{"id":5910,"date":"2022-06-16T06:01:49","date_gmt":"2022-06-16T06:01:49","guid":{"rendered":"https:\/\/dwp-balkan.org\/staging\/?p=5910"},"modified":"2022-06-16T06:01:54","modified_gmt":"2022-06-16T06:01:54","slug":"e-humbem-titon-kush-mund-ta-kete-marre-%ef%bf%bc","status":"publish","type":"post","link":"https:\/\/dwp-balkan.org\/staging\/sq\/e-humbem-titon-kush-mund-ta-kete-marre-%ef%bf%bc\/","title":{"rendered":"E humb\u00ebm Titon! Kush mund ta ket\u00eb marr\u00eb?\u00a0\ufffc"},"content":{"rendered":"
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Nuk e kan\u00eb prekur korniz\u00ebn, as nuk e kan\u00eb thyer qelqin. Ia kan\u00eb marr\u00eb vet\u00ebm fotografin\u00eb. As posterin me fytyr\u00ebn e tij, q\u00eb varet p\u00ebrball\u00eb fotografis\u00eb, nuk e kan\u00eb prekur. Korniza \u00ebsht\u00eb ende n\u00eb vend, edhe qelqi, t\u00eb paprekura. Duket sikur fotografia u tret n\u00eb aj\u00ebr. Sa koh\u00eb ka q\u00eb \u00ebsht\u00eb zhdukur? Si nuk na ka r\u00ebn\u00eb n\u00eb sy? Dua t\u00eb them, nuk \u00ebsht\u00eb se varej n\u00eb vendin m\u00eb t\u00eb duksh\u00ebm. Korridoret e kinemas\u00eb jan\u00eb t\u00eb gjata dhe t\u00eb ngushta, t\u00eb lyera me ngjyr\u00eb t\u00eb kalt\u00ebr t\u00eb leht\u00eb. N\u00eb k\u00ebto mure varen postera t\u00eb vjet\u00ebr nga e kaluara. Postera t\u00eb filmave nga nj\u00eb epok\u00eb tjet\u00ebr. Nj\u00eb epok\u00eb q\u00eb disa e kujtojn\u00eb me lavdi, t\u00eb tjer\u00eb me dhimbje.\u00a0<\/p>\n\n\n\n

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Kur i shikon k\u00ebto korridore t\u00eb ngushta p\u00ebr aq koh\u00eb sa i kam par\u00eb dhe un\u00eb, fillon t\u00eb kuptosh se ekzistojn\u00eb vet\u00ebm p\u00ebr t\u00eb t\u00eb sjell\u00eb deri tek salla kryesore, ajo e madhja, ku shfaqen filmat. Ky ka qen\u00eb q\u00ebllimi i vet\u00ebm i k\u00ebtyre korridoreve. Disi, nuk jan\u00eb projektuar p\u00ebr t\u00eb ekspozuar postera. Nuk jan\u00eb projektuar q\u00eb njer\u00ebzit t\u00eb ulen atje dhe t\u00eb bisedojn\u00eb p\u00ebr filmat. Duket sikur njer\u00ebzit thjesht do t\u00eb kalonin n\u00ebp\u00ebr ta p\u00ebr t\u00eb arritur tek salla e madhe, t\u00eb zhyten n\u00eb nj\u00eb bot\u00eb t\u00eb ndryshme, n\u00eb bot\u00ebn e dram\u00ebs dhe aksionit, p\u00ebr t\u2019iu rikthyer m\u00eb pas jet\u00ebs s\u00eb p\u00ebrditshme. Bota brenda kinemas\u00eb ishte dera e tyre p\u00ebr tek idet\u00eb, besimet dhe konceptet e reja, t\u00eb kuruara n\u00eb m\u00ebnyr\u00eb propagandistike, p\u00ebr t\u2019iu p\u00ebrshtatur sistemit t\u00eb besimeve politike t\u00eb caktuara.\u00a0<\/p>\n\n\n\n

