{"id":5337,"date":"2020-02-26T14:48:20","date_gmt":"2020-02-26T12:48:20","guid":{"rendered":"https:\/\/sbunker.org\/?p=5337"},"modified":"2024-11-04T14:52:00","modified_gmt":"2024-11-04T12:52:00","slug":"nga-pse-po-bahesh-lavire-tek-dead-men-dont-rape-muzika-mes-seksizmit-dhe-emancipimit","status":"publish","type":"post","link":"https:\/\/sbunker.org\/en\/kritike\/nga-pse-po-bahesh-lavire-tek-dead-men-dont-rape-muzika-mes-seksizmit-dhe-emancipimit\/","title":{"rendered":"Nga \u201cPse po bahesh lavire\u201d tek \u201cDead Men Don\u2019t Rape\u201d \u2014 muzika mes seksizmit dhe emancipimit"},"content":{"rendered":"
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Sh\u00ebmtia q\u00eb si infeksion ka kapluar k\u00ebng\u00ebt n\u00eb gjuh\u00ebn shqipe t\u00eb dhjet\u00ebvje\u00e7arit t\u00eb fundit \u00ebsht\u00eb gati e pakuptueshme. \u201cMe qef e bojm\u00eb, e ti mos um thuj jo. S\u2019po dokesh shqiptare kur ti po bon NO\u201d \u2014 kultur\u00eb p\u00ebrdhunimi. \u201cP\u00ebr mu u bone e padurushme, ta kisha dhez njo t’fort\u00eb hund\u00ebve\u201d \u2014 abuzime fizike. \u201cAllo allo my bro, \u00e7a je tu bo? Un\u00eb hi\u00e7 sen, tu chill me my hoe. Masi ta kryj un\u00eb ty ta lo\u201d \u2014 gruaja si pron\u00eb q\u00eb ndahet n\u00eb mes shok\u00ebve. \u201cKur e din qe t’du ah, pse po bahesh lavire?\u201d \u2014 e vet\u00ebkuptueshme. K\u00ebto vargje reflektojn\u00eb se si trajtohet dhe perceptohet gruaja n\u00eb shoq\u00ebrin\u00eb ton\u00eb.<\/p>\n

Madje trajtimi i till\u00eb i grave \u00ebsht\u00eb krejt normal p\u00ebr burrat e grat\u00eb e estrad\u00ebs ton\u00eb, t\u00eb cil\u00ebt ose qeshin e fare s\u2019reagojn\u00eb p\u00ebr tentim-p\u00ebrdhunimet q\u00eb Butrint Imeri i tregon si anektoda ose dalin haptas n\u00eb intervista dhe faj\u00ebsojn\u00eb grat\u00eb p\u00ebr tradhtin\u00eb e burrave, si\u00e7 b\u00ebn Robert Berisha.<\/p>\n

Edhe n\u00ebse i analizon vargjet e tjera t\u00eb duket se autor\u00ebt nuk po flasin ndonj\u00eb gjuh\u00eb q\u00eb kuptohet. Vargje pa rrjedhshm\u00ebri. Strofa pa lidhje logjike. Kot\u00ebsi e zbraz\u00ebt. Vjell\u00eb fjal\u00ebsh. E ndonj\u00ebher\u00eb kur tentojn\u00eb t’i thurrin s\u00eb bashku sht\u00ebllungat e vjella, del ndonj\u00eb fjali deklarative superqesharake se si qenkan ‘m\u00eb t\u00eb fortit prej krejt shok\u00ebve’.<\/p>\n

N\u00eb an\u00ebn tjet\u00ebr, gjersa shum\u00ebkush priste ndonj\u00eb strof\u00eb feministe nga rap-artistet si Tayna e Rina n\u00eb muzik\u00ebn ton\u00eb komerciale \u2013 gra q\u00eb thyen paragjykimet se \u2018grat\u00eb s’din\u00eb me bo rap\u2019 \u2013 ato me tekstet si \u201cKoka ngi me bitchez and I know that he no play\u201d (Tayna) dhe\u00a0 \u201cso ka ma nin mu per at bitch, So ka ma nin cause’ you ain’t shit\u201d (Rina) vet\u00ebm sa ia \u201cmbajt\u00ebn zhagun\u201d mentalitetit patriarkal. Ndoshta n\u00eb t\u00eb ardhmen na g\u00ebzojn\u00eb me ndonj\u00eb tekst m\u00eb emancipues dhe feminist.<\/p>\n

