along with other parts of Yugoslavia, experienced significant changes in its political, economic, and cultural life, as the country adopted socialism as its governing ideology.

After World War I, the Austro-Hungarian Empire broke apart, and new borders were drawn. Many ethnic Slovenes who had lived for centuries in areas like Carinthia, Styria, and the Littoral suddenly found themselves living outside the new state of Slovenia (then part of the Kingdom of Serbs, Croats, and Slovenes).

Because of this, Slovene communities remained in what are today Austria, Italy, and Hungary, where they became national minorities abroad, even though their families had always lived there.

Zila is a traditional song from the Slovene minority in Italy. The song expresses love and longing for one’s homeland in the beautiful Zila Valley, where the clear Zila River flows. It reflects deep emotional ties to nature and the place of one’s roots.

Where the clear Zila flows,

it pours beautifully through the valleys,

where my cradle rocked,

I will never forget this place.

My Slovenian mother gave birth to me,

nursed me at her breast,

sang Slovenian songs,

rocked me as a child.

N’mau čez izaro is another traditional song from the Slovene minority abroad. It’s one of those quiet, heartfelt Carinthian folk songs that capture the sadness and beauty of life far from home. The song tells of a person who looks across the lake toward the homeland or the beloved left on the other side. It expresses longing, love, and nostalgia — feelings of being separated from home or loved ones by distance or borders.

We crossed the lake,

we crossed the meadow,

where my dear home with my cradle is.

Where my mother rocked me

and sang: Hajli, hajlo!

When I was still small,

I was very happy,

I sang many songs,

now it's all gone,

I won't sing anymore,

now my beloved, dear home is no more.

My father's house, my dear mother,

oh, if only I could see them both again,

oh, if only I could see her, my mother,

then I would sing again: Hajli, hajlo!

The song reflects gentle nostalgia for the past — the singer wonders where the little paths once were, the ones they used to walk with a loved one. It’s about remembering love, youth, and places that time has changed or taken away.

Where are those paths that used to be?

Now there are bushes and green grass growing.

I will cut down the bushes, mow the grass,

I will make the paths that used to be.

There are paths everywhere, the most beautiful one

is the one that leads me to the house where my mother is.

In this traditional song from the Alpine region of Slovenia, the girl goes to fetch water and catches a small fish in the stream, but it slips away — sometimes with the help or teasing of a young man nearby. The scene is symbolic: the fish represents innocence, love, or a fleeting moment of youth that cannot be held on to. Even though it sounds like a simple folk story, it’s really a poetic image of young love and the passing beauty of youth.

The girl went to fetch water

in the high mountains.

She drew water,

and caught a fish.

The fish begged her,

oh, let me live.

The girl was merciful,

she let the fish go.

The fish swam away,

splashed the girl.

The song describes red clouds at sunset as a symbol of emotion, often tied to longing, love, or impending change. In Slovenian tradition, red clouds were often also a symbol of war and loss. It conveys deep feelings of passion, melancholy, and reflection on life, nature, and human emotions.

The clouds are red,

what do they mean?

That all the young men

will go to war.

Who will rake the leaves,

who will weed the ferns,

who will love my girl,

when I go to war?

I will rake the leaves myself,

I will weed the ferns myself,

I will love my girl myself,

when I come back.

The traditional song describes a joyful gathering where everyone from the village or community comes together. It celebrates social bonds, shared traditions, and the warmth of togetherness, often tied to festivals, dances, or communal work.

Everyone came, but he wasn't there,

if only he knew how hard it was for me.

The stars came out, the moon was shining,

and I waited alone at home.

Others had handsome boys,

but I shed bitter tears.

Others held hands with boys,

but I shed bitter tears.

The boy will come and hold my hand.

My aching heart will soon be healed!

The song "Oj Božime" is a poignant Slovenian wedding folk song from the Benečija region, which is part of the larger Slovene-speaking area in Italy. The lyrics convey the pain of leaving one's home, family, and loved ones. The repetition of "Oj Božime" (Oh, Goodbye!) emphasizes the heartfelt plea and the emotional weight of the departure.

Goodbye, little valley.
how hard it is to leave you, how hard it is to leave you behind.

Goodbye, my father and mother.
how hard it is to leave you, how hard it is to leave you behind.

Goodbye, sisters and brothers.
how hard it is to leave you, how hard it is to leave you behind.

The song "Dekle, daj mi rož rdečih" is a classic Slovene folk song that expresses themes of youthful love and longing. The title translates to "Girl, give me red roses," and it is often associated with the Benečija region, a Slovene-speaking area in Italy. The lyrics convey a young man's plea to a girl to give him red roses, symbolizing love and affection. The repetition of "rožmarin" (rosemary) in the song adds depth to its meaning. In many cultures, rosemary is associated with remembrance and fidelity. In the context of this song, it may symbolize the desire for enduring love and the hope that the affection expressed will be remembered.

Girl, give me red roses,

girl, give me rosemary,

so I can dream of spring,

so my youth will still be mine!

You have no red roses for me,

nor any rosemary;

my heart is sad,

I am a sad boy.

What does a red rose mean,

what does rosemary mean?

A red rose is love,

rosemary is for remembrance.

The song describes lush, green mountains, blooming meadows, and the abundance of nature. It conveys joy, renewal, and admiration for the natural world, often tied to the rhythms of the seasons. It’s a song that evokes spring or early summer, when nature comes back to life after winter, reflecting human delight in growth, fertility, and life cycles. It can be seen as more than just a description of scenery — it’s a celebration of life, renewal, and the harmony between humans and nature, deeply rooted in Slavic worldview and tradition.

Oh, the whole mountain is green, it is green, oh, it is green.

Oh, inside it grows grass and clover, oh, inside it grows.

Oh, in spring a girl was reaping it, oh, she was reaping it.

Oh, with a golden sickle, with white hands, oh with a golden sickle.

Oh, the whole mountain is green, it is green, oh, it is green.