{"id":4141,"date":"2017-11-16T12:11:08","date_gmt":"2017-11-16T10:11:08","guid":{"rendered":"https:\/\/sbunker.org\/?p=4141"},"modified":"2025-01-09T12:17:42","modified_gmt":"2025-01-09T10:17:42","slug":"morendo-apo-ngulfatja-e-artit-kosovar-ne-pese-kohe-ii","status":"publish","type":"post","link":"https:\/\/sbunker.org\/sr\/kritike\/morendo-apo-ngulfatja-e-artit-kosovar-ne-pese-kohe-ii\/","title":{"rendered":"Morendo! Apo ngulfatja e artit kosovar n\u00eb pes\u00eb koh\u00eb – II"},"content":{"rendered":"
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Pjesa e par\u00eb<\/a><\/p>\n

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Allegro ma non troppo\u00a0<\/strong><\/p>\n

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Artin n\u00eb k\u00ebt\u00eb ese e trajtoj n\u00eb kuptimin e tij t\u00eb gjer\u00eb, duke shkuar p\u00ebrtej artit n\u00eb kuptimin e ngusht\u00eb dhe specifik. Nd\u00ebrsa ngulfatjen e artit n\u00eb Kosov\u00eb do ta trajtoj\u00a0n\u00eb sekuenc\u00ebn e Kosov\u00ebs s\u00eb pasluft\u00ebs. \u00cbsht\u00eb pik\u00ebrisht kjo sekuenc\u00eb q\u00eb, n\u00eb nj\u00ebr\u00ebn an\u00eb hap mund\u00ebsi dhe horizonte t\u00eb reja, duke u thirr\u00eb, fillimisht mbi lirin\u00eb e sapofituar e m\u00eb von\u00eb edhe mbi pavar\u00ebsin\u00eb, zhvillimin dhe progresin \u2013 nd\u00ebrsa n\u00eb an\u00ebn tjet\u00ebr, p\u00ebrmes maskimit t\u00eb \u2018liris\u00eb dhe pavar\u00ebsis\u00eb\u2019 u mund\u00ebsua kamuflimi p\u00ebr ngulfatjen e artit ngadal\u00eb e ngadal\u00eb. Por, nga vjen kjo ngulfatje dhe nga kush? \u00a0Jan\u00eb tre dimensione, thell\u00ebsisht politike, q\u00eb kan\u00eb kontribuar \u2013 dikush m\u00eb pak e dikush m\u00eb shum\u00eb, dikush n\u00eb nj\u00eb m\u00ebnyr\u00eb e dikush n\u00eb nj\u00eb tjet\u00ebr \u2013 n\u00eb ngulfatjen e artit n\u00eb Kosov\u00eb. Sigurisht k\u00ebto tre dimensione mund t\u00eb jan\u00eb pak abstrakte dhe jo-komplete, por, gjithsesi, jan\u00eb nj\u00eb pik\u00ebfillim i mir\u00eb p\u00ebr t\u00eb nd\u00ebrtuar nj\u00eb num\u00ebr mendimesh rreth ngulfatjes s\u00eb artit dhe, p\u00ebr t\u2019i shnd\u00ebrruar k\u00ebto mendime n\u00eb akte t\u00eb rezistenc\u00ebs.<\/p>\n

Dimensioni 1:<\/em>\u00a0Rr\u00ebnja. N\u00eb em\u00ebr t\u00eb \u2018autonomis\u00eb artistike\u2019 dhe \u2018modernizimit\u2019, neoliberalizmi e ngulfat\u00eb artin duke e v\u00ebn\u00eb n\u00ebn thundr\u00ebn e \u2018menaxherializmit teknokratik\u2019.<\/p>\n

Paolo Freire, themeluesi i l\u00ebvizjes s\u00eb pedagogjis\u00eb kritike, n\u00eb librin e tij \u201cPedagogjia e t\u00eb shtypurve\u201d shkruan mbi radikalizmin: \u201cNuk ka asgj\u00eb t\u00eb keqe t\u00eb jesh radikal. T\u00eb jesh radikal do t\u00eb thot\u00eb t\u00eb hysh brenda, n\u00eb rr\u00ebnj\u00eb t\u00eb problemit apo t\u00eb \u00e7\u00ebshtjes. Sa m\u00eb shum\u00eb radikal q\u00eb nj\u00eb person \u00ebsht\u00eb, aq m\u00eb shum\u00eb ai apo ajo futet n\u00eb realitet, dhe duke u futur brenda thell\u00eb n\u00eb realitet, ai apo ajo e kuptojn\u00eb mir\u00eb realitetin dhe k\u00ebshtu mund ta transformojn\u00eb at\u00eb\u201d.\u00a0Nd\u00ebrsa, n\u00eb intervist\u00ebn e tij t\u00eb fundit, disa dit\u00eb para se t\u00eb vritet, intelektuali italian Pier Paolo Pasolini thoshte se \u201cfuqia \u00ebsht\u00eb sistemi arsimor q\u00eb ndan\u00a0njer\u00ebzit n\u00eb n\u00ebnshtrues dhe t\u00eb n\u00ebnshtruar. Po i nj\u00ebjti sistem arsimor na formon t\u00eb gjith\u00ebve neve, nga ata q\u00eb i p\u00ebrkasin elit\u00ebs\/establishmentit e deri tek klasat m\u00eb t\u00eb varfra shoq\u00ebrore.\u201d.<\/p>\n

