Festivali folklorik kombëtar 2009:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Körperschaft: | |
| Format: | Tagungsbericht Buch |
| Sprache: | Albanian |
| Veröffentlicht: |
Tiranë
Ilar
2015
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | 209 Seiten Illustrationen, Porträts |
| ISBN: | 9789928178398 |
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Datensatz im Suchindex
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PERMBAJTJA
Hyrje
Nga madheshtia te pergjegjesia.f- 7
Thesare Kulturore e Artistike ne nje tribune mbarekombetare.f. 24
Summary : The magic of spiritual creationin scene of folk festival.f. 26
Kreu I
Urdhri i ministrit te TKRS-se per organizimin e FFK Gjirokaster 2009 dhe mediatizimi. f. 31
Program baze (Matrica) "Per koordinimin dhe zbatimin e punes”.f. 33
Kriteret shkencore mbi te cilat do te realizohet festivali.f- 39
Statuti i Festivalit Folklorik Kombetar, 2009 .f-41
Kreu II
Organizimi i festivalit ne faza. Faza e pare (janar - prill 2009).
Dergimi i shkreses per zbatimin e fazave dhe zberthimi i detyrave per institucionet.f. 43
Vendim nr. 1 date 04.11.2008 i Komitetit Organizativ.
Ftesat per grupet jashte Republikes se Shqiperise.f- 47
Disa konkluzione te raportuara ne Komitetit Organizativ per fazen e pare.f. 49
Kreu III
Detyrat e fazes se dyte (prill - qershor 2009) - Grupet perzgjedhese
Puna per formatimin e ansambleve garuese.f. 51
Konkluzione te fazes se dyte dhe detyrat per e fazen e trete.f. 57
Kreu IV
Faza e trete (korrik -10 shtator) - Shqyrtimi I problematikave te kesaj faze ne K.O.f. 59
Vendimi nr 9 date, 19. 08. 2009.f. 61
Marketings Konceptimi dhe realizimi i tij. Masat per akomodimin.f. 62
Konkluzione per fazen e trete.f. 65
Nga puna ne tryezen shkencore dhe problemet.f. 66
Kreu V
Mireseardhja, gelja e festivalit.f. 67
Fjala pershedetese e Kryetarit te Bashkise Gjirokaster dhe Prefektit.f. 68
Panaire, ekspozita, art dhe trashegimi ne Gjirokastren mikpritese.f. 69
Fjala pershendetese e ministrit Ferdinand Xhaferraj.f. 70
KONKURIMI. Programet, listat e pjesemarresve dhe tekstet letrare:
- Qarku Tirane.f. 71
- Qarku Korge.f. 75
- Kosova 1 dhe Kosova 2.f. 80
- Kosova 3.f. 87
- Qarku Elbasan.f. 91
- Qarku Vlore.f. 95
- SHKAte shqiptareve ne Maqedoni 1 dhe 2.f. 102
- Qarku Shkoder.f. 108
- Qarku Kukes.f. 114
- SHKAte shqiptareve ne Mai te Zi.f. 117
FESTIVALI FOLKLORIK KOMBETAR - 2009
- Qarku Berat.f. 120
- Qarku Lezhe.f. 124
-Qarku Dürres.f. 130
- Qarku Fier.f. 134
- Qarku Diber.f. 137
- Qarku Gjirokaster.f. 142
- Grupe te Ftuara: Arbereshet, “Vellazerimi”, “lliret” dhe “Teuta” nga Zvicra, SHBA.f. 147
Homazh muzikologut Xhihan Xhihani.f. 150
Kreu VI
Vleresimet e jurise.f. 151
Jehona ne media.f. 153
Fotogaleri: Ne skene dhe jashte saj .f. 159
Aspekte ne skene te asambleve garuese.f. 161
Grupet pershendetes.f. 196
Ndarja e cmimeve.f. 198
Tryeza shkencore.f. 200
Studjues, Specialist, Veprimtare.f. 202
Nga ekspozita e artizanatit.f. 204
Organe drejtuese e pergjegjese te festivalit.f. 205
Falenderim.f. 209
ES AT RUKA
THE MAGIC OF SPIRITUAL CREATION
IN SCENE OF FOLK FESTIVAL.