Kam d\u00ebgjuar rr\u00ebfime se si aktiviteti m\u00eb i madh zhvillohej para se njer\u00ebzit t\u00eb arrinin n\u00eb k\u00ebta korridore. Ata mblidheshin para nj\u00eb sporteli t\u00eb vog\u00ebl n\u00eb p\u00ebrpjekje p\u00ebr t\u00eb marr\u00eb biletat p\u00ebr tek ajo bota tjet\u00ebr. Secili kishte teknik\u00ebn e vet se si ta siguronte nj\u00eb bilet\u00eb. Jo se nuk kishte mjaftuesh\u00ebm bileta p\u00ebr t\u00eb bler\u00eb, por vet\u00ebm sepse ata donin t\u00eb arrinin tek ajo bota tjet\u00ebr sa m\u00eb par\u00eb t\u00eb ishte e mundur. Pra, ata nuk m\u00ebrziteshin p\u00ebr t\u00eb ndenjur n\u00eb radh\u00eb, por vet\u00ebm e kishin mendjen t\u00eb gjenin nj\u00eb m\u00ebnyr\u00eb q\u00eb ta siguronin nj\u00eb bilet\u00eb sa m\u00eb par\u00eb t\u00eb mundeshin. Disa, me shpirt prej nd\u00ebrmarr\u00ebsi, krijonin aleanca me punonj\u00ebsit q\u00eb shisnin bileta, blinin nj\u00eb tuf\u00eb dhe i shisnin s\u00ebrish me \u00e7mim m\u00eb t\u00eb lart\u00eb \u2013 ata quheshint<\/em>apkarosh\u00eb<\/em>. \u00c7far\u00eb emri i \u00e7uditsh\u00ebm! Disa, m\u00eb trupvegj\u00ebl, kap\u00ebrcenin mbi t\u00eb tjer\u00ebt, nd\u00ebrsa m\u00eb trupm\u00ebdhenjt\u00eb p\u00ebrdornin duart e st\u00ebrm\u00ebdha p\u00ebr t\u2019i kaluar anash njer\u00ebzve dhe p\u00ebr t\u2019ia dal\u00eb mban\u00eb disi t\u2019i kalonin parat\u00eb n\u00ebp\u00ebr sportelin e vog\u00ebl. Madje disa kishin gjetur dhe m\u00ebnyra alternative p\u00ebr t\u2019u futur brenda pa paguar. Sapo hynin brenda atyre korridoreve t\u00eb gjat\u00eb t\u00eb ngusht\u00eb, ata ecnin drejt sall\u00ebs kryesore dhe shikonin disa prej filmave, posterat e t\u00eb cil\u00ebve ende varen n\u00eb t\u00eb nj\u00ebjt\u00ebt korridore. Ata vinin p\u00ebr t\u00eb par\u00eb dokumentar\u00eb si \u201cJosip Broz Tito” nga K\u00ebrsto Shkanata, posteri i t\u00eb cilit varet sot p\u00ebrball\u00eb fotografis\u00eb s\u00eb munguar t\u00eb protagonistit ton\u00eb, Titos. <\/p>\n\n\n\n

Kur erdh\u00ebn n\u00eb kinema s\u00eb pari her\u00eb, fotografin\u00eb e tij e gjet\u00ebm t\u00eb fshehur n\u00eb mesin e shiritave t\u00eb filmave n\u00eb dhom\u00ebn e projeksionit. Pas luft\u00ebs n\u00eb Kosov\u00eb, stafi i Kinemas\u00eb kishte vendosur ta largonte nga vendi i vet i ladvis\u00eb. Edhe ata e faj\u00ebsonin Titon p\u00ebr at\u00eb q\u00eb kishte ndodhur.\u00a0