Tashm\u00eb, pas dy referencave t\u00eb m\u00ebsip\u00ebrme, besoj se \u00ebsht\u00eb e kuptueshme q\u00eb degradimi, shkat\u00ebrrimi dhe korruptimi i sistemit arsimor q\u00ebndron n\u00eb thelbin e problemit. N\u00eb em\u00ebr t\u00eb nj\u00eb lloj \u2018modernizimi\u2019, \u2018autonomie\u2019 (n\u00eb kuptimin e ngusht\u00eb neoliberal ) dhe \u2018menaxherializmit\u2019, reformat n\u00eb sistemin arsimor (k\u00ebtu flasim p\u00ebr t\u00eb ashtuquajturat Reformat e Bolonj\u00ebs, thell\u00ebsisht reforma neoliberale) shtyjn\u00eb fakultetet q\u00eb t\u00eb gjejn\u00eb fonde p\u00ebr t\u00eb mbijetuar (kjo n\u00ebnkupton \u00e7mime m\u00eb t\u00eb larta t\u00eb studimeve p\u00ebr student\u00eb dhe kontrata korporatiste p\u00ebr profesor\u00eb) duke i hap rrug\u00eb k\u00ebshtu universiteteve private. Por mbi t\u00eb gjitha, k\u00ebto reforma sjellin drejt shkat\u00ebrrimit t\u00eb asaj q\u00eb Immanual Kant e quante \u201cp\u00ebrdorimi publik i arsyes\u201d duke inkurajuar, p\u00ebrmes propagand\u00ebs s\u00eb saj, q\u00eb let\u00ebrsia, shkencat shoq\u00ebrore dhe arti t\u00eb konsiderohen si privilegje nga student\u00ebt, nd\u00ebrsa teknologjia, inovacioni dhe ekonomia t\u00eb jen\u00eb prioritet p\u00ebr gjithsecilin. Arsimi n\u00ebn Reformat e Bolonj\u00ebs tenton q\u00eb t\u00eb prodhoj\u00eb, p\u00ebr t\u00eb cituar Slavoj ?i?ekun, ekspert\u00eb teknokratik q\u00eb i sh\u00ebrbejn\u00eb tregut t\u00eb lir\u00eb dhe pushtetit, p\u00ebr dallim nga arsimi i v\u00ebrtet\u00eb q\u00eb ka p\u00ebr q\u00ebllim t\u00eb prodhoj\u00eb mendimtar\u00eb, artist\u00eb, shkenc\u00ebtar\u00eb, humanist\u00eb apo intelektual\u00eb autentik\u00eb q\u00eb e k\u00ebpusin veten e tyre me ideologjin\u00eb ekzistuese duke krijuar k\u00ebshtu hap\u00ebsira t\u00eb reja, t\u00eb panjohura m\u00eb par\u00eb. Por, \u2018menaxherializmi teknokratik\u2019 i neoliberalizmit \u2013 n\u00eb fush\u00ebn e artit shpesh e maskuar n\u00ebn petkun e fondacioneve \u2013 sjell shtr\u00ebngime dhe ngulfatje n\u00eb vet pun\u00ebn e artistit. I shtr\u00ebnguar q\u00eb t\u00eb siguroj\u00eb fonde p\u00ebr t\u2019i mbijetuar tregut neoliberal, artisti \u00ebsht\u00eb i detyruar q\u00eb t\u00eb punoj\u00eb brenda afateve t\u00eb caktuara [deadlines], dhe n\u00ebn k\u00ebto kushte, shum\u00eb artist\u00eb p\u00ebrfundojn\u00eb n\u00eb p\u00ebrs\u00ebritje t\u00eb vetes s\u00eb tyre; p\u00ebrfundojn\u00eb n\u00eb art q\u00eb k\u00ebnaq shijet e nj\u00eb elite t\u00eb vog\u00ebl t\u00eb pushtetit apo nj\u00eb ki\u00e7i monotono-rutinor pa kurrfar\u00eb vlerash artistike, i prodhuar p\u00ebr konsum. Nj\u00eblloj, shumica e nd\u00ebrhyrjeve artistike n\u00eb Kosov\u00ebn e pasluft\u00ebs nuk jan\u00eb krijuese, nuk jan\u00eb universale, por jan\u00eb sh\u00ebrbyese t\u00eb ideologjis\u00eb dominante: nga Newborn-i n\u00eb LetGoEu (dhe shum\u00eb t\u00eb tjera n\u00eb fusha t\u00eb ndryshme t\u00eb artit), t\u00eb gjitha k\u00ebto nd\u00ebrhyrje malinje n\u00eb hap\u00ebsira publike, servile ndaj ngjyr\u00ebs s\u00eb verdh\u00eb t\u00eb Evrop\u00ebs teknokratike. T\u00eb gjitha k\u00ebto nd\u00ebrhyrje artistike t\u00eb verdha q\u00eb n\u00eb vetvete ng\u00ebrthejn\u00eb konsensusin e ideologjis\u00eb hegjemonike neoliberale, mund t\u2019i p\u00ebrmbledhim s\u00eb bashku n\u00eb em\u00ebrtimin e dhan\u00eb nga Agon Hamza: \u201cideologjia e NewBorn-it\u201d.<\/p>\n

Dimensioni 2: Simptoma. Arti si komoditet; arti si konsum.\u00a0\u00a0 \u00a0 \u00a0\u00a0 \u00a0 \u00a0\u00a0\u00a0<\/em><\/p>\n

