{"id":5954,"date":"2016-03-15T12:28:38","date_gmt":"2016-03-15T12:28:38","guid":{"rendered":"http:\/\/revistakuvendi.org\/?p=5954"},"modified":"2016-03-15T12:28:48","modified_gmt":"2016-03-15T12:28:48","slug":"rapsodet-kane-mbetur-larg-ne-kohe-si-kreshniket","status":"publish","type":"post","link":"https:\/\/revistakuvendi.org\/?p=5954","title":{"rendered":"RAPSOD\u00cbT KAN\u00cb MBETUR LARG N\u00cb KOH\u00cb SI KRESHNIK\u00cbT"},"content":{"rendered":"<p><strong>NDUE DEDAJ<\/strong><\/p>\n<p><a href=\"http:\/\/revistakuvendi.org\/wp-content\/uploads\/2016\/03\/RAPSODET.png\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-5955\" src=\"http:\/\/revistakuvendi.org\/wp-content\/uploads\/2016\/03\/RAPSODET.png\" alt=\"RAPSODET\" width=\"251\" height=\"148\" \/><\/a><\/p>\n<p>\u00cbsht\u00eb k\u00ebnaq\u00ebsi t\u00eb takohesh me rapsodin e njohur pukjan Fran Pali, rreth t\u00eb 80-ave, q\u00eb ende del n\u00eb sken\u00eb dhe k\u00ebndon si t\u00eb mo\u00e7mit e an\u00ebve t\u00eb tij me z\u00eb t\u00eb dlir\u00eb ograjash e uj\u00ebvarash. Puka \u00ebsht\u00eb nj\u00eb areal tipik rapsod\u00ebsh, q\u00eb nga i mir\u00ebnjohuri Prendush Gega e deri te Tom Nikolla. <!--more-->Por dhe gjith\u00eb trevat veriore rretheqark saj, me Sokol Arifin e Fatime Sokolin e Mal\u00ebsis\u00eb s\u00eb Gjakov\u00ebs, Haziz Ndreun e Dibr\u00ebs, v\u00ebllez\u00ebrit Dida t\u00eb Hasit, mirditasit Gjin Shkoza e Frrok Haxhia, p\u00ebrkat\u00ebsisht me ansamblet e Shkodr\u00ebs e Puk\u00ebs etj. Po aq t\u00eb p\u00ebrve\u00e7\u00ebm jan\u00eb rapsod\u00ebt e Jugut, ve\u00e7an\u00ebrisht ata t\u00eb Bregut t\u00eb \u201cvajz\u00ebs s\u00eb val\u00ebve\u201d, si Ne\u00e7o Muk\u00eb Himarioti, Selim Hasani, Lefter \u00c7ipa etj. Veti e rapsod\u00ebve ishte ana burimore, ashtu si e gjith\u00eb bard\u00ebve t\u00eb tjer\u00eb t\u00eb etno-folkut, vajtimoreve, k\u00ebrcimtareve, qendistareve, gur\u00ebskalit\u00ebsve, drushkroluesve, vorbab\u00ebr\u00ebsve etj. Por sot jemi n\u00eb nj\u00eb koh\u00eb kur \u00ebsht\u00eb kap\u00ebrcyer folku si tiopologji krijuese. Tri dekadat e fundit t\u00eb shekullit XX ishin faza e nd\u00ebrmjetme e kalimit nga folku tradicional te muzika popullore e shartuar me folk, apo gjysm\u00ebrapsodike. Shqip\u00ebria e viteve \u201950-\u201860 kishte dal\u00eb p\u00ebrfundimisht nga analfabetizmi dhe pak nga pak dhe nga arketipet kulturore t\u00eb s\u00eb shkuar\u00ebs. Rapsod\u00ebt e fundit ishin ata t\u00eb viteve \u201960, q\u00eb duke mos patur heronj q\u00eb t\u2019u k\u00ebndonin, i thuren ca lavde E. Hoxh\u00ebs, l\u00ebshuan ca mallkime rapsodike mbi imperializmin amerikan dhe aty e mbyll\u00ebn kapitullin e tyre. Ndaj dhe festivalet folklorike lokake dhe komb\u00ebtare sillnin l\u00ebnd\u00eb nga e shkuara e larg\u00ebt, kur folku kishte qen\u00eb i vetvetish\u00ebm, burues si krojet e rudinave, n\u00eb hullin\u00eb e tij t\u00eb pand\u00ebrruar. T\u00eb gjith\u00eb e kujtojn\u00eb k\u00ebng\u00ebn e famshme q\u00eb t\u00eb shtang sa her\u00eb e d\u00ebgjon, \u201cJanin\u00ebs \u00e7\u2019i pan\u00eb syt\u00eb\u201d, e t\u00eb tjera perla q\u00eb etnomuzikolog\u00ebt tan\u00eb i nxorr\u00ebn nga sepetet e shekujve dhe i \u201cmuruan\u201d n\u00eb kalan\u00eb e Gjirokastr\u00ebs, p\u00ebr t\u00eb qen\u00eb tashm\u00eb pron\u00eb e gjith\u00eb kombit.