{"id":4179,"date":"2018-02-11T11:48:57","date_gmt":"2018-02-11T09:48:57","guid":{"rendered":"https:\/\/sbunker.org\/?p=4179"},"modified":"2024-11-12T11:51:17","modified_gmt":"2024-11-12T09:51:17","slug":"romeot-qe-shembin-fasaden-e-prishtines","status":"publish","type":"post","link":"https:\/\/sbunker.org\/sr\/uncategorized\/romeot-qe-shembin-fasaden-e-prishtines\/","title":{"rendered":"Romeot q\u00eb shembin fasad\u00ebn e Prishtin\u00ebs"},"content":{"rendered":"
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\u00cbsht\u00eb pranvera e vitit 1999 dhe bombat e NATO-s bien mbi Prishtin\u00eb. Familjet strehojn\u00eb nj\u00ebra-tjetr\u00ebn n\u00eb banesa. N\u00eb sof\u00ebr, t\u00eb rriturit flasin p\u00ebr rreziqet nga policia serbe. T\u00eb rinjt\u00eb gjejn\u00eb ikje n\u00eb loj\u00ebra kompjuterash.<\/p>\n

Shoq\u00ebrimi intim brenda mureve dhe k\u00ebrc\u00ebnimi i p\u00ebrbashk\u00ebt ushqejn\u00eb solidaritet. Vdekja mund t\u00eb jet\u00eb pran\u00eb, por prishtinasit gjejn\u00eb ngroht\u00ebsi n\u00eb bashk\u00ebsi. E ndajn\u00eb me nj\u00ebri-tjetrin djathin, i cili n\u00eb k\u00ebto dit\u00eb lufte \u00ebsht\u00eb luks.<\/p>\n

Dy t\u00eb rinj\u00a0e ndajn\u00eb edhe shtratin, n\u00eb nj\u00eb aventur\u00eb t\u00eb fsheht\u00eb dashurie. Lumturia e atyre \u00e7asteve ua jep luksin p\u00ebr ta shp\u00ebrfillur luft\u00ebn si fat.<\/p>\n

Te filmi \u201cMartesa\u201d i Blerta Zeqirit, k\u00ebto skena nga e shkuara z\u00ebn\u00eb vend periferik dhe kan\u00eb funksion narrativ p\u00ebr nd\u00ebrlidhjen e ngjarjeve. Por, p\u00ebr ata q\u00eb e kan\u00eb p\u00ebrjetuar k\u00ebt\u00eb periudh\u00eb, ato krijojn\u00eb edhe efekt dramatik, duke i r\u00ebn\u00eb telit t\u00eb nostalgjis\u00eb.<\/p>\n

Natyrisht, s\u2019ka nostalgji p\u00ebr terrin e t\u00eb 90-ave. Por p\u00ebr at\u00eb ndjenj\u00ebn e k\u00ebndshme t\u00eb bashk\u00ebsis\u00eb dhe bashk\u00ebndjesis\u00eb q\u00eb gjallonte mes nesh, e q\u00eb u shua me ikjen e Serbis\u00eb. P\u00ebr m\u00ebnyrat tona t\u00eb ve\u00e7anta t\u00eb simulimit t\u00eb jet\u00ebs normale dhe t\u00eb ikjes nga ankthi: p\u00ebrmes dashuris\u00eb, sportit, filmave. P\u00ebr idet\u00eb tona t\u00eb romantizuara dhe naive t\u00eb liris\u00eb.<\/p>\n

K\u00ebsisoj, nxitja e nostalgjis\u00eb p\u00ebr nj\u00eb periudh\u00eb t\u00eb qart\u00ebsis\u00eb son\u00eb morale kolektive, i sh\u00ebrben filmit p\u00ebr ta b\u00ebr\u00eb nj\u00eb kontrast emocional me t\u00eb sotmen.<\/p>\n

Sofra e sotme prishtinase shfaqet s\u00ebrish si fole ngroht\u00ebsie familjare. Por ajo tani \u00ebsht\u00eb e mbushur me aq shum\u00eb ushqim, sa q\u00eb ka mbetje mishi edhe p\u00ebr qent\u00eb.<\/p>\n

Njer\u00ebzit p\u00ebrreth tavolin\u00ebs kan\u00eb halle inviduale dhe tipike t\u00eb klas\u00ebs s\u00eb mesme moderne. Tezja e protagonistit kryesor (Melihate Qena) shqet\u00ebsohet nga tepria e kolesterolit. Protagonisti vet\u00eb, Bekimi (Alban Ukaj), \u00ebsht\u00eb i ngrysur sepse ka dilema t\u00eb thella martesore.<\/p>\n