Albania is defined as a small place with
a huge wealth in diversity of cultural inheri-
tance, expressed in charming songs, dances,
melodies and traditional instruments, popular
costumes, rituals and poetries, rhapsodies and
ballads. Unity and diversity are represented
with contrasts, sometimes elegant and some-
times eruptive, in dynamism and lyricism with
rich and merry rhythms, expressing pure tal-
ent and creative spirit deriving from antiquity
until nowadays. Once a Swedish scholar im-
pressed by an ethnic music concert of Nation-
al Ensemble of Albania asked: “How million
people live in Albania and what’s its spread?” I
know that the best of world folklore is found in
the Balkans10.
So the Albanian land is not merely a
continuity of the cultural landscape in its geo-
graphical setting in southeastern Europe.
The Balkans civilization can’t be explained
without knowing Albanian culture and the in-
heritance of its popular artists, a gap that his-
tory could never fulfill.11 The abundance and
variety, the originality and beauty and above
all the way of expression poured in artistic
creativity is known and valued in ethno folk-
loristic European and worldwide studies. It is
enough to recall that Albanian iso-polyphony
has been proclaimed by UNESCO a “Master-
piece of the Oral and Intangible Heritage of
Humanity”, as we are waiting next for such
recognition from UNESCO toward “Albanian
Songs of the Frontier Warriors” or the Xhuble-
ta - a 3 thousand years typical costume of
north highlanders. All these bold values of the
old European nation - Albania - are still ac-
tive in our everyday life and definitely remain
the glitter of artistic events of material and
spiritual inheritance that make us proud in the
contemporary civilization. The Albanian na-
tion survived the oriental cultural assimilation,
10. M. Mesuli the two stringer genius
11. M. Mesuli. The prosperity and the diversity
Slavic culture etc. If in the European countries
folklore is locked in museums or in many plac-
es it has stopped since early times, in Albania
it still moves along, thanks to good cultivating
tradition and governmental institutional care.
A short history of Folk Festivals:
Albania - the land of eagles preserves a
dominant variety of art and culture traditions.
At the end of the Second World War, because
of social-ideological and artistic movements,
even in cultural inheritance appeared the polit-
ical phenomenon, which affected free expres-
sions of popular interpreters, up to their avoid-
ance. Nevertheless, in the folkloric art flourish-
ing frame, which was inherited in centuries by
our people, a new prospective showed up. As
in many other sectors of active popular life, art
and culture were under institutional care. In
the capital city of Tirana on 1947,1949,1951,
1958, 1961 were held many big manifesta-
tions of traditional art, mainly in open-air ven-
ues. Later there were changes in the calendar
and in the geographic map and these mani-
festations were held in Elbasan on 1966 and
in Lezha on 1967, to celebrate the 500th an-
niversary of the national hero loss, Gjergj Kas-
tioti Skenderbeu. Since 1968, every 5 years
(1973, 1978, 1983, and 1988) the National
Folk Festival was organized in the fortress of
Gjirokastra, the birth city of the dictator Enver
Hoxha, celebrating his birthdays. The second
half of the XX Century, because of the dictato-
rial politics, all intellectual life was under the
pressure of class wars and extreme ideology.
That removed the most vital part of the folk art,
which was the traditional layer inherited from
interpreters. Rituals, customs related to na-
ture, fertility, and incantations, expressions as-
sociated to tales, songs and different games,
with the interpreters’ ethno-psychology were
almost totally wiped out of the scene.