<\/p>\n<p>Por jemi n\u00eb shekullin XXI dhe duhet kuptuar se \u00e7far\u00eb \u00ebsht\u00eb krijimtari e bashk\u00ebkoh\u00ebsis\u00eb dhe \u00e7far\u00eb muzeologji e artit popullor t\u00eb trash\u00ebguar. Folku dhe koha moderne nuk ecin s\u00eb bashku n\u00eb dy shina, ndaj folku ka ngrir\u00eb, nuk ka m\u00eb rapsodi dhe rapsod\u00eb t\u00eb mir\u00ebfillt\u00eb, pasi ka koh\u00eb q\u00eb ka pushuar mulliri i anonimatit. Ka r\u00ebn\u00eb struktura e artit kolektiv n\u00eb bashk\u00ebsin\u00eb fshatare, q\u00eb \u00ebsht\u00eb tipar esencial i folkut, si k\u00ebng\u00ebt e dasm\u00ebs, vajet, loj\u00ebrat popullore, gjuatjet n\u00eb shenj, rituali i buzmit bujar, dark\u00ebs s\u00eb djathit etj. Nuk \u00ebsht\u00eb m\u00eb gojorja tipari i komunikimit t\u00eb mal\u00ebsive t\u00eb epra, kur mal\u00ebsor\u00ebt i th\u00ebrrisnin nj\u00ebri &#8211; tjetrin nga kodra n\u00eb kod\u00ebr, por t\u00eb \u201cfolurit\u201d teknologjik &#8211; elektronik, me let\u00ebr, pentagram, mors, teleks, fax, e-mail etj. T\u00eb gjitha k\u00ebto tregojn\u00eb se epoka e folkut \u00ebsht\u00eb mbyllur koh\u00eb pas kohe, perdja e tij ka r\u00ebn\u00eb nj\u00ebher\u00eb e mir\u00eb, p\u00ebr t\u00eb mos u ngritur m\u00eb. Mund t\u00eb k\u00ebndohen k\u00ebng\u00ebt e vjetra, por pa ndryshim dhe retushim, ashtu si\u00e7 ato kan\u00eb ardhur t\u00eb konservuara n\u00eb shekuj. \u00cbsht\u00eb e tep\u00ebrt t\u00eb thuhet se nuk mund t\u00eb vihet dor\u00eb mbi to p\u00ebr t\u2019i ndryshuar e \u201cmodernizuar\u201d, ashtu si mbi qoshet e kull\u00ebs s\u00eb gjyshit, veshjet me shajak e gajtana, doket kanunore, mbishkrimet dhe simbolikat e gdhendura n\u00eb gur\u00eb etj. Mund t\u00eb krijohen k\u00ebng\u00eb popullore mbi shtratin dhe eshtr\u00ebn e folkut, por ato n\u00eb vetvete nuk jan\u00eb folk i ri. Nuk ka folk t\u00eb bir\u00ebsuar, klonuar, p\u00ebrpunuar. Nuk ka folk n\u00eb skena llamburit\u00ebse, por n\u00eb sofra, oda, kulla e sheshe mal\u00ebsore. Nuk ka folk me mikrofon, dixhej, fon\u00ed, kamera, kaseta, videoklipe. Folku ka \u201cfrik\u00eb\u201d nga k\u00ebto sende t\u00eb teknologjis\u00eb s\u00eb lart\u00eb, ik\u00ebn e ndryhet diku n\u00eb origjin\u00ebn e tij, nj\u00eblloj si kreshnik\u00ebt q\u00eb u zhduk\u00ebn sapo d\u00ebgjuan krism\u00ebn e pushk\u00ebs. Nuk mund t\u00eb jesh dhe rapsod dhe t\u00eb shkruash libra me kompjuter, apo t\u00eb flas\u00ebsh n\u00eb gjuh\u00eb t\u00eb huaj n\u00ebp\u00ebr aeroporte. Disa dekada m\u00eb par\u00eb nj\u00eb raspsod i njohur nga Oroshi po i binte \u00e7iftelis\u00eb pas shpine gjat\u00eb provave, si p\u00ebr t\u00eb treguar virtuozitetin e tij, por shok\u00ebt e sektorit t\u00eb ideologjis\u00eb e kritikuan p\u00ebr k\u00ebt\u00eb \u201cshfaqje t\u00eb huaj\u201d dhe aty e mbrapa ai nuk u pa fort n\u00eb festivale, a se e larguan, a se e braktisi vet\u00eb formatin zyrtar, ngaq\u00eb ajo ishte natyra e rapsodis\u00eb, q\u00eb njihte p\u00ebr zot vet\u00ebm krijuesin e saj dhe jo k\u00ebshillin artistik \u201crapsodik\u201d. Kur k\u00ebndonte rapsodi n\u00eb saraje t\u00eb pash\u00ebs apo n\u00eb