Fjala \u2018ngulfatje\u2019 \u00ebsht\u00eb specifike n\u00eb kontekstin ton\u00eb: sepse ngulfatja \u00ebsht\u00eb akt manual i nj\u00eb qenie humane\/ animale p\u00ebr t\u2019ia marr jet\u00ebn qenies tjet\u00ebr, ngadal\u00eb-ngadal\u00eb. \u00cbsht\u00eb akt i ftoft\u00eb, torturues, i paramenduar, vras\u00ebs. Pik\u00ebrisht n\u00eb k\u00ebt\u00eb sens, praktikat, politikat dhe eksperimentet neoliberale jan\u00eb t\u00eb paramenduara n\u00eb m\u00ebnyr\u00eb precize, t\u00eb kalkuluara, p\u00ebr t\u2019ia marr\u00eb jet\u00ebn artit n\u00eb Kosov\u00eb. Duke e ngulfat\u00eb artin, dhe si pasoj\u00eb nj\u00ebr\u00ebn prej procedurave t\u00eb V\u00ebrtet\u00ebs, sistemi neoliberal tenton q\u00eb ta ngulfas\u00eb edhe tipin subjektiv\u00eb artistik apo t\u00eb V\u00ebrtet\u00ebn singulare, q\u00eb do t\u00eb thot\u00eb, figur\u00ebn e Artistes. Me ngulfatjen e artit, si nj\u00ebra prej procedurave t\u00eb V\u00ebrtet\u00ebs, si dhe tipin subjektiv, Artistiken, q\u00eb futet brenda k\u00ebsaj procedure, p\u00ebrfundimisht, nj\u00ebra prej kat\u00ebr kushteve t\u00eb filozofis\u00eb, nj\u00ebra prej kat\u00ebr shtyllave t\u00eb shoq\u00ebris\u00eb do t\u00eb shembej, e me t\u00eb edhe e V\u00ebrteta singulare.<\/p>\n

Sigurisht, komodifikimi i artit \u00ebsht\u00eb nj\u00ebra prej praktikave dhe eksperimenteve neoliberale q\u00eb ka \u00e7uar drejt ngulfatjes s\u00eb artit. Ky komodifikim e shtyn artin q\u00eb t\u00eb funksionoj\u00eb brenda ideologjis\u00eb ekzistuese: t\u00eb mbroj\u00eb status quo-n, t\u00eb jet\u00eb jo-kritike dhe apolitike, t\u2019i sh\u00ebrbej\u00eb tregut p\u00ebr konsum, e k\u00ebshtu me radh\u00eb. Kur ne flasim sot mbi kryeveprat e m\u00ebdha muzikore t\u00eb shekullit nj\u00ebzet\u00eb, ne flasim p\u00ebr nj\u00eb thyerje q\u00eb k\u00ebto vepra kan\u00eb b\u00eb me ideologjin\u00eb dominante \u2013 thyerje e cila ka hapur horizonte t\u00eb reja p\u00ebr zbulime kreative t\u00eb cilat pastaj kan\u00eb kulminuar me kryevepra.<\/p>\n

Shtr\u00ebngimi i artit q\u00eb t\u00eb funksionoj\u00eb brenda pozitave ideologjike dhe logjik\u00ebs s\u00eb kapitalizmit \u2013 pra arti t\u00eb prodhohet si konsum p\u00ebr tregun \u2013 nuk \u00ebsht\u00eb gj\u00eb tjet\u00ebr ve\u00e7se nj\u00eb form\u00eb e fashizmit kulturor. Por ekziston nj\u00eb fush\u00eb artistike t\u00eb cil\u00ebn ky fashiz\u00ebm kulturor, i ushqyer dhe mb\u00ebshtetur nga logjika neoliberale kapitaliste, nuk do t\u00eb mundet asnj\u00ebher\u00eb ta mbys\u00eb (kjo nuk do t\u00eb thot\u00eb se nuk do ta shtr\u00ebngoj\u00eb dhe ngulfas\u00eb): kjo \u00ebsht\u00eb poezia. Pier Paolo Pasolini thoshte se poezin\u00eb nuk mund ta konsiderojm\u00eb si nj\u00eb mall apo si nj\u00eb komoditet sepse \u201cpoezia, edhe pse prodhohet, ky prodhim realisht \u00ebsht\u00eb i pakonsumuesh\u00ebm, dhe prandaj ekziston nj\u00eb raport i \u00e7uditsh\u00ebm n\u00eb mes t\u00eb poetit dhe konsumatorit. Prandaj un\u00eb, thoshte Pasolin, prodhoj nj\u00eb mall, nj\u00eb komoditet, poezin\u00eb, q\u00eb \u00ebsht\u00eb e pakonsumueshme: do t\u00eb vdes un\u00eb, do t\u00eb vdes\u00eb botuesi im, do t\u00eb vdes\u00eb e gjith\u00eb shoq\u00ebria jon\u00eb, do t\u00eb vdes\u00eb kapitalizmi, por poezia do t\u00eb mbes\u00eb gjithmon\u00eb e pakonsumueshme\u201d.<\/p>\n