Interpreters, scholars, specialists felt
striped from this psycho-artistic immunity
inherited. Folklore was now commanded to
go from familiar environment toward cultural
houses and urban festivities, in an attempt
to shape “the new socialist man”. Fairly,
foreign scholars that encountered Albanian
folklore manifestation could easily notice
that folklore genres, poetic texts, songs,
dances or invented themes were not always
deriving from authentic sources. This cul-
tural politics was a strict governmental line;
therefore many layers were diminished or
dulled for the sake of “socialist splendor” or
fake myths self-cultivated by the paranoid
leaders of communist system. It is enough
to recall how tragically religions were cut off
and along them many traditions specified as
retrogressive habits. This heavy infection
violently injected in healthy body of popu-
lar heritage created relevant consequences
that have definitely traced future generations
horizontally and vertically. It needs time, in-
vestments and highly qualified care to get
the situation improved.
Yet, we cannot be non-objective on
some cares taken by the communist system
toward folklore, despite their main concern
to establish ‘superiority’ of the system or to
‘sugarcoat” retrogress. The interest in folk-
lore and cultural events was omnipresent
and intensive, and its splendor on the stage
was actually the white veil, covering the
exhausted “body” of the country. The post-
communist period after the 90’s, abandoned
this veil with disgust and people, suffering
from an utter disappointment ran blindly and
eagerly toward west to find “the promised
land”. The economic misery and the huge
lies of the dictatorial system ruined even the
small investments built up by Albanians sav-
ings and blood, which made them now turn
hopes toward God, because of the desper-
ate fate they were left on: “unfed by the ta-
ble/ ignorant by the knowledge/ naked and
ripped/ body and soul crippled”12.
It took a while to “regain control over
ourselves” and on 1995 in Berat - inscribed on
the UNESCO World Heritage List - was held
the National Folklore Festival, with an interna-
12. F.Noli. Along rivers.
tional participation. Of course that the efforts
of the now democratic government were seri-
ous and distinguishable. It was the first post-
communist National Festival which made the
maximal effort to replace the model of ex-
treme ideology with authentic materials, es-
pecially in rituals and ceremonies, by replac-
ing pathetical (in heroic themes) with lyrical
and to bring interpretations from artists that
were not allowed to be on stage due to their
class position, etc. The old behaviors were
“justified” with love from the nostalgic “guard-
ians”, which pretended for the old festivals to
be made up for the castle of the “legendary
leader” birthplace and the echo of the songs
that people sang for him could find “remedy”
only in the “stone cradle” of Enver’s Gjirokas-
tra. Of course that the generation educated by
“his lessons” could not take on their shoulders
the burden of the popular curse, by taking
off the much acclaimed labeling of “festivals
castle” related to the most “praised Albanian
son”. In this setting, for 50 years, it was on
purpose “forgotten” to be mentioned Lezha
festival of 1967, which was kept for the 500th
anniversary of the “insignificant” Skenderbeg.
In 2000, 2004 and 2009 the festival was held
in the castle of the stone city of Gjirokastra,
as well inscribed on the UNESCO World Heri-
tage List, which now is really labeled as a city
of rare historic and cultural values, the city of
Albanian literature genius Ismail Kadare, of
the much acclaimed Albanian linguist Eqerem
Qabej and of the Laberia polyphony leading
figure Xhevat Avdalli.
The 9th edition of the National Folk
Festival - Gjirokastra 2009, held from 24th
until 29th of September, was a real passport
of spiritual and national identity.
What was achieved?
This artistic-cultural manifestation
came as a result of the state politics, which
aim was to save, protect, simulate and pass
on anonymous artistic values, through all gen-
erations and Albanian speaking territories.
Grounded on the law 9048, of 17.04.2003
“For culture inheritance” changed by the
Council of Ministers no. 595 of 29.12.1993
FESTIVAL! F0LKL0RIK K0MBETAR - 2009
“for criteria of national and local character
competition’s publication, and prize giving”,
the Ministry of Tourism, Culture, Youth and
Sports declared the organization of the Na-
tional Folk Festival in Gjirokastra 2009.
The festival was announced a year
ahead by the Minister and has its own honor-
ary bodies, governing bodies and evaluation
bodies.