pallatin Kapidanor, heshtnin t\u00eb gjith\u00eb, pasi muza ishte mbi pushtetin dhe \u00e7do hierarki tjet\u00ebr. Rapsodia e kishte origjin\u00ebn n\u00eb lart\u00ebsit\u00eb alpine t\u00eb Mujit dhe Halilit dhe nuk mund t\u00eb zbriste aty ku thjesht\u00ebzohej. Ajo nuk mund t\u2019iu bindej vatrave socialiste t\u00eb kultur\u00ebs dhe n\u00ebpun\u00ebsve q\u00eb vinin nga radh\u00ebt e \u201ckontrollit pun\u00ebtor\u201d. Ndaj rapsod\u00ebt e von\u00eb nuk e kan\u00eb gjetur veten n\u00eb mjedisin bashk\u00ebkohor, ndoshta ngaq\u00eb nuk kan\u00eb qen\u00eb t\u00eb till\u00eb, por n\u00eb p\u00ebrngjasim t\u00eb rapsod\u00ebve t\u00eb vjet\u00ebr. N\u00eb nj\u00eb kuptim t\u00eb figursh\u00ebm rapsodi \u00ebsht\u00eb gjyshi, por jo dhe biri, aq m\u00eb pak nipi. Fundi i rapsod\u00ebve ka ardhur p\u00ebrderisa nuk ka m\u00eb heronj dhe rapsod\u00ebt kan\u00eb filluar t\u2019i k\u00ebndojn\u00eb nj\u00ebri-tjetrit!? Me shpikjet e koh\u00ebs moderne, rapsod\u00ebt ishin \u201carratisur\u201d si kreshnik\u00ebt, p\u00ebr t\u00eb mbetur sojnik\u00eb dhe t\u00eb pap\u00ebrs\u00ebritsh\u00ebm t\u00eb koh\u00ebve t\u00eb hershme. I tham\u00eb k\u00ebto p\u00ebr t\u00eb mos patur asnj\u00eb iluzion se sot po b\u00ebjm\u00eb folklor. Po b\u00ebm\u00eb sikur po b\u00ebjm\u00eb folklor, e kemi shp\u00ebrdoruar at\u00eb, \u00e7ka e v\u00ebrtetojn\u00eb dhe disa rapsodi jet\u00ebshkurt\u00ebra kushtuar njer\u00ebzve q\u00eb kan\u00eb humbur jet\u00ebn tragjikisht n\u00eb aksidente gjat\u00eb tranzicionit etj. Ka nj\u00eb hendek t\u00eb pashoq n\u00eb mes k\u00ebtyre sprovave kundrakultur\u00eb dhe artit t\u00eb v\u00ebrtet\u00eb muzikor me palc\u00eb folku. Se \u00e7\u2019klas profesionist na k\u00ebrkohet t\u00eb kemi me populloren, p\u00ebr ta sjell\u00eb at\u00eb t\u00eb kultivuar n\u00eb sken\u00eb, e kan\u00eb d\u00ebshmuar qysh heret k\u00ebng\u00ebt qytetare autentike shqiptare t\u00eb Tefta Tashko Ko\u00e7os e Nexhmije Pagarush\u00ebs, kompozimet e Prenk Jakov\u00ebs etj.<\/p>\n<p>Kurse tjet\u00ebr \u00ebsht\u00eb p\u00ebrmasa bashk\u00ebkohore e shpalimit t\u00eb folkut, etnologjikes. Ato jan\u00eb nj\u00eb visar p\u00ebrrallor p\u00ebr t\u00eb mir\u00ebseardhur e arg\u00ebtuar turist\u00ebt, p\u00ebr njohjen e tradit\u00ebs nga brezat e rinj, si nj\u00eb muze arti. Kemi par\u00eb italian\u00eb, gjerman\u00eb, amerikan\u00eb, belg e t\u00eb tjer\u00eb t\u00eb vishen me kostumet shqiptare, t\u00eb mahniten nga ritmet tona t\u00eb vjetra dhe t\u00eb vall\u00ebzojn\u00eb m\u00eb me pasion se vend\u00ebsit. Ky \u00ebsht\u00eb tashm\u00eb funksioni i folkut, arg\u00ebtimi i nj\u00eb publiku q\u00eb nuk e p\u00ebrjeton at\u00eb emocionalisht, por vet\u00ebm e shijon si nj\u00eb gjell\u00eb tradite. K\u00ebshtu \u00ebsht\u00eb shpaluar ai nga institucionet artistike t\u00eb k\u00ebsaj kohe, ku spikat Mirdita, n\u00eb shtegtimet turistike t\u00eb kullave etj. Dhe jo me si nj\u00eb konkurim i mir\u00ebfillt\u00eb. Ndaj, duam apo nuk duam, e ka mbyllur misionin e tij dhe Festivali Folklorik i Gjirokastr\u00ebs, pasi zor se ka mbetur m\u00eb gj\u00eb folklorike pa u mbledhur. Dhe n\u00ebse nuk ka qen\u00eb arritur t\u00eb mblidhet, shekulli XXI nuk e krijon m\u00eb