N\u00eb nj\u00eb tjet\u00ebr intervenim t\u00eb tij, Pier Paolo Pasolini, flet p\u00ebr dy fjal\u00eb, n\u00eb fakt dy fenomene, q\u00eb ishin pjes\u00eb kryesore e diskursit publik t\u00eb Italis\u00eb s\u00eb viteve \u201860-ta dhe \u201870-ta; e k\u00ebto dy fjal\u00eb kryesore, apo fenomene, jan\u00eb: \u00abzhvillimi\u00bb dhe \u00abprogresi\u00bb. P\u00ebr \u00abzhvillimin\u00bb, Pasolini thoshte se \u201cfjala \u00abzhvillim\u00bb ka sot nj\u00eb referenc\u00eb q\u00eb p\u00ebrdoret n\u00eb nj\u00eb kontekst, padyshim, t\u00eb politikave t\u00eb djathta. Kush e d\u00ebshiron sot \u00abzhvillimin\u00bb? Me fjal\u00eb tjera, kush e d\u00ebshiron, jo n\u00eb m\u00ebnyr\u00eb abstrakte dhe ideale, por n\u00eb m\u00ebnyr\u00eb konkrete dhe p\u00ebr arsye t\u00eb menj\u00ebhershme t\u00eb interesave ekonomike? \u00cbsht\u00eb evidente: ata q\u00eb e d\u00ebshirojn\u00eb \u00abzhvillimin\u00bb n\u00eb k\u00ebt\u00eb sens jan\u00eb ata q\u00eb prodhojn\u00eb; jan\u00eb ata, industrialist\u00ebt. Dhe, \u00ebsht\u00eb pik\u00ebrisht ky \u00abzhvillim\u00bb, q\u00eb n\u00eb Itali, aktualisht, p\u00ebrmes industrialist\u00ebve, prodhon \u2018mallra tepric\u00eb\u2019. […] Konsumator\u00ebt e \u2018mallrave tepric\u00eb\u2019, jan\u00eb n\u00eb an\u00ebn e tyre [t\u00eb industrialist\u00ebve], jo-racionalisht dhe padijeni jan\u00eb n\u00eb pajtueshm\u00ebri me \u00abzhvillimin\u00bb. P\u00ebr ata [\u00abzhvillimi\u00bb] do t\u00eb thot\u00eb promovim shoq\u00ebror dhe liri, duke rezultuar k\u00ebshtu n\u00eb mohimin e vlerave kulturore q\u00eb ishin furnizuar nga modelet e t\u00eb \u201cvarf\u00ebrve\u201d, t\u00eb \u201cpun\u00ebtor\u00ebve\u201d, t\u00eb \u201ckursimtar\u00ebve\u201d, t\u00eb \u201cushatr\u00ebve\u201d, t\u00eb \u201cbesimtar\u00ebve\u201d. Masa, pra, \u00ebsht\u00eb p\u00ebr \u00abzhvillimin\u00bb: por ajo e jeton k\u00ebt\u00eb ideologji t\u00eb saj\u00ebn vet\u00ebm ekzistencialisht, dhe ekzistencializmi \u00ebsht\u00eb bart\u00ebsi i vlerave t\u00eb reja t\u00eb konsumit. Por kjo nuk e zvog\u00eblon at\u00eb q\u00eb zgjedhja e tyre t\u00eb jet\u00eb vendimtare, triumfale, dhe e eg\u00ebr.\u201d. Nd\u00ebrsa sa i p\u00ebrket \u00abprogresit\u00bb, Pasolini vazhdon k\u00ebshtu intervenimin e tij: \u201cKush e d\u00ebshiron \u00abprogresin\u00bb? E d\u00ebshirojn\u00eb ata q\u00eb nuk kan\u00eb interesa t\u00eb menj\u00ebhershme p\u00ebr tu k\u00ebnaqur, vet\u00ebm, p\u00ebrmes \u00abprogresit\u00bb: e d\u00ebshirojn\u00eb pun\u00ebtor\u00ebt, fshatar\u00ebt, intelektual\u00ebt e majt\u00eb. E d\u00ebshirojn\u00eb ata q\u00eb punojn\u00eb dhe q\u00eb jan\u00eb t\u00eb shfryt\u00ebzuar. Kur them \u201ce d\u00ebshirojn\u00eb\u201d e them n\u00eb nj\u00eb sens autentik dhe total (mund t\u00eb jet\u00eb edhe ndonj\u00eb \u201cprodhues\u201d q\u00eb e d\u00ebshiron, p\u00ebrtej \u00e7do gj\u00ebje, dhe ndoshta n\u00eb m\u00ebnyr\u00eb t\u00eb sinqert\u00eb, \u00abprogresin\u00bb: por rasti i tij nuk p\u00ebrb\u00ebn asgj\u00eb). \u00abProgresi\u00bb, prandaj, \u00ebsht\u00eb nj\u00eb nocion ideal (social dhe politik): atje ku \u00abzhvillimi\u00bb \u00ebsht\u00eb nj\u00eb fakt pragmatik dhe ekonomik.<\/p>\n