1- The honorary President of N.F.F (prime
minister)
2- The organizing Committee
3- Jury
4- The selection Committees
According to the 5th article of its status
can participate:
1- Free individuals (singers, dancers, po-
pular musicians with instruments)
2- Folk cultural association
3- Folk groups attached to city halls and
communes
4- Folk groups from Kosovo, Albanians of
Macedonia and Montenegro, Arberesh
of Italy and from diaspora.
Each competitive ensemble was
formed by 60 amateurs and the competition
time was 30 minutes. Competition run based
on counties. There were invitations to com-
plimentary folk groups from other countries.
The festival was based on scientific criteria,
suggesting a defined level of authentic and
ethno-folkloric values. The selection of es-
sential values of a material was done by the
principle of their folkloric origin. The prepara-
tions of the festival were divided in 3 phases.
First phase: January-March; second phase:
April-June, third phase: July-10 September
2009. The culmination of the project was
reached on the second part of September,
as he was successfully brought to an end on
29th of September, on the “National Day of
Cultural Inheritance”.
This special edition features 6 chap-
ters. The first chapter has the main official
documents. The second, the third and the
fourth keep track of the structures, perfor-
mance and analysis, trying to reflect the fes-
tival development phases toward formatting
of representative ensembles in competition
or complimentary groups. We have attempt-
ed to give each festival phase the importance
by valuation and accomplishment of set tar-
gets. Each phase had specific features and
the organizing committee analyzed proceed-
ings, gave clear instructions and took impor-
tant decisions, some of which are concisely
published in this edition. Chapter five sums
up materials brought in text forms, the pro-
gram of each ensemble and the list of the
amateur participants. Along the inauguration
atmosphere and a photographic gallery this
is the most voluminous chapter. We haven’t
done analyses on the level or the original-
ity of literary texts, because they are a per-
manent subject of evaluation, changes and
sometimes have poor quality due to fresh
creativity. In the photo gallery, moments
from the performance of all competitive and
complimentary ensembles, prize giving and
the round tables of organizing committees,
etc. were chosen in order to reflect different
genres, types, ethnography, full image of an
artistic event, but that’s not all of it.
National Folk Festival of Gjirokastra is
an autobiography of spiritual survival of the
nation. Being such it cannot merely represent
a simple cultural activity. The festival is pri-
marily a public act of artistic policies that the
Albanian state takes into consideration to ac-
complish with reliability, standards and trans-
parency in front of its population and culture.
National Folk Festival represents the Alba-
nian energy that rocks the limbs of national
institutions, private and cultural associations,
individuals that work to prove and show the
European identity of Albania. In such case,
the Albanian-speaking area is embraced in a
perennial cultural organization, to reach the
highest peak on the festival days, by the eve
of National Day of Cultural Inheritance, on 29th
of September. Albania is in a constant artistic
competition with its historic identity. Through
an impeccable arrangement it is possible for
Albania to reach the real dimension of its tal-
ented creativity power and importance. In this
nationwide artistic-cultural manifestation took
ESAT RUKA
part ensembles from 12 counties of the Alba-
nia Republic, 3 ensembles from Kosovo, 2
representative ensembles from Albanians of
Macedonia and 1 from Albanians of Monte-
negro. The 9th edition of National Folk Fes-
tival Gjirokastra 2009 created the space for
complimentary folk ensembles groups from
Albanian diaspora of USA, Switzerland, Ar-
bëresh and Arvanitas. During the six days of
the festival on the huge stage of Gjirokastra
fortress, inscribed on the UNESCO World
Heritage List, went over 1500 competitors:
dancers, singers, and instrumentalists. In this
festival were interpreted and artistically exe-
cuted over 50 rhapsodies, 72 lyrical songs, 11
city songs, over 20 wedding rituals and cer-
emonies, 70 dances, 19 instrumental melo-
dies and 6 epic historical songs. This edition
grabbed attention of the art loving audience,
foreign and Albanian scholars, ethnomusicol-
ogists and ethno-choreologists, folklorists, al-
banologists, ethnologists, sociologists, which
estimated it as “the most successful Albanian
folk festival of the post-dictatorial period”.