Kontrasti kohor i shqet\u00ebsimeve t\u00eb sofr\u00ebs tregon se sa shum\u00eb kan\u00eb ndryshuar p\u00ebrjetimet dhe kuptimet tona t\u00eb liris\u00eb. Sot njer\u00ebzit e sofr\u00ebs jan\u00eb krijues t\u00eb fatit t\u00eb tyre. Kolesteroli si shkaktar i vdekjes dallon prej plumbit t\u00eb policis\u00eb serbe \u2013 ushqimin q\u00eb e ham\u00eb mund edhe ta zgjedhim.<\/p>\n

Por liria jon\u00eb si shqiptar\u00eb del t\u00eb mos jet\u00eb e mjaftueshme p\u00ebr t\u00eb gjith\u00eb. Bekimi, p\u00ebr shembull, e ka t\u00eb pamundur t\u00eb jet\u00eb bashk\u00eb me dashurin\u00eb e jet\u00ebs. Sepse e do, thell\u00ebsisht, nj\u00eb burr\u00eb \u2013 gj\u00eb kjo krejt e papranueshme p\u00ebr shoq\u00ebrin\u00eb.<\/p>\n

N\u00eb prezenc\u00ebn e t\u00eb dashurit, Nolit (Genc Salihu), Bekimi dikur gjente fuqi p\u00ebr ta shp\u00ebrfillur luft\u00ebn. Tani pa t\u00eb pran\u00eb, liria \u00ebsht\u00eb nj\u00eb gjendje e luft\u00ebs s\u00eb p\u00ebrhershme me vetveten. Nj\u00eb agoni dhe shtirje publike pa fund, q\u00eb e shtyn t\u2019u g\u00ebzohet z\u00ebnkave me t\u00eb fejuar\u00ebn: \u201cZgate zot!<\/em>\u201d<\/p>\n

Fatin e tyre ironik, si homoseksual\u00eb n\u00eb nj\u00eb luft\u00eb kombesh thell\u00ebsisht patriarkale, ia paralajm\u00ebron edhe Noli para luft\u00ebs.<\/p>\n

\u201cSendi i vet\u00ebm q\u00eb mundet me i b\u00e2 bashk\u00eb shqiptar\u00ebt dhe serb\u00ebt \u00e2sht me na zhduk\u00eb neve!\u201d<\/em><\/p>\n

\u201cMartesa\u201d na sfidon me pyetjen: \u00c7far\u00eb lirie \u00ebsht\u00eb ajo q\u00eb e shtyp dashurin\u00eb dhe lumturin\u00eb?<\/p>\n

***<\/p>\n

M\u00eb shum\u00eb se koment shpotit\u00ebs mbi lirin\u00eb individuale n\u00eb Kosov\u00eb, \u201cMartesa\u201d \u00ebsht\u00eb nj\u00eb portret i\u00a0zeitgeist<\/em>-it t\u00eb Prishtin\u00ebs urbane. Filmi arrin ta nxjerr\u00eb n\u00eb shesh mjesht\u00ebrisht kontradikt\u00ebn dhe tensionin e thell\u00eb q\u00eb e b\u00ebjn\u00eb Prishtin\u00ebn t\u00eb jet\u00eb Prishtin\u00eb \u2013 nj\u00eb qytet modern i ngujuar n\u00eb tentativ\u00eb.<\/p>\n

Prishtina e \u201cMartes\u00ebs\u201d nuk \u00ebsht\u00eb thjesht nj\u00eb vend ku \u00ebsht\u00eb shum\u00eb e v\u00ebshtir\u00eb q\u00eb t\u00eb jesh gej. Ajo \u00ebsht\u00eb, si \u00e7do mjedis tjet\u00ebr provincial, sht\u00ebpi e njer\u00ebzve t\u00eb ndrydhur, t\u00eb m\u00ebsuar p\u00ebr ta ruajtur paqen n\u00eb sip\u00ebrfaqe, e p\u00ebr t\u2019u tjet\u00ebrsuar n\u00eb publik. \u00cbsht\u00eb nj\u00eb qyet ku liria individuale e subkulturave kozmopolite bashk\u00ebjeton me mjedisin provincial dhe tradicional, n\u00eb nj\u00eb cik\u00ebl t\u00eb pafund konfliktesh dhe kompromisesh.<\/p>\n