T\u00eb dy sh\u00ebnjuesit [signifiers] \u2013 \u00abzhvillimi\u00bb dhe \u00abprogresi\u00bb \u2013 q\u00eb Pasolini i trajton n\u00eb intervenimin e tij, jan\u00eb sh\u00ebnjues t\u00eb st\u00ebr-p\u00ebrdorur n\u00eb Kosov\u00ebn e pasluft\u00ebs. Por ato jan\u00eb, gjithashtu, sh\u00ebnjues bosh [empty signifiers], pa kurrfar\u00eb p\u00ebrmbajtje. Prandaj, asnj\u00eb prej k\u00ebtyre dy sh\u00ebnjuesve nuk mund t\u00eb aplikohen n\u00eb kontekstin ekzistues kosovar. Boshll\u00ebku i tyre, kriza identitare q\u00eb t\u00eb dy sh\u00ebnjuesit p\u00ebsojn\u00eb n\u00eb kontekstin kosovar \u00ebsht\u00eb, rrjedhimisht, e lidhur ngusht\u00eb me kriz\u00ebn e gj\u00ebr\u00eb kulturore n\u00eb Kosov\u00eb (duke p\u00ebrjashtuar disa suksese aksidentale). Dhe kjo kriz\u00eb kulturore vjen n\u00eb nj\u00eb moment kritik t\u00eb shoq\u00ebris\u00eb; n\u00eb nj\u00eb moment kur nj\u00eb lloj shoq\u00ebrie pushon s\u00eb funksionuari (shoq\u00ebria kosovare e paraluft\u00ebs), nd\u00ebrsa nj\u00eb tjet\u00ebr fillon (shoq\u00ebria kosovare e pasluft\u00ebs), dhe n\u00eb mes t\u00eb pushuarit dhe fillimit ekziston nj\u00eb \u2018moment bosh\u2019, nj\u00eb \u2018moment zero\u2019. (K\u00ebshtu e em\u00ebrton shoq\u00ebrin\u00eb italiane t\u00eb viteve \u201860-ta, Pasolini). Pik\u00ebrisht n\u00eb k\u00ebt\u00eb moment bosh, n\u00eb k\u00ebt\u00eb moment zero, kultura sillet rreth vetvet\u00ebs, si nj\u00eb vorbull, si e trent\u00eb, sepse ata q\u00eb e b\u00ebjn\u00eb kultur\u00ebn, artin (artistja, literasti, poetja, dramaturgu, kineasti, muzicientja, filozofi, etj.) nuk kan\u00eb m\u00eb asnj\u00eb referenc\u00eb t\u00eb p\u00ebrpikt\u00eb n\u00eb shoq\u00ebri q\u00eb do t’i shtyente ata ta shprehin p\u00ebrmes akteve artistike. Kriza artistike, kulturure, prandaj, \u00ebsht\u00eb nj\u00eb kriz\u00eb th\u00ebll\u00ebsisht shoq\u00ebrore. Dhe n\u00eb nj\u00eb kriz\u00eb t\u00eb till\u00eb shoq\u00ebrore, dualizmit t\u00eb Pasolini \u2013 \u00abzhvillim\u00bb dhe \u00abprogres\u00bb \u2013 duhet t@i shtohet nj\u00eb fjal\u00eb tjet\u00ebr, nj\u00eb sh\u00ebnjues tjet\u00ebr \u2013 \u00abrevolucion\u00bb.<\/p>\n

Ndon\u00ebse sh\u00ebnjuesi \u00abrevolucion\u00bb \u00ebsht\u00eb degraduar jasht\u00ebmase p\u00ebrmes p\u00ebrvet\u00ebsimit t\u00eb kuptimit orgjinal t\u00eb tij, duke e p\u00ebrdorur n\u00eb sensin strikt kapitalist, q\u00eb do t\u00eb thot se, \u00abrevolucioni\u00bb lejohet n\u00eb industri, n\u00eb prodhim, n\u00eb treg, n\u00eb produkt, etj. Prandaj, jo m\u00eb kot, sot d\u00ebgjojm\u00eb me nj\u00eb frekuenc\u00eb t\u00eb papar\u00eb se si \u00e7do korporat\u00eb tenton t\u00eb sjell\u00eb \u00abrevolucion\u00bb n\u00eb treg p\u00ebrmes prodhimit t\u00eb markave p\u00ebr tu konsumuar pastaj nga masa. Nuk \u00ebsht\u00eb ky sh\u00ebnjuesi \u00abrevolucion\u00bb q\u00eb po e propozoj un\u00eb. Sh\u00ebnjuesi \u00abrevolucion\u00bb q\u00eb propozoj un\u00eb ka kuptimin e \u00e7lirimit n\u00eb kuptimin strikt t\u00eb iluminizmit evropian: \u00e7lirimin nga zot\u00ebrimi, \u00e7lirimin nga t\u00eb qenurit i zotnuar. P\u00ebr ta p\u00ebrmbyllur k\u00ebt\u00eb dimension, le t\u2019i identifikojm\u00eb tri elementet kryesore, ndoshta p\u00ebrmes nj\u00eb triade hegeliane, ku n\u00eb kontekstin ekzistues kosovar do t\u00eb duken k\u00ebshtu: \u00abzhvillimi\u00bb p\u00ebrfaq\u00ebson narrativ\u00ebn neoliberale t\u00eb propaganduar dhe shp\u00ebrndar\u00eb nga ambasadat e huaja dhe organizatat nd\u00ebrkomb\u00ebtare; \u00abprogresi\u00bb p\u00ebrfaq\u00ebson narrativ\u00ebn e ideologjis\u00eb ekzistuese dominante, q\u00eb n\u00eb k\u00ebto gati dy dekada t\u00eb qeversjes s\u00eb pasluft\u00ebs ka shkat\u00ebrruar dhe privat\u00ebzuar (gjithmon\u00eb n\u00eb em\u00ebr t\u00eb \u00abprogresit\u00bb dhe \u00abzhvillimit\u00bb); dhe \u00abrevolucion\u00bb p\u00ebrfaq\u00ebson sintez\u00ebn e vetme q\u00eb, jo vet\u00ebm se do ti kthente identitin e v\u00ebrtet\u00eb \u00abprogresit\u00bb dhe \u00abzhvillimit\u00bb, por do ta shtyente shoq\u00ebrin\u00eb q\u00eb t\u00eb dal nga ky moment bosh, pra nga kjo kriz\u00eb e thell\u00eb, dhe, rrjedhimisht, t\u00eb fillonte nj\u00eb sekuenc\u00eb t\u00eb re p\u00ebr shoq\u00ebrin\u00eb kosovare. Sekuenc\u00eb t\u00eb cil\u00ebn Alain Badiou do ta quante si \u201cmund\u00ebsi e mund\u00ebsive\u201d.<\/p>\n

Dimensioni 3: Reaksioni. Tok\u00eb me nda nuk kam \/ Hasmi n\u00eb pidh t’sam\u00ebs \/ Me vdek\u00eb duhet m\u00ebsue \/ Qen\u00e7e nuk jetohet ma.\u00a0<\/em><\/p>\n

