At the end of the 19th century, on New Year's Eve in Belgrade, a symbolic funeral of the old year was often organized, where the funeral procession, masked and carrying a white coffin, would enter the hall a few minutes before midnight and thus mark the end of the year. This would be followed by a ceremony to "birth" the New Year, represented by a girl decorated with flowers and a happy chimney sweep, which brought hope and joy. The highlight of the evening would be a comical pig hunt released among the guests, with the belief that whoever caught it would be lucky for the whole coming year
Photo exhibition Christmas celebration and New Year in Old Belgrade from the collection of the City Museum Belgrade, and as part of the "New Year's Magic on Taš" festival, reveals some previously unknown footage and details about how the capital's residents once celebrated these two holidays.
The oldest information about New Year's Eve in Belgrade comes from 1850. They were recorded by the newspaper "Videlo", describing how the majority of Belgraders welcomed the New Year in the warmth of their homes, while the music of the orchestra echoed through the streets of the city, and many fellow citizens spent the night in pubs enjoying drinking, eating, music and playing cards.
At the turn of the 19th and 20th centuries, with the arrival of new European customs, Belgrade began to organize increasingly sophisticated parties in taverns. In the "Kod pozorišta" tavern, Šumadija actor Mijailo Bakić, together with the Serbian "concert singer M. Petkovićeva and musical accompaniment", organized unforgettable performances.
On the threshold of the 20th century, in the newspaper "Mali žurnal", the local tavern owner Tomčić sends an invitation to everyone to "please visit him" on December 31 at the tavern "Crna macca" in Vračar, promising dancing and good fun.
At that time, avant-garde, and some would say bizarre, customs were recorded. A few minutes before midnight, all the lights would be turned off, and the dance master would announce in a sad voice: "Ladies and gentlemen, I have a sad news to tell you: the old year has died and now we will bury it! Please everyone retreat to their seats!” Then a symbolic funeral of the old year was organized, where the funeral procession, masked and carrying a white coffin, would enter the hall a few minutes before midnight and thus mark the end of the year. This would be followed by a ceremony to "birth" the New Year, represented by a girl decorated with flowers and a happy chimney sweep. The highlight of the evening would be a comical pig hunt released among the guests, with the belief that whoever caught it would be lucky for the whole coming year. This chase, accompanied by laughter, squeals, screams and New Year's greetings, transformed Belgrade's New Year's Eve into a spectacle full of joy and togetherness. The upper class had "napoleon donuts" as a New Year's prize - hot donuts are brought out at midnight, the light goes out and everyone takes one, and whoever bites into the gold coin - it's his.
Entering the 20th century, the development of the city led to the opening of the first luxury hotels, which, in addition to traditional ground-floor cafes, also had elegant banquet halls, where carefully designed lavish celebrations were organized for the New Year to satisfy the growing appetites of Belgrade society. Between the two world wars, while the majority of the population still celebrated the Serbian New Year according to the old calendar, a strong European influence began to be felt in the urban areas. Thus, New Year's Eve on December 31, according to the Gregorian calendar, became a place where tradition and modernization meet. The capital's restaurants, which were already known for their innovation, began to organize increasingly modern receptions, with music, dancing and entertainment that reflected the new European spirit. New Year's Eve in Belgrade was also celebrated in cinemas that combined film shows with live performances by dance orchestras and cabarets.
For the wealthier strata of society, this was the time of balls and masquerades that were held not only in private residences but also in increasingly popular ballrooms. These parties represented the pinnacle of social life in Belgrade, reflecting the opulence and glamor that spread across European capitals.
During the occupation of 1941–1944. everything was much more modest, the New Year was not celebrated at midnight because of the curfew, but during the day. A tragic episode related to the curfew and the death of the famous painter Petar Dobrović remains from that period.
He died on Savindan, January 27, 1942, rushing to return to his apartment before curfew - he died of a heart attack in the elevator of the building at Kralja Petra 36 where he lived. The Legat of Petar Dobrović is located in that building today.
More massive New Year's celebrations became common only after the Second World War. The people of Belgrade enjoyed themselves with a rich offer of food and drinks, often you could hear fun melodies from musical groups, and some restaurateurs hired acting troupes for additional entertainment. The New Year's lottery was also unavoidable, where, in addition to money and various small items, you could win a pig, a lamb or a New Year's turkey. With the decision to declare the New Year as a national holiday in 1955, a new era of public and mass celebrations in hotels and bars began.
Some new customs also began to be introduced. New Year's Eve in a home atmosphere was first enriched with a diverse musical repertoire from the radio. With the arrival of television in homes, the New Year's program of RTV Belgrade, composed of musical performances, sketches by famous comedians and various entertainment, became the central part of the evening for many families. New Year in Belgrade could no longer be imagined without a decorated Christmas tree, sprinklers, New Year's packages and greeting cards, Russian salad, roasted pig and "Million" champagne. In the 1960s, the arrival of the New Year began to be greeted with fireworks and the citizens of Belgrade taking to the streets.
Lovrić welcomes the new year at the Jockey Club. They are regulars in the competition for the best Charleston dance couple. Mrs. Lovrić cultivates her studio style, binds her breasts to be as small as possible, wears a short dress and long beads. In the mirrors placed on the ceiling at different angles, their playful bodies and smiles polished with the new calodont whitening agent are refracted. They compete in dance more for fun. Ballerinas from Narodni, who are accompanied by cavaliers, take the prizes - they come to the reception in elongated cars. At midnight, trays of hot napoleon donuts are brought out. Lovrići just stare at the one they are going to bite. They care about the prize.
Mrs. Sofia is a caring mother, faithful to her spouse, but also coquettish, she wears dresses with a bare back and over them a mink vest that she takes off; she makes sure that her waist remains as it was before pregnancy. (...) It annoys her that she never gets the Napoleon gold coin that is hidden in one of the New Year's hot doughnuts.
She is almost angry with herself for expecting to bite the gold coin. Someone else is always happier; once also the woman at their table: she screamed unbearably with happiness.
"What nonsense", she says to her husband, "I really expect it and it always spoils my welcome!"
(From "Guide to the Love History of Belgrade", Book Two, "Laguna")
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Anyone who condemns the regime's targeting of people from the media, the non-governmental sector, the opposition and universities, must not agree to this targeting of RTS editors and journalists either.
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