The round table, where were read papers of
a considered number of scholars from differ-
ent albanology and ethno-culture fields, were
introduced books and documentaries, exhibi-
tions, fairs, press conferences, concerts out
of the competition, exchanges of publications
and recognition of historical and tourist values
of Gjirokastra region, gave to the concert val-
ues beyond frames of its official protocol. So
the festival turned into multidimensional.
The festival materials coming from all
regions and ethno-cultural areas were of a
high quality, embracing the trend toward au-
thenticity of original songs and dances, and
a presence of a various number of musical
instruments and instrumental formations,
with clear artistic features. The rich northern
and east northern pattern of sound motifs
and virtuosity and the repertoire of southern
and east southern oral polyphony, with kaba
and solo pieces of gerneta and violin; the
lyricism, vitality and elegance of the center
Albania gave the full panoramic of Albanian
spiritual inheritance. While the North of Alba-
nia brought dense diversity of wedding and
love songs, lullabies and migration’s songs
mainly interpreted from soloist females of
different ages, south and Laberia brought
the same subjects in polyphonic style from
polyphonic formations, which are now well-
known and quite professional. The epic and
epic-lyrical highlander songs, brought on the
style of “top of arm” with one, two or three per-
formers, with soloist and performing groups,
proved once more that in many territories
(more than 60% of the Albania space) there
is still interest on these exchanging values,
which brew in the rural cultural environment.
The legendary and historical epic sang by
lahuta men coming from the North Albania
and other bards, now sang even from lahuta
women, brought millennial expressions as a
testimony of survival and vitality of a nation
that deserves to be heard and respected,
not even due to its ancient historical-cultural
values, but even as a coexistence possibility
with urban and integrating values.
The urban songs of Shkodra, El-
basani, Korga, Fier, Berat, Prizren, Gjakova,
etc. reflected the consolidated and cultur-
ally rich diversity of melodies, vocal qualities
and harmonic sounds of orchestras, in the
wake of well-known predecessors, such as
Bik Ndoja, Vage Zela, Nexhmije Pagarusha,
Hafsa Zyberi, Lugije Miloti, Meliha Doda, Vir-
gjini Mile etc. The north area of Albania is
well known for the prosperity and diversity of
dances that have limitless variations. Reflect-
ing in grandeur the natural landscape, the
poetic shine of the dancers brought creativ-
ity in style and content. The heavy and stern
rhythms of Kosovo, Albanians of Macedonia,
Kukes and Dibra dances; the elegance and
beauty of Gjirokastra, Tirana and Fieri danc-
ers; the motifs diversity of Elbasani, Korga,
Berati were a rich artistic embossment of the
whole popular competition. Dances came in
different kinds and styles performed by one,
two and three dancers, male and female,
with or without musical accompaniment, but
even by massive and mix groups interpreted
with originality and no mutilations or prolon-
gations.
The popular costumes, rituals, etc.
are the most evident reflection, conveying
emotion and proudness with its refined taste
and originality, and reflect deep sensations
and heritage of an ancient civilization. There
were many positive examples of original-
ity preserving and accurate representations
according to set criteria. Original values
came from Dibra, Shkodra, Tirana, SHKA
ensembles, Albanians of Macedonia and
there were lots of improvements from El-
basan, Berat, Korga, Gjirokastra etc. Some
centers of costume producing are being re-
vived, but besides encouraging, they need
orientation and prevention from commer-
cializing tendencies, which brings amateurs
to make deformations and replacement of
elements, out of traditional originality. The
Albanian government accorded a fund of
650,000 USD which is the most meaningful
index for the growing attention for cultural in-
heritance. The execution of this fund sought
a well-determined and well-oriented institu-
tional energy. The festival arrangement was
preceded by a marketing campaign in the
written and electronic media, and a special
daily newspaper was published to reflect the
activities. In the end, the festival jury gave
prizes for ensembles, groups, formations
and individual interpreters, according to their
performance and materials originality. Many
scholars, media and tourists acclaimed the
inheritance values and the institutional care
in tracking, preserving, developing and ex-
change of this inheritance. The festival was
a nationwide eruption of the most inherent
vitality of a mind and soul of the nation, cast-
ironed by the crashing waves of history, to-
ward the unfading hope of progress and con-
temporary civilization.