k\u00ebt\u00eb shans, pasi m\u00eb e pakta gjyshet kan\u00eb ikur n\u00eb bregdet bashk\u00eb me folkun e maleve dhe kujtimet e jet\u00ebs s\u00eb shkuar. Edhe nj\u00eb detaj i thjesht\u00eb sikur na thot\u00eb se koha e folkut iku. Nj\u00eb fotografi e b\u00ebr\u00eb n\u00eb sokak\u00ebt e Gjirokastr\u00ebs, n\u00eb Festivalin e fundit, ku dy gjimnazist\u00eb mirditor\u00eb veshur me kostum komb\u00ebtar, nj\u00eb vajz\u00eb dhe nj\u00eb djal\u00eb, mbajn\u00eb n\u00eb duar <em>Ifone,<\/em> duke \u201cd\u00ebgjuar\u201d p\u00ebrmes fjal\u00ebs s\u00eb fundit t\u00eb teknologjis\u00eb rrymat e reja muzikore. Duket sikur nj\u00ebri ia ka me hile tjetrit, pasi si mund t\u00eb jen\u00eb aq pran\u00eb e pran\u00eb teknologjia m\u00eb e fundit dhe folku i hersh\u00ebm? Si rregull ato nuk mund t\u00eb takohen. Nuk i sheh bie fjala n\u00eb Amerik\u00eb k\u00ebto simbioza, n\u00eb Indi mbase po. Fundja \u00e7do vend ka adetet e veta. Jan\u00eb ata t\u00eb rinj q\u00eb me vegla t\u00eb vjetra, le t\u00eb themi t\u00eb temperuara, p\u00ebrpiqen t\u00eb luajn\u00eb pjes\u00eb klasike nga kompozitor\u00eb t\u00eb m\u00ebdhenj. Arrin kjo sprov\u00eb deri n\u00eb emisionet e \u201cTop Channel\u201d, por mbetet p\u00ebr t\u2019u par\u00eb kjo (dis)harmoni e s\u00eb vjetr\u00ebs etnokulturore me t\u00eb ren\u00eb teknologjike.<\/p>\n<p>Rikthimi tek tradita p\u00ebrmes \u201csofr\u00ebs\u201d, \u201cod\u00ebs\u201d, \u201ckull\u00ebs\u201d e t\u00eb tjera bardje kulturore t\u00eb s\u00eb vjetr\u00ebs b\u00ebhet p\u00ebr dy motive, q\u00eb jan\u00eb ruajtja e trash\u00ebgimis\u00eb kulturore, p\u00ebrfshi dhe ajo folklorike, dhe atraksioni turistik. Ky funksion i ri kulturor lypet t\u00eb b\u00ebhet i qart\u00eb p\u00ebr t\u00eb gjith\u00eb ata q\u00eb ende besojn\u00eb se po krijojn\u00eb rapsodi dhe k\u00ebrkojn\u00eb v\u00ebmendjen e publikut n\u00eb skena dhe youtube etj.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>NDUE DEDAJ \u00cbsht\u00eb k\u00ebnaq\u00ebsi t\u00eb takohesh me rapsodin e njohur pukjan Fran Pali, rreth t\u00eb 80-ave, q\u00eb ende del n\u00eb sken\u00eb dhe k\u00ebndon si t\u00eb mo\u00e7mit e an\u00ebve t\u00eb tij me z\u00eb t\u00eb dlir\u00eb ograjash e uj\u00ebvarash. Puka \u00ebsht\u00eb nj\u00eb areal tipik rapsod\u00ebsh, q\u00eb nga i mir\u00ebnjohuri Prendush Gega e deri te Tom Nikolla.<\/p>\n","protected":false},"author":1,"featured_media":5955,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[],"class_list":["post-5954","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike"],"_links":{"self":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/5954","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5954"}],"version-history":[{"count":1,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/5954\/revisions"}],"predecessor-version":[{"id":5956,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/5954\/revisions\/5956"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/media\/5955"}],"wp:attachment":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5954"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5954"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5954"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}