Por s\u2019\u00ebsht\u00eb vet\u00ebm muzika shqiptare q\u00eb p\u00ebrjet\u00ebson kultur\u00ebn e p\u00ebrdhunimit. Kujtojm\u00eb, k\u00ebnga \u201cBlurred Lines\u201d e Robin Thicke q\u00eb b\u00ebri buj\u00eb n\u00eb vitin 2013 si himn q\u00eb zbukuronte abuzimin dhe q\u00eb p\u00ebrdorte vargje q\u00eb shum\u00eb shpesh abuzuesit i p\u00ebrdorin kur flasin me viktimat e tyre.<\/p>\n

Megjithat\u00eb, ky shkrim s’ka t\u00eb b\u00ebj\u00eb me k\u00ebt\u00eb fenomen. Ky fenomen \u00ebsht\u00eb i gjithandejsh\u00ebm dhe duhet\u00a0 analiz\u00eb m\u00eb e thell\u00eb p\u00ebr t\u00eb kuptuar trendin q\u00eb shnd\u00ebrron gruan n\u00eb gj\u00ebsend p\u00ebr hir t\u00eb \u2018artit\u2019, n\u00ebse mund t\u2019i themi art. Ky shkrim do t\u00eb trajtoj\u00eb\u00a0 disa nga k\u00ebng\u00ebt e \u201890-ave q\u00eb kishin p\u00ebr tem\u00eb t\u00eb kund\u00ebrt\u00ebn \u2013 shpalosjen e p\u00ebrvojave t\u00eb grave si t\u00eb mbijetuara t\u00eb dhun\u00ebs seksuale e fizike dhe si akter\u00eb q\u00eb marrin n\u00eb dor\u00eb t\u00eb tyre fatin e tyre. Ky shkrim trajton artin e mir\u00ebfillt\u00eb. Artin q\u00eb lart\u00ebson pozit\u00ebn e gruas n\u00eb nj\u00eb bot\u00eb ku figura e saj m\u00eb s\u00eb shpeshti portretizohet si asfar\u00ebgj\u00eb. Artin q\u00eb v\u00eb n\u00eb shprehje emocionet e gjalla t\u00eb grave q\u00eb p\u00ebrjetuan abuzim dhe t\u00eb burrave q\u00eb avokonin q\u00eb abuzimet t\u00eb ndaleshin.<\/p>\n

\u201990-at n\u00eb kultur\u00ebn amerikane hap\u00ebn shum\u00eb dyer p\u00ebr grat\u00eb. Bijat e val\u00ebs s\u00eb dyt\u00eb t\u00eb feminizmit u rrit\u00ebn dhe p\u00ebrcoll\u00ebn shtigje t\u00eb reja q\u00eb n\u00ebnat e tyre nuk kishin mund\u00ebsi t’i krijonin: vonimin e martes\u00ebs dhe t\u00eb lindjes s\u00eb f\u00ebmij\u00ebve, ndjekjen e arsimit t\u00eb lart\u00eb, bashkimin n\u00eb fuqi pun\u00ebtore dhe p\u00ebrqafimin e pavar\u00ebsis\u00eb dhe identiteteve t\u00eb tjera jasht\u00eb sht\u00ebpis\u00eb. Edhe feminizmi kulturor i ’90-ave sh\u00ebnoi p\u00ebrparim. L\u00ebvizja ‘Grrrl Power’ inkurajoi dhe festoi fuqizimin e grave t\u00eb reja, pavar\u00ebsin\u00eb, vet\u00ebbesimin dhe fuqin\u00eb. Vet\u00eb shpikja e sloganit ‘Grrl Power’ i atribuohet bendit Bikini Kill \u2013 me shumic\u00ebn e an\u00ebtareve gra \u2013 q\u00eb\u00a0 publikonte vepra t\u00eb vogla t\u00eb vet\u00ebbotuara q\u00eb trajtonin tema t\u00eb ndryshme t\u00eb feminizmit q\u00eb quheshin \u2018zines\u2019<\/em>. Subkulturat e tjera q\u00eb definoheshin nga\u00a0zines<\/em>, muzika, arti dhe uebfaqet lul\u00ebzuan, duke u siguruar grave t\u00eb reja platforma t\u00eb reja p\u00ebr vet\u00ebshprehje.<\/p>\n