Traslate by Anjeze Pasha
ES AT RUKA |
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| era_facet | Geschichte 2009 |
| format | Conference Proceeding Book |
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| genre | (DE-588)1071861417 Konferenzschrift 2009 Gjirokastër gnd-content |
| genre_facet | Konferenzschrift 2009 Gjirokastër |
| geographic | Gjirokastër (DE-588)4229382-0 gnd Albanien (DE-588)4001028-4 gnd |
| geographic_facet | Gjirokastër Albanien |
| id | DE-604.BV044934392 |
| illustrated | Illustrated |
| indexdate | 2024-08-10T00:28:53Z |
| institution | BVB |
| institution_GND | (DE-588)1182475191 |
| isbn | 9789928178398 |
| language | Albanian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-030327392 |
| oclc_num | 1091698288 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 209 Seiten Illustrationen, Porträts |
| publishDate | 2015 |
| publishDateSearch | 2015 |
| publishDateSort | 2015 |
| publisher | Ilar |
| record_format | marc |
| spelling | Festivali Folklorik Kombëtar 9. 2009 Gjirokastër Verfasser (DE-588)1182475191 aut Festivali folklorik kombëtar 2009 Esat Ruka Tiranë Ilar 2015 209 Seiten Illustrationen, Porträts txt rdacontent n rdamedia nc rdacarrier Zusammenfassung in englischer Sprache Geschichte 2009 gnd rswk-swf Volkstanz (DE-588)4063869-8 gnd rswk-swf Volksmusik (DE-588)4063854-6 gnd rswk-swf Gjirokastër (DE-588)4229382-0 gnd rswk-swf Albanien (DE-588)4001028-4 gnd rswk-swf (DE-588)1071861417 Konferenzschrift 2009 Gjirokastër gnd-content Albanien (DE-588)4001028-4 g Gjirokastër (DE-588)4229382-0 g Volkstanz (DE-588)4063869-8 s Volksmusik (DE-588)4063854-6 s Geschichte 2009 z DE-604 Ruka, Esat 1951- (DE-588)140003541 aut Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030327392&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030327392&sequence=000002&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Ruka, Esat 1951- Festivali folklorik kombëtar 2009 Volkstanz (DE-588)4063869-8 gnd Volksmusik (DE-588)4063854-6 gnd |
| subject_GND | (DE-588)4063869-8 (DE-588)4063854-6 (DE-588)4229382-0 (DE-588)4001028-4 (DE-588)1071861417 |
| title | Festivali folklorik kombëtar 2009 |
| title_auth | Festivali folklorik kombëtar 2009 |
| title_exact_search | Festivali folklorik kombëtar 2009 |
| title_full | Festivali folklorik kombëtar 2009 Esat Ruka |
| title_fullStr | Festivali folklorik kombëtar 2009 Esat Ruka |
| title_full_unstemmed | Festivali folklorik kombëtar 2009 Esat Ruka |
| title_short | Festivali folklorik kombëtar 2009 |
| title_sort | festivali folklorik kombetar 2009 |
| topic | Volkstanz (DE-588)4063869-8 gnd Volksmusik (DE-588)4063854-6 gnd |
| topic_facet | Volkstanz Volksmusik Gjirokastër Albanien Konferenzschrift 2009 Gjirokastër |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030327392&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030327392&sequence=000002&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT festivalifolklorikkombetargjirokaster festivalifolklorikkombetar2009 AT rukaesat festivalifolklorikkombetar2009 |