Kontradikta e Prishtin\u00ebs \u00ebsht\u00eb se ajo u jep hap\u00ebsir\u00eb njer\u00ebzve p\u00ebr t\u00eb qen\u00eb t\u00eb lir\u00eb n\u00eb oaza shoq\u00ebrore, por jo edhe n\u00eb\u00a0mainstream<\/em>. I l\u00eb ta l\u00ebpijn\u00eb akulloren her\u00eb pas here me maj\u00eb t\u00eb gjuh\u00ebs, por jo edhe\u00a0t\u00eb ken\u00eb\u00a0<\/em>akullore p\u00ebr t\u00eb l\u00ebpir\u00eb. I nxit t\u00eb duken si n\u00eb Nju Jork, por jo edhe\u00a0t\u00eb jen\u00eb<\/em>\u00a0si n\u00eb Nju Jork. N\u00eb Prishtin\u00eb, m\u00eb shum\u00eb se kudo tjet\u00ebr n\u00eb Kosov\u00eb, ke mund\u00ebsi ta zbulosh veten si gej, por jo edhe t\u00eb jesh gej.<\/p>\n

Sharmi dhe humori i njer\u00ebzve t\u00eb qytetit, omniprezent\u00eb n\u00eb dialog\u00ebt e filmit, burojn\u00eb prej sikletit dhe frustrimit nga manovrimi n\u00ebp\u00ebr k\u00ebt\u00eb kontradikt\u00eb. Humori \u00ebsht\u00eb \u00e7lirim tensioni prej\u00a0disonanc\u00ebs kognitive<\/em>\u00a0\u2013 asaj gjendjes ku njeriu mban \u201cnj\u00ebkoh\u00ebsisht mendime, besime ose q\u00ebndrime t\u00eb papajtueshme me nj\u00ebra-tjetr\u00ebn.\u201d<\/p>\n

N\u00eb disonanc\u00eb t\u00eb p\u00ebrhershme \u00ebsht\u00eb Bekimi. N\u00eb publik ai do t\u00eb jet\u00eb djal\u00eb model q\u00eb e b\u00ebn krenare nan\u00ebn e tij patriarkale. Privatisht, n\u00eb prani t\u00eb Nolit, ai \u00ebsht\u00eb e kund\u00ebrta e skajshme e k\u00ebtij modeli.<\/p>\n

Nd\u00ebrkoh\u00eb q\u00eb dashuria e ndaluar e dy Romeove t\u00eb Prishtin\u00ebs \u00ebsht\u00eb mbi t\u00eb gjitha portret tragjik i komunitetit LGBTI, sfidat e t\u00eb cilit jan\u00eb pakrahasueshm\u00ebrisht m\u00eb t\u00eb m\u00ebdha, ajo \u00ebsht\u00eb edhe metafor\u00eb e p\u00ebrgjithshme e shtypjes.<\/p>\n

Filmi u flet edhe vajzave dhe grave q\u00eb nuk duan t\u2019u binden normave patriarkale. U flet edhe lloj-lloj njer\u00ebzve me bindje dhe pasione jokonvencionale, q\u00eb jetojn\u00eb n\u00ebn diktatin e tradit\u00ebs provinciale, e cila disiplinon dhe nd\u00ebshkon, si\u00e7 do t\u00eb thoshte Fuko, p\u00ebrmes v\u00ebshtrimit t\u00eb ngulitur (\u201cthe gaze\u201d<\/em>), ku \u00e7dokush ndihet i mbik\u00ebqyrur dhe e p\u00ebrbrend\u00ebson kontrollin.<\/p>\n

Mekanizmi kryesor i zbatimit t\u00eb k\u00ebsaj disipline mbetet institucioni i familjes. Ajo na del si thik\u00eb me dy teha \u2013 edhe burim i dashuris\u00eb dhe i solidaritetit; edhe i shtypjes s\u00eb liris\u00eb individuale.<\/p>\n

Familja urbane prishtinase e ka p\u00ebrvet\u00ebsuar mir\u00eb fasad\u00ebn kulturore per\u00ebndimore \u2013 paraqitjen, enterierin e sht\u00ebpis\u00eb, etj. \u2013 por jo edhe mend\u00ebsin\u00eb. Nderi dhe turpi i saj jan\u00eb Kanuni 2.0 i zbritur n\u00eb asfalt.<\/p>\n