Dhe k\u00ebshtu, edhe muzika e viteve\u201990-a p\u00ebrshkruhet nga fuqia e vet\u00ebshprehjes. \u00cbsht\u00eb dekada q\u00eb p\u00ebrmes muzik\u00ebs i b\u00ebnte jehon\u00eb traumave personale q\u00eb g\u00ebrshetoheshin me rezistenc\u00eb e zem\u00ebrim t\u00eb grave. Shum\u00eb koh\u00eb para l\u00ebvizjes\u00a0#metoo<\/em>\u00a0dhe para se t\u00eb leht\u00ebsohej roku alternativ \u2013 si figurativisht, nj\u00eblloj edhe literalisht \u2013 artistet gra, por edhe artist\u00ebt burra, iu qas\u00ebn tem\u00ebs s\u00eb dhun\u00ebs fizike dhe asaj seksuale me fines\u00eb.<\/p>\n

K\u00ebto k\u00ebng\u00eb e k\u00ebta artist\u00eb u mor\u00ebn me sulmet seksuale kur reagimet antifeministe k\u00ebrc\u00ebnuan ta zhb\u00ebnin p\u00ebrparimin e val\u00ebs s\u00eb dyt\u00eb feministe n\u00eb Amerik\u00eb. Dhjet\u00ebra k\u00ebng\u00eb t\u00eb tilla si \u201cStar Bellied Boy\u201d dhe \u201cSuck My Left One\u201d t\u00eb Bikini Kill (ose e t\u00ebr\u00eb diskografia nga ky bend, p\u00ebr ta th\u00ebn\u00eb m\u00eb mir\u00eb), \u201cDicknail\u201d nga Hole, \u201cSullen Girl\u201d nga Fiona Apple, \u201cPolly\u201d nga Nirvana, \u201cDate Rape\u201d nga Sublime dhe \u201cDead Men Don’t Rape\u201d nga Seven Year Bitch duhet t\u00eb jen\u00eb n\u00eb\u00a0playlist<\/em>-\u00ebn e \u00e7dokujt q\u00eb do ta p\u00ebrjetoj\u00eb se \u00e7far\u00eb kuptimi kan\u00eb himnet feministe.<\/p>\n

N\u00eb mesin e dhjet\u00ebra k\u00ebng\u00ebve nga muzikantet gra ishte edhe k\u00ebnga\u00a0a capella<\/em>\u00a0nga Tori Amos e titulluar \u201cMe and a Gun\u201d.\u00a0 K\u00ebnga \u201cMe and a Gun\u201d, nj\u00eb k\u00ebng\u00eb p\u00ebr mbamendje, fton d\u00ebgjuesit n\u00eb mendjen e nj\u00eb gruaje t\u00eb p\u00ebrdhunuar. Z\u00ebri i Amos, i lodhur dhe i vet\u00ebm, pa shoq\u00ebrim t\u00eb ndonj\u00eb instrumenti muzikor, e b\u00ebn d\u00ebgjuesin t\u00eb nd\u00ebrgjegj\u00ebsohet rreth ashp\u00ebrsis\u00eb s\u00eb k\u00ebsaj k\u00ebnge. Gjersa k\u00ebnga vazhdon, tregimi shpaloset dhe d\u00ebgjuesi p\u00ebrjeton natyr\u00ebn grafike t\u00eb krimit ndaj gruas, historin\u00eb e s\u00eb cil\u00ebs e d\u00ebgjon.<\/p>\n

Amos shkroi k\u00ebng\u00ebn p\u00ebr t\u00eb shp\u00ebrfaqur incidentin kur ajo u dhunua kur ishte n\u00eb t\u00eb nj\u00ebzetat e saj. Pasi performoi n\u00eb nj\u00eb bar, nj\u00eb burr\u00eb nga audienca i k\u00ebrkoi asaj n\u00ebse mund ta voziste n\u00eb sht\u00ebpi. Pasi pranoi, ai e p\u00ebrdhunoi duke e k\u00ebrc\u00ebnuar me thik\u00eb gjat\u00eb aktit. Gjersa k\u00ebnga vazhdon, Amos ironikisht v\u00eb n\u00eb pik\u00ebpyetje se a ishin rrobat e saj arsyetim p\u00ebr ta bindur sulmuesin se sulmi ishte i mir\u00ebpritur – duke kritikuar bindjet e shoq\u00ebris\u00eb se viktima ka faj kur ndodhin incidentet e p\u00ebrdhunimit.<\/p>\n