P\u00ebr ta parafrazuar Pasolinin: vdiq Podrimja, do t\u00eb vdesin botuesit e tij, do t\u00eb vdes\u00eb kapitalizmi, do t\u00eb vdesim t\u00eb gjith\u00eb ne, por jo, asnj\u00ebher\u00eb, nuk do t\u00eb vdesin poezit\u00eb e tij. Vargjet e m\u00ebsip\u00ebrme t\u00eb Podrimjes p\u00ebrshkruajn\u00eb m\u00eb s\u00eb miri at\u00eb q\u00eb un\u00eb propozova m\u00eb lart\u00eb, n\u00eb dimensionin e dyt\u00eb: revolucionin p\u00ebr t\u2019u \u00e7liruar\u2026 nga zot\u00ebrimi, neokolonializmi, fashizmi, \u00e7njer\u00ebzimi. Podrimja, p\u00ebrmes nj\u00eb akti autentik t\u00eb rezistenc\u00ebs, thyen situat\u00ebn e zakonshme apo ideologjin\u00eb dominante n\u00eb t\u00eb cil\u00ebn jetonte \u2013 p\u00ebrmes artit t\u00eb tij, poezis\u00eb \u2013 duke thirrur p\u00ebr t\u2019u \u00e7liruar nga \u00e7njer\u00ebzimi i t\u00eb jetuarit qen\u00e7e. Kjo thyerje, p\u00ebr Podrimj\u00ebn, p\u00ebrfaq\u00ebson nj\u00eb \u201cprocedur\u00eb t\u00eb s\u00eb V\u00ebrtet\u00ebs\u201d n\u00eb kuptimin e plot\u00eb Badiou-an. Ashtu sikurse p\u00ebrfaq\u00ebson, n\u00eb m\u00ebnyr\u00eb t\u00eb shk\u00eblqyeshme, nj\u00eb tjet\u00ebr poezi e tij, e titulluar \u201cMagjupja\u201d (Podrimja k\u00ebtu p\u00ebrdor\u00eb q\u00ebllimisht termin p\u00ebr\u00e7mues p\u00ebr rom\u00ebt\u2014term q\u00eb p\u00ebrdoret gjithandej Ballkanit\u2014duke injoruar k\u00ebshtu totalisht artificialitetin hermeneutik t\u00eb korrekt\u00ebsis\u00eb politike), vuajtjen, \u00e7njer\u00ebzimin, diskriminimin dhe racizmin ndaj figur\u00ebs s\u00eb gruas rome. P\u00ebrmes k\u00ebsaj poezie, Podrimja trajton nj\u00eb num\u00ebr \u00e7\u00ebshtjesh: nga diskriminimi dhe abuzimi i gruas tek racizmi, etj. Vet\u00ebm p\u00ebrmes nj\u00eb poezie, Podrimja thot\u00eb shum\u00eb ma shum\u00eb, \u00ebsht\u00eb m\u00eb feminist\u00a0sesa feminist\u00ebt liberal \u00e0 la J. Trudeau, dhe jep nj\u00eb akt rezistence shum\u00eb m\u00eb t\u00eb madhe dhe autentike sesa donacionet e panum\u00ebrta t\u00eb shp\u00ebrndara n\u00eb em\u00ebr t\u00eb \u00abzhvillimit\u00bb, \u00abprogresit\u00bb dhe humanitarizmit.<\/p>\n

Ja disa vargje nga \u201cMagjupja\u201d e Podrimjes: Un\u00eb jam gruaja m\u00e2 e bukur dhe m\u00e2 e keqe \/ E qytetit tim. \/ Un\u00eb jam e \u00e7njerzueme \u2013 \/ Rinin ua fala rrug\u00ebve t\u2019unta \/ N\u2019dalldisjen time, \/ Kur thimthat e gjinjve i shkurtova p\u00ebr jarana… \/ Un\u00eb jam dashnorja e gjithkujt. \/ Kam k\u00ebndue, prej agimit n\u2019agim, n\u00eb sht\u00ebpin e panjoftun \/ Shejtani im. \/ Prej agimit n\u2019agim… \/ Kalle, Magjupe, pash bes\u00ebn, kalle! \/ Shtat\u00eb mahall\u00eb kan\u00eb pi kafen e zez\u00eb t\u00eb syve t\u2019mij filxhan, \/ Shtat\u00eb mahall\u00eb jan\u00eb dej\u00eb me gurgullimat e gazit dhe vajit tim!<\/p>\n