Kontrasti mes fytyr\u00ebs s\u00eb Bekimit t\u00eb n\u00ebnshtruar dhe t\u00eb palumtur n\u00eb dasm\u00ebn e tij, dhe n\u00ebn\u00ebs s\u00eb tij aq t\u00eb lumtur saq\u00eb tani \u201clirisht mund t\u00eb vdes\u00eb\u201d, \u00ebsht\u00eb \u00e7montimi publik q\u00eb \u201cMartesa\u201d i b\u00ebn fasad\u00ebs s\u00eb rreme t\u00eb Prishtin\u00ebs s\u00eb lir\u00eb urbane. Ajo na tregon, nj\u00ebsoj si mat\u00ebsi i ajrit i Ambasad\u00ebs Amerikane, se posht\u00eb k\u00ebsaj fasade vlon nj\u00eb frustrim dhe vet\u00ebmashtrim me pasoja\u00a0hazardous<\/em>.<\/p>\n

***<\/p>\n

\u201cMartesa\u201d arrin t\u2019i p\u00ebr\u00e7oj\u00eb gjith\u00eb k\u00ebto mesazhe dhe ndjesi sepse, mbi t\u00eb gjitha, \u00ebsht\u00eb nj\u00eb realizim shum\u00eb i mir\u00eb. Dora regjisoriale e Blerta Zeqirit dhe teksti i saj dhe Kreshnik Berish\u00ebs e b\u00ebjn\u00eb filmin q\u00eb t\u00eb frymoj\u00eb sinqeritet dhe autencitet \u2013 pa patosin dhe teatralitetin e zakonsh\u00ebm t\u00eb filmave tan\u00eb.<\/p>\n

Skenari ka struktur\u00eb dhe rit\u00ebm efektiv. N\u00eb asnj\u00eb moment nuk ndihet prapa sken\u00ebs dora e autor\u00ebve duke e sforcuar harkun e rr\u00ebfimit. Ngjarja ka rrjedh\u00eb t\u00eb natyrshme dhe, kur kombinohet me stilin \u2013 skena t\u00eb zgjatura, fokus n\u00eb detaje t\u00eb vogla \u2013 ndjesia e filmit \u00ebsht\u00eb gati dokumentare, dhe njer\u00ebzit b\u00ebhen t\u00eb v\u00ebrtet\u00eb.<\/p>\n

Suspendimi i arsyes, shenj\u00eb e \u00e7do filmi t\u00eb mir\u00eb, t\u00eb lejon t\u00eb zhytesh n\u00eb emocionin e tij. E k\u00ebtu skenari ia rrit\u00eb gradualisht volumin dram\u00ebs, duke futur edhe momente t\u00eb shk\u00eblqyeshme t\u00eb humorit, si nj\u00eb shtendosje e domosdoshme. P\u00ebr t\u00eb ardhur dikur deri te klimaksi, kur Bekimi duhet ta zgjidh\u00eb dyzimin brenda tij. Ku tjet\u00ebr pos n\u00eb aeroport, aty ku bota jon\u00eb gjys\u00ebm e lir\u00eb i ndan rrug\u00ebt me t\u00eb lir\u00ebn.<\/p>\n

Kinematografia i p\u00ebrshtatet llojit t\u00eb rr\u00ebfimit dhe m\u00ebnyr\u00ebs son\u00eb t\u00eb jetes\u00ebs. Gjith\u00e7ka ndodh n\u00eb mjedise t\u00eb mbyllura dhe intime. Emocionet nuk manipulohen me m\u00eblmesa estetike \u2013 as me kuadro peizazhesh, dhe as me muzik\u00eb. Kjo e fundit shfaqet vet\u00ebm si ambientale aty ku zhvillohet ngjarja.<\/p>\n

Kuadri thuajse gjat\u00eb gjith\u00eb koh\u00ebs \u00ebsht\u00eb n\u00eb nivel t\u00eb fytyr\u00ebs. Pak e lodhshme p\u00ebr shikuesin, por e domosdoshme p\u00ebr t\u2019u dh\u00ebn\u00eb hap\u00ebsir\u00eb aktor\u00ebve p\u00ebr t\u00eb shk\u00eblqyer, dhe p\u00ebr ta p\u00ebr\u00e7uar ndrydhjen e brendshme, q\u00eb \u00ebsht\u00eb thelbi i filmit.<\/p>\n