K\u00ebnga nga bendi Hole, “Asking for It” \u00ebsht\u00eb nj\u00eb tjet\u00ebr shembull q\u00eb shtjellon tem\u00ebn e p\u00ebrdhunimit. Ve\u00e7se, kjo s’ka t\u00eb b\u00ebj\u00eb me nj\u00eb sulmues, por me nj\u00eb audienc\u00eb t\u00eb t\u00ebr\u00eb. Vokalistja Courtney Love kujton p\u00ebrvoj\u00ebn n\u00eb nj\u00eb intervist\u00eb dhe shpjegon sesi pasi u zhyt n\u00eb audienc\u00eb, (stage-diving)<\/em>, audienca filloi ta p\u00ebrdhunonte. Ata ia shqyen teshat, t\u00eb brendshmet, dhe e kap\u00ebn n\u00ebp\u00ebr pjes\u00eb intime, duke i futur edhe gishtat. Titulli “Asking for it” i referohet justifikimeve t\u00eb p\u00ebrdhunuesve t\u00eb cil\u00ebt pretendojn\u00eb se viktimat e tyre ‘e lypin’. Love, nj\u00eblloj si Amos, v\u00eb n\u00eb pik\u00ebpyetje k\u00ebt\u00eb mentalitet p\u00ebrgjat\u00eb k\u00ebng\u00ebs dhe duket se po tallet me m\u00ebnyrat sesi i justifikojn\u00eb k\u00ebta individ\u00eb sjelljen e tyre.<\/p>\n

Shembull tjet\u00ebr q\u00eb jehon p\u00ebrdhunimin dhe relacionet e pushtetit mes gjinive, por n\u00eb nj\u00eb form\u00eb tjet\u00ebr, \u00ebsht\u00eb k\u00ebnga \u201cSex Type Thing\u201d nga Stone Temple Pilots \u2013 nj\u00eb nga\u00a0grunge<\/em>-grupet m\u00eb t\u00eb m\u00ebdha t\u00eb \u201990-ave. Kjo k\u00ebng\u00eb, n\u00eb t\u00eb kund\u00ebrt\u00ebn nga ato t\u00eb lartp\u00ebrmendurat, nuk ka t\u00eb b\u00ebj\u00eb me traum\u00ebn personale nga perspektiva e gruas. \u201cSex Type Thing\u201d \u00ebsht\u00eb k\u00ebng\u00eb q\u00eb p\u00ebrshkruan fuqin\u00eb grabitqare maskuline ku vokalisti Weiland mish\u00ebrohet me nj\u00eb rol t\u00eb friksh\u00ebm e agresiv.<\/p>\n

P\u00ebrgjat\u00eb k\u00ebng\u00ebs, Weiland endet p\u00ebrmes\u00a0riff<\/em>-ave t\u00eb r\u00ebnd\u00eb dhe baterive thumbuese me linja si \u201cUn\u00eb t\u00eb thash\u2019 q\u00eb nuk duhej ta vishje at\u00eb fustan\u201d(I said ya shouldn’t have that dress) dhe \u201cUn\u00eb nuk blej apatin\u00eb t\u00ebnde\u201d (I ain’t buying into your apathy) \u2013 me sa duket fjali q\u00eb i drejtohen nj\u00eb subjekti q\u00eb \u00ebsht\u00eb grua. \u00cbsht\u00eb k\u00ebng\u00eb q\u00eb kronikon ndjekjen pa p\u00eblqim dhe vokalisti vesh mask\u00ebn e nj\u00eb burri q\u00eb nuk ndalet gjersa ta arrij\u00eb pren\u00eb. Her\u00ebn e par\u00eb q\u00eb e d\u00ebgjova k\u00ebt\u00eb k\u00ebng\u00eb, teksa ushqeja apetitin p\u00ebr muzik\u00eb n\u00eb Youtube si 15-vje\u00e7are, u g\u00ebrdita dhe u fyeva. Pasi hulumtova p\u00ebr bendin, kuptova se Weiland shkroi k\u00ebt\u00eb k\u00ebng\u00eb pasi q\u00eb e dashura e tij u p\u00ebrdhunua nga nj\u00eb grup burrash. Vokalisti kishte shkruar k\u00ebng\u00ebn p\u00ebr t\u00eb avokuar kund\u00ebr p\u00ebrdhunimit dhe p\u00ebr t\u00eb shp\u00ebrfaqur sesa leht\u00eb burrat abuzojn\u00eb me gra dhe e bindin veten se sulmet jan\u00eb t\u00eb justifikueshme.<\/p>\n