N\u00eb librin e tij \u201cEpoka e poet\u00ebve dhe shkrime tjera t\u00eb poezis\u00eb dhe proz\u00ebs s\u00eb shekullit nj\u00ebzet\u201d, Alain Badiou thekson se \u201cn\u00eb shekullin e kaluar, disa poet\u00eb v\u00ebrtet\u00eb t\u00eb shquar, n\u00eb pothuajse t\u00eb gjitha gjuh\u00ebt e bot\u00ebs, kan\u00eb qen\u00eb komunist\u00eb. N\u00eb m\u00ebnyr\u00eb eksplicite apo formale, p\u00ebr shembull, k\u00ebta poet\u00eb ishin angazhuar p\u00ebr komunizmin: n\u00eb Turqi ishte N\u00e2zim Hikmet; n\u00eb Kili, Pablo Neruda; n\u00eb Spanj\u00eb, Rafael Alberti; n\u00eb Itali, Eduardo Sanguinetti; n\u00eb Greqi, Yannis Ritsos; n\u00eb Kin\u00eb, Ai Qing; n\u00eb Palestin\u00eb, Mahmoud Darwish; n\u00eb Peru, C\u00e9sar Vallejo; dhe n\u00eb Gjermani, shembulli i shk\u00eblqyesh\u00ebm \u00ebsht\u00eb, mbi t\u00eb gjith\u00eb, Bertolt Brecht\u201d. Ky relacion nd\u00ebrmjet poet\u00ebve dhe komunizmit, vazhdon Badiou, ekziston vet\u00ebm n\u00ebse e kuptojm\u00eb \u2018komunizmin\u2019 n\u00eb sensin e tij primar, q\u00eb \u00ebsht\u00eb: shqet\u00ebsimi p\u00ebr at\u00eb se \u00e7ka \u00ebsht\u00eb e p\u00ebrbashk\u00ebt p\u00ebr t\u00eb gjith\u00eb. Prandaj, \u201cpoet\u00ebt jan\u00eb komunist\u00eb p\u00ebr nj\u00eb arsye kryesore, e cila \u00ebsht\u00eb absolutisht esenciale: fusha e tyre \u00ebsht\u00eb gjuha, shpeshher\u00eb gjuha e tyre amtare. Dhe, gjuha \u00ebsht\u00eb di\u00e7ka q\u00eb i jepet gjithkujt q\u00eb nga lindja, si nj\u00eb e mir\u00eb e p\u00ebrbashk\u00ebt absolute. Poet\u00ebt jan\u00eb ata q\u00eb e b\u00ebjn\u00eb gjuh\u00ebn t\u00eb thot\u00eb at\u00eb q\u00eb duket e pamundur t\u00eb thuhet. Poet\u00ebt jan\u00eb ata q\u00eb k\u00ebrkojn\u00eb t\u00eb krijojn\u00eb brenda gjuh\u00ebs emra t\u00eb rinj\u00a0q\u00eb t\u00eb em\u00ebrojn\u00eb ato, t\u00eb cilat para poezis\u00eb, nuk kishin ndonj\u00eb em\u00ebr. \u00cbsht\u00eb esenciale p\u00ebr poezin\u00eb q\u00eb k\u00ebto zbulime, k\u00ebto krijime, t\u00eb cilat jan\u00eb internale n\u00eb gjuh\u00eb, kan\u00eb fatin e nj\u00ebjt\u00eb sikurse vet\u00eb gjuha amtare: p\u00ebr ato t’i jepen gjithkujt, pa p\u00ebrjashtim. Poezia \u00ebsht\u00eb dhurat\u00eb q\u00eb poeti ja b\u00ebn\u00eb gjuh\u00ebs. Por kjo dhurat\u00eb, sikurse vet\u00eb gjuha, \u00ebsht\u00eb destinuar q\u00eb t\u00eb jet\u00eb e p\u00ebrbashk\u00ebt \u2013 q\u00eb do t\u00eb thot\u00eb, tek kjo pik\u00eb anonime ku gjith\u00e7ka \u00e7far\u00eb ka r\u00ebnd\u00ebsi nuk \u00ebsht\u00eb nj\u00eb person ve\u00e7an\u00ebrisht por t\u00eb gjith\u00eb, n\u00eb singularitet.\u201d.<\/p>\n

Pik\u00ebrisht e p\u00ebrbashk\u00ebta \u00ebsht\u00eb ajo q\u00eb sulmohet, q\u00eb ngulfatet, nga politikat neoliberale. E p\u00ebrbashk\u00ebta p\u00ebr neoliberalizmin paraqet rrezik p\u00ebr politikat dhe ideologjin\u00eb e saj\u00eb, \u00ebsht\u00eb e ide e vjet\u00ebr q\u00eb duhet harruar sikurse socializmi apo komunizmi. E p\u00ebrbashk\u00ebta duhet t\u00eb ket\u00eb vet\u00ebm nj\u00eb destinim: transformimin e saj n\u00eb private.<\/p>\n

N\u00eb k\u00ebt\u00eb linj\u00eb\u2014p\u00ebr t\u00eb marr\u00eb vet\u00ebm nj\u00eb shembull (por ka plot t\u00eb till\u00eb) konkret, lokal, dhe singular\u2014mund t\u00eb shihet edhe thirrja e Agjencionit Kosovar t\u00eb Privatizimit p\u00ebr t\u00eb privatizuar kineman\u00eb e vetme t\u00eb Pej\u00ebs \u201cJusuf G\u00ebrvalla\u201d. Kjo kinema e cila ka sh\u00ebrbyer si nj\u00eb pik\u00eb reference e p\u00ebrbashk\u00ebt p\u00ebr t\u00eb rinjt\u00eb pejan apo si\u00e7 e thot\u00eb vet deklarata e shoq\u00ebris\u00eb civile q\u00eb kund\u00ebrshtonte privatizimin e kinemas\u00eb: \u201c[kinemaja] p\u00ebrfaq\u00ebson nj\u00eb pasuri t\u00eb p\u00ebrbashk\u00ebt kulturore e cila vazhdimisht kontribuon n\u00eb nd\u00ebrtimin e k\u00ebsaj shoq\u00ebrie.\u201d. Privatizimin e kinemas\u00eb mund ta shohim k\u00ebshtu: nuk ka alternativ\u00eb, nuk ka ndonj\u00eb imperativ tjet\u00ebr \u2013 e p\u00ebrbashk\u00ebta duhet t\u00eb b\u00ebhet private. K\u00ebshtu, duke u b\u00ebr\u00eb private ajo duhet t’i sh\u00ebrbej\u00eb tregut, konsumit, dhe m\u00eb gjer\u00eb sistemit kapitalist n\u00eb t\u00ebr\u00ebsi. Vet\u00ebm si e till\u00eb, pastaj, ajo mund ti hap dyert p\u00ebr artist\u00ebt t\u00eb cil\u00ebt mund t\u00eb (bashk\u00eb)punojn\u00eb vet\u00ebm n\u00ebn kushtet e tregut. Me fjal\u00eb tjera artistikja \u00ebsht\u00eb e ngulfatun n\u00eb shprehjen e virtuozitetit t\u00eb saj kreativ duke e humbur besnik\u00ebrin\u00eb ndaj linj\u00ebs s\u00eb saj kreative, t\u00eb kusht\u00ebzuar nga tregu dhe konsumi. Vet\u00ebm n\u00eb p\u00ebrmbushjen e nevojave t\u00eb k\u00ebtyre dyve t\u00eb fundit, artistja mund t\u00eb (bashk\u00eb)punoj\u00eb me kineman\u00eb e privatit. Kjo skem\u00eb \u2013 t\u00eb cil\u00ebn un\u00eb e quaj Reaksion, i ushqyer nga Rr\u00e2nja (p\u00ebrmes arsyetimeve p\u00ebr \u2018autonomi artistike\u2019, \u2018modernizim\u2019, dhe \u2018menaxherializ\u00ebm teknokratik\u2019) dhe i manifestuar nga Simptoma (p\u00ebrmes jet\u00ebsimeve artistike si komoditet dhe konsum) \u2013 \u00ebsht\u00eb aplikuar pothuajse n\u00eb t\u00eb gjitha fushat: bujq\u00ebsi, ambient, hap\u00ebsira publike, urbaniz\u00ebm\/arkitektur\u00eb, infrastruktur\u00eb publike, ngjarje kulturore, etj.<\/p>\n