K\u00ebshtu e gjith\u00eb pesha emotive e filmit bie te aktrimi. E aktor\u00ebt e mbajn\u00eb k\u00ebt\u00eb pesh\u00eb mbi supe si kampion\u00eb.<\/p>\n

Adriana Matoshi \u00ebsht\u00eb sharmante dhe e natyrshme n\u00eb rolin e Anit\u00ebs, viktim\u00ebs naive t\u00eb nj\u00eb padrejt\u00ebsie t\u00eb dyfisht\u00eb: e fejuara e gej-it apo biseksualit. Viktim\u00eb e viktim\u00ebs q\u00eb zgjon simpati me humorin e saj. Por Matoshi ka kujdes q\u00eb t\u00eb mos imponohet. Duke nd\u00ebrtuar personalitet zem\u00ebrmir\u00eb por t\u00eb thjesht\u00eb, lejon q\u00eb t\u00eb krijohet kontrasti dhe v\u00ebmendja t\u00eb shkoj\u00eb te marr\u00ebdh\u00ebnia kryesore e pasionit.<\/p>\n

Dinamika mes Alban Ukajt dhe Genc Salihut \u00ebsht\u00eb gjithsesi ajo q\u00eb ia jep filmit magjin\u00eb. Kujt do t\u2019ia merrte mendja se rr\u00ebfimin e saj m\u00eb t\u00eb fuqish\u00ebm filmik t\u00eb dashuris\u00eb, Kosova do ta kishte mes dy Romeove?<\/p>\n

Genc Salihu s\u2019njihej si aktor, por si muzikant dhe poet. N\u00eb film ai arrin t\u2019i mish\u00ebroj\u00eb t\u00eb trija dhe k\u00ebshtu t\u00eb shnd\u00ebrrohet n\u00eb nj\u00ebfar\u00eb monumenti artistik. Shk\u00eblqen dhe dominon me thell\u00ebsin\u00eb emocionale q\u00eb ia vesh Nolit \u2013 Romeos ekspresiv dhe t\u00eb \u00e7ilt\u00ebr, q\u00eb e di qart\u00eb se \u00e7far\u00eb do, dhe manipulon me teknikat e joshjes.<\/p>\n

Alban Ukaj n\u00eb an\u00ebn tjet\u00ebr i qaset me mjesht\u00ebri prej profesionisti rolit m\u00eb t\u00eb v\u00ebshtir\u00eb n\u00eb film, Romeos s\u00eb dyzuar. Arrin ta p\u00ebr\u00e7oj\u00eb emocionin t\u00eb cilin edhe vet\u00eb personazhi ia fsheh vetes dhe t\u00eb tjer\u00ebve. Ukaj transformohet n\u00eb njeriun q\u00eb \u00ebsht\u00eb i vetmuar edhe kur \u00ebshte i rrethuar nga njer\u00ebz. N\u00eb njeriun misterioz q\u00eb e l\u00ebshon veten vet\u00ebm p\u00ebrball\u00eb Nolit. Sfidat komplekse t\u00eb rolit Ukaj i p\u00ebrballon duke ecur natyrsh\u00ebm n\u00ebp\u00ebr telin e holl\u00eb t\u00eb aktrimit minimalist \u2013 me melankolin\u00eb perfide\u00a0a la<\/em>\u00a0Bill Murray n\u00eb\u00a0Lost in Translation<\/em>, duke ia shtuar nervin ballkanik t\u00eb njeriut q\u00eb b\u00ebrtet.<\/p>\n

Gjith\u00eb k\u00ebto elemente b\u00ebjn\u00eb q\u00eb filmi t\u00eb jet\u00eb nj\u00eb sukses i radh\u00ebs p\u00ebr Qendr\u00ebn Kinematografike t\u00eb Kosov\u00ebs, e cila me pun\u00ebn e saj tani e disa vite po e vendos Kosov\u00ebn n\u00eb hart\u00eb t\u00eb bot\u00ebs. P\u00ebrmbajtja e filmit ndoshta ia zbulon Prishtin\u00ebs helmin posht\u00eb fasad\u00ebs, por vet\u00eb ekzistenca e filmit si t\u00eb till\u00eb ia zbulon asaj edhe potencialin e madh artistik.<\/p>\n

Me \u201cMartes\u00ebn\u201d duket se Prishtina m\u00eb n\u00eb fund e ka zbuluar z\u00ebrin e vet autentik n\u00eb kinematografi. Kulturalisht ky film \u00ebsht\u00eb ekuivalent i asaj q\u00eb p\u00ebr hip-hopin e qytetit dhe gjith\u00eb Kosov\u00ebs ishte albumi i NR n\u00eb vitin 2003.\u00a0\u201cGame changer\u201d<\/em>\u00a0q\u00eb e vendos nj\u00eb standard t\u00eb ri p\u00ebr \u00e7far\u00ebdo q\u00eb do vij\u00eb m\u00eb von\u00eb.<\/p>\n<\/div>\n

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  \u00cbsht\u00eb pranvera e vitit 1999 dhe bombat e NATO-s bien mbi Prishtin\u00eb. Familjet strehojn\u00eb nj\u00ebra-tjetr\u00ebn n\u00eb banesa. N\u00eb sof\u00ebr, t\u00eb rriturit flasin p\u00ebr rreziqet nga policia serbe. T\u00eb rinjt\u00eb gjejn\u00eb ikje n\u00eb loj\u00ebra kompjuterash. Shoq\u00ebrimi intim brenda mureve dhe k\u00ebrc\u00ebnimi i p\u00ebrbashk\u00ebt ushqejn\u00eb solidaritet. Vdekja mund t\u00eb jet\u00eb pran\u00eb, por prishtinasit gjejn\u00eb ngroht\u00ebsi n\u00eb […]<\/p>","protected":false},"author":438,"featured_media":9997,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[1756,1081],"ppma_author":[985],"class_list":["post-4179","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","tag-filmi-martesa","tag-prishtina"],"authors":[{"term_id":985,"user_id":438,"is_guest":0,"slug":"agon-maliqi","display_name":"Agon Maliqi","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2024\/07\/Headshot-copy-3-1-scaled-e1721289936673.jpeg","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2024\/07\/Headshot-copy-3-1-scaled-e1721289936673.jpeg"},"user_url":"","last_name":"Maliqi","first_name":"Agon","description":"Agon Maliqi \u00ebsht\u00eb studiues, analist dhe aktivist i shoq\u00ebris\u00eb civile nga Prishtina, me banim n\u00eb Tiran\u00eb. Prej disa vitesh ai punon si k\u00ebshill\u00ebtar dhe studies i pavarur i \u00e7\u00ebshtjeve t\u00eb siguris\u00eb, paqes dhe demokracis\u00eb n\u00eb Ballkanin Per\u00ebndimor p\u00ebr nj\u00eb mori institutesh, organizatash dhe mediash vendase dhe nd\u00ebrkomb\u00eb\u00ebtare. Si aktivist i shoq\u00ebris\u00eb civile t\u00eb Kosov\u00ebs p\u00ebr thuajse 20 vite, zt. Maliqi mes tjerash ka qen\u00eb bashk\u00ebthemelues dhe drejtues per disa vite i platform\u00ebs sbunker. N\u00eb vitin 2019 ai q\u00ebndroi p\u00ebr gjysm\u00eb viti n\u00eb Uashington D.C si p\u00ebrfitues i Reagan-Fascell Democracy Fello\u00ebship n\u00eb Fondin Komb\u00ebtar t\u00eb Demokracis\u00eb (NED) n\u00eb SHBA. Sot ai \u00ebsht\u00eb pjes\u00eb e Grupit Strategjik p\u00ebr Ballkanin Per\u00ebndimor t\u00eb Fondacionit Heinrich B\u00f6ll (HBS) me baz\u00eb n\u00eb Berlin; pjes\u00eb e Task Forc\u00ebs rajonale t\u00eb Ballkanit Per\u00ebndimor t\u00eb Institutit Republikan Nd\u00ebrkomb\u00ebtar (IRI) dhe an\u00ebtar i Koalicionit Nd\u00ebrkomb\u00ebtar p\u00ebr Rip\u00ebrt\u00ebritje Demokratike (ICDR) t\u00eb Forumit 2000 n\u00eb Prag\u00eb. Zt. Maliqi ka mbaruar studimet master p\u00ebr politikat e zhvillimit nd\u00ebrkomb\u00ebtar n\u00eb Duke University (SHBA) dhe ato bachelor p\u00ebr shkenca politike dhe marr\u00ebdh\u00ebnie nd\u00ebrkomb\u00ebtare n\u00eb Universitetin Amerikan n\u00eb Bullgari."}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/4179","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\/438"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/comments?post=4179"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/4179\/revisions"}],"predecessor-version":[{"id":9998,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/4179\/revisions\/9998"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media\/9997"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=4179"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=4179"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=4179"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=4179"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}