Krejt k\u00ebto shembuj d\u00ebshmojn\u00eb se muzika \u00ebsht\u00eb si arma. Varet se kush e ka n\u00eb dor\u00eb. Mund ta ket\u00eb shtyp\u00ebsi p\u00ebr t\u00eb shtypur; mund ta ket\u00eb e shtypura p\u00ebr t’u \u00e7liruar. Pra, nj\u00ebjt\u00eb si arma, muzika n\u00eb vetvete nuk \u00ebsht\u00eb as emancipuese e as seksiste. Varet se a e ka nj\u00eb mikrofon p\u00ebrpara nj\u00eb pseudoartist seksist dhe mizogjen apo nj\u00eb artist i v\u00ebrtet\u00eb emancipues dhe feminist.<\/p>\n<\/div>\n

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Sh\u00ebmtia q\u00eb si infeksion ka kapluar k\u00ebng\u00ebt n\u00eb gjuh\u00ebn shqipe t\u00eb dhjet\u00ebvje\u00e7arit t\u00eb fundit \u00ebsht\u00eb gati e pakuptueshme. \u201cMe qef e bojm\u00eb, e ti mos um thuj jo. S\u2019po dokesh shqiptare kur ti po bon NO\u201d \u2014 kultur\u00eb p\u00ebrdhunimi. \u201cP\u00ebr mu u bone e padurushme, ta kisha dhez njo t’fort\u00eb hund\u00ebve\u201d \u2014 abuzime fizike. \u201cAllo […]<\/p>","protected":false},"author":3,"featured_media":9453,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[],"ppma_author":[267],"class_list":["post-5337","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike"],"authors":[{"term_id":267,"user_id":0,"is_guest":1,"slug":"eurisa-rukovci","display_name":"Eurisa Rukovci","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/rukovci.jpeg","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/rukovci.jpeg"},"user_url":"","last_name":"","first_name":"","description":"Eurisa Rukovci \u00ebsht\u00eb e lindur m\u00eb 1994. Shkollimin fillor dhe t\u00eb mes\u00ebm e ka p\u00ebrfunduar n\u00eb Kosov\u00eb dhe ShBA, kurse studimet i ka p\u00ebrfunduar n\u00eb Universitetin e Prishtin\u00ebs \u2013 Departamentin e Psikologjis\u00eb. \u00cbsht\u00eb ideatore e aplikacionit t\u00eb par\u00eb p\u00ebr sh\u00ebndetin seksual \u201cShnet\u201d dhe q\u00eb nga viti 2015 shkruan si kolumniste nga Kosova p\u00ebr media regjionale. Eurisa \u00ebsht\u00eb marr\u00eb vazhdimisht me aktiviz\u00ebm, posa\u00e7\u00ebrisht n\u00eb lidhje me t\u00eb drejtat e grave, si dhe ka b\u00ebr\u00eb nj\u00eb s\u00ebr\u00eb hulumtimesh shkencore nga fusha e psikologjis\u00eb sociale dhe kulturore. Fushat e vokacionit t\u00eb saj jan\u00eb psikologjia sociale, sh\u00ebndeti seksual, historiku i l\u00ebvizjeve feministe n\u00eb bot\u00eb dhe kritika e kultur\u00ebs, posa\u00e7\u00ebrisht historia e muzik\u00ebs rock."}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/5337","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/comments?post=5337"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/5337\/revisions"}],"predecessor-version":[{"id":9454,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/5337\/revisions\/9454"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media\/9453"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media?parent=5337"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/categories?post=5337"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/tags?post=5337"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/ppma_author?post=5337"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}