N\u00eb disa fusha tjera, si p\u00ebr shembull, sh\u00ebndet\u00ebsi apo arsim, kjo skem\u00eb aplikohet p\u00ebrmes mos\/n\u00ebn-financimit [de-funding] t\u00eb k\u00ebtyre sektor\u00ebve nga ana e shtetit, duke shkaktuar k\u00ebshtu frustrime dhe idhnime t\u00eb m\u00ebtejshme brenda stafit dhe sh\u00ebrbim-marr\u00ebsve, dhe si pasoj\u00eb, duke i hap\u00eb rrug\u00eb privatizimit t\u00eb sektor\u00ebve ky\u00e7e dhe m\u00eb vitale t\u00eb shoq\u00ebris\u00eb, deri n\u00eb privatizimin e plot\u00eb t\u00eb tyre. Madje, koh\u00ebt e fundit kjo manifestohet n\u00ebn petkun e rrejsh\u00ebm, por \u201cinovativ\u201d, t\u00eb Partneriteteve Publiko-Private (PPP).<\/p>\n

N\u00eb k\u00ebto kushte, q\u00ebllimi kryesor, si\u00e7 na m\u00ebson Badiou, \u00ebsht\u00eb q\u00eb t\u00eb orientojm\u00eb vetveten ton\u00eb (pik\u00ebs\u00ebpari ata\/o q\u00eb krijojn\u00eb art, dhe pastaj t\u00eb gjith\u00eb t\u00eb tjer\u00ebt) n\u00eb nivel lokal, pik\u00eb pas pike, n\u00eb at\u00eb m\u00ebnyr\u00eb q\u00eb t\u00eb rind\u00ebrtojm\u00eb guximin p\u00ebr ta mbrojtur t\u00eb p\u00ebrbashk\u00ebt\u00ebn, p\u00ebr t’u \u00e7liruar nga t\u00eb qenurit i zotnuar dhe t\u00eb jetuarit qen\u00e7e dhe, ashtu sikurse poeti ja dhuron poezin\u00eb gjuh\u00ebs, p\u00ebr t\u2019ja dhuruar artin artistes.<\/p>\n

_________<\/p>\n

…Vazhdon n\u00eb pjes\u00ebn e tret\u00eb<\/p>\n

 <\/p>\n<\/div>\n

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Pjesa e par\u00eb   Allegro ma non troppo\u00a0   Artin n\u00eb k\u00ebt\u00eb ese e trajtoj n\u00eb kuptimin e tij t\u00eb gjer\u00eb, duke shkuar p\u00ebrtej artit n\u00eb kuptimin e ngusht\u00eb dhe specifik. Nd\u00ebrsa ngulfatjen e artit n\u00eb Kosov\u00eb do ta trajtoj\u00a0n\u00eb sekuenc\u00ebn e Kosov\u00ebs s\u00eb pasluft\u00ebs. \u00cbsht\u00eb pik\u00ebrisht kjo sekuenc\u00eb q\u00eb, n\u00eb nj\u00ebr\u00ebn an\u00eb hap mund\u00ebsi […]<\/p>","protected":false},"author":175,"featured_media":11786,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[2052,11,1322],"ppma_author":[204],"class_list":["post-4141","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-arti","tag-kosova","tag-kritike"],"authors":[{"term_id":204,"user_id":175,"is_guest":0,"slug":"ron-salaj","display_name":"Ron Salaj","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/download-3-10.jpg","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/download-3-10.jpg"},"user_url":"","last_name":"Salaj","first_name":"Ron","description":"Ron Salaj \u00ebsht\u00eb aktivist dhe hulumtues nd\u00ebrdisplinor mbi t\u00eb drejtat e njeriut, media dhe teknologji, kritik\u00eb teorike, dhe politik\u00eb. "}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/4141","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/users\/175"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/comments?post=4141"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/4141\/revisions"}],"predecessor-version":[{"id":11784,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/4141\/revisions\/11784"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media\/11786"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=4141"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=4141"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=4141"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=4141"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}