Josip Broz Tito njihej p\u00ebr dashurin\u00eb q\u00eb kishte p\u00ebr filmin. Bashk\u00eb me gruan e tij Jovank\u00ebn, ata shihnin nga nj\u00eb film \u00e7do nat\u00eb. Ai u p\u00ebrfshi edhe n\u00eb produksionin e tyre, duke e kuptuar r\u00ebnd\u00ebsin\u00eb q\u00eb kishte filmi n\u00eb form\u00ebsimin e kultur\u00ebs. Nga rr\u00ebfimet q\u00eb kam d\u00ebgjuar, mendoj se njer\u00ebzit n\u00eb Pej\u00eb e kan\u00eb kuptuar q\u00eb filmat me partizan\u00eb ishin ngritje n\u00eb qiell e atyre q\u00eb kishin fituar luft\u00ebn, mir\u00ebpo un\u00eb mendoj se ata parap\u00eblqenin filmat uestern amerikan\u00eb dhe filmat e Bollivudit, pasi zakonisht ata p\u00ebrmenden. Nga ana tjet\u00ebr, Tito i dashuronte filmat uestern amerikan\u00eb.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0

P\u00ebr shumic\u00ebn prej nesh, m\u00eb t\u00eb rinjt\u00eb, q\u00eb nuk e kemi jetuar at\u00eb koh\u00eb, ishte mahnit\u00ebse t\u00eb shikoje imazhin e tij. M\u00eb kujtohet q\u00eb kisha ndjenja t\u00eb p\u00ebrziera. Ishte ndjesi rebelimi ta kishe fotografin\u00eb e tij p\u00ebr shkak t\u00eb atyre q\u00eb ishin n\u00eb pushtet, por edhe t\u00eb p\u00ebrjetimit t\u00eb dhimbjes q\u00eb Jugosllavia u kishte shkaktuar shum\u00eb pjes\u00ebtar\u00ebve t\u00eb komunitetit dhe familjes sime dhe kjo jepte ndjesin\u00eb e gabimit. Gjat\u00eb 5 viteve q\u00eb kemi qen\u00eb k\u00ebtu, fotografia \u00ebsht\u00eb vendosur n\u00eb pozicione t\u00eb ndryshme. P\u00ebrball\u00eb tualetit, n\u00eb zyr\u00ebn kryesore, n\u00eb depo. Madje nj\u00ebher\u00eb \u00ebsht\u00eb varur nd\u00ebrmjet flamurit turk dhe flamurit t\u00eb Kosov\u00ebs, n\u00eb an\u00ebn e pasme t\u00eb nd\u00ebrtes\u00ebs. Paramendoni \u00e7far\u00eb ironie. Rishtazi, nj\u00eb nga kurator\u00ebt vendosi ta l\u00ebr\u00eb bashk\u00eb me posterat e tjer\u00eb t\u00eb kinemas\u00eb. Disi ta jepte p\u00ebrshtypjen q\u00eb aty e kishte vendin. Kjo kinema u nd\u00ebrtua gjat\u00eb asaj kohe. U nd\u00ebrtua nga sindikata e pun\u00ebtor\u00ebve. Madje edhe quhej Kinemaja e Pun\u00ebtor\u00ebve – Kino Rad. Nuk kishte borgjezi n\u00eb k\u00ebt\u00eb kinema. Nuk kishte kolltuk\u00eb apo karrige t\u00eb sofistifkuara. E nd\u00ebrtuar nga Jugosllavia Socialiste. Krahas zhvillimit t\u00eb saj. A mos vall\u00eb ishte ndonj\u00eb nga ish-pun\u00ebtor\u00ebt q\u00eb ka ndjer\u00eb nostalgji p\u00ebr lavdin\u00eb e asaj kohe? Apo ndoshta ishte ndonj\u00eb nga pun\u00ebtor\u00ebt aktual\u00eb, i mahnitur pas q\u00ebndrimit dhe paraqitjes s\u00eb tij?\u00a0<\/p>\n\n\n\n

S\u00eb pari, duhet t\u00eb gjejm\u00eb \u2018p\u00ebrse\u2019? Cili ishte motivi q\u00eb e mor\u00ebn fotografin\u00eb e tij? A mos ishte dikush q\u00eb ka par\u00eb lavdi n\u00eb at\u00eb periudh\u00eb, apo dikush q\u00eb ka ndjer\u00eb dhimbje? A varet n\u00eb murin e dikujt, apo e kan\u00eb djegur tashm\u00eb? N\u00eb qytetin ton\u00eb, n\u00eb Pej\u00eb, i kemi t\u00eb dyja pal\u00ebt. <\/p>\n\n\n\n

Ashtu si rrath\u00ebt n\u00eb trungun e nj\u00eb pem\u00eb q\u00eb tregojn\u00eb mosh\u00ebn e pem\u00ebs, edhe kinemaja jon\u00eb dhe filmat q\u00eb shfaqeshin aty disi p\u00ebrfaq\u00ebsojn\u00eb historin\u00eb e qytetit nga vitet \u201950-t\u00eb e tutje. Pas Luft\u00ebs s\u00eb Dyt\u00eb Bot\u00ebrore, industria e filmit n\u00eb Jugosllavi planifikohej si aktivitet i kontrolluar nga shteti, i shtytur nga motivet politike, edukative dhe kulturore socialiste. Kryesisht n\u00ebn ndikimin e industris\u00eb filmike sovjetike. Duke filluar nga mesi i viteve \u201950-t\u00eb, kjo qasje ndryshoi dhe nis\u00ebn t\u00eb shfaqen m\u00eb shum\u00eb filma komercial\u00eb. Filma q\u00eb vinin nga SHBA-t\u00eb, kryesisht uestern amerikan\u00eb, filma t\u00eb Bollivudit dhe \u00e7ka jo. Nj\u00eb industri e decentralizuar e organizuar n\u00ebp\u00ebrmjet nd\u00ebrmarrjeve shoq\u00ebrore q\u00eb vepronin n\u00eb vend si pasoj\u00eb e kriz\u00ebs n\u00eb marr\u00ebdh\u00ebniet sovjetiko-jugosllave nga fundi i viteve \u201940-t\u00eb. Kjo mund\u00ebsoi nj\u00eb qasje m\u00eb liberale n\u00eb produksionin dhe shp\u00ebrndarjen e filmave. Gj\u00eb q\u00eb n\u00ebnkuptonte se edhe marr\u00ebdh\u00ebniet e njer\u00ebzve me kineman\u00eb po ndryshonin brenda k\u00ebtyre strukturave. <\/p>\n\n\n\n

Prandaj, kemi ata q\u00eb e mbajn\u00eb mend at\u00eb koh\u00eb me lavdin\u00eb e vet dhe Titon si personifikimin e asaj kohe. Marshalli Tito, ai e b\u00ebri t\u00eb mundur q\u00eb njer\u00ebzit t\u00eb dilnin dhe ta sh\u00ebtisnin bot\u00ebn. Me 10% t\u00eb pagave t\u00eb tyre ata paguanin faturat komunale, me 50% mund ta kalonin ver\u00ebn n\u00eb Spanj\u00eb. Njer\u00ebzit kishin gjith\u00e7ka dhe gjith\u00e7ka q\u00eb kishin ishte m\u00eb e mir\u00eb se m\u00eb par\u00eb apo m\u00eb pas. Ata nuk kishin politikan\u00eb t\u00eb korruptuar, as super t\u00eb pasur, disi t\u00eb gjith\u00eb ishin t\u00eb barabart\u00eb. Ose k\u00ebshtu mendonin. Sepse jan\u00eb dhe ata q\u00eb kan\u00eb humbur t\u00eb dashurit e tyre p\u00ebr shkak t\u00eb nj\u00eb ideologjie politike, q\u00eb nuk kishin t\u00eb drejt\u00eb t\u00eb lexonin n\u00eb gjuh\u00ebn e n\u00ebn\u00ebs apo t\u00eb studionin n\u00eb gjuh\u00ebn e tyre t\u00eb par\u00eb. Ata nuk fitonin jetes\u00eb t\u00eb mir\u00eb, as nuk udh\u00ebtonin n\u00eb Spanj\u00eb. Ata kishin edhe mllefin p\u00ebr koh\u00ebn q\u00eb erdhi pas Titos, pasi disi e faj\u00ebsonin Titon edhe p\u00ebr at\u00eb koh\u00eb. Ai fliste t\u00eb nj\u00ebjt\u00ebn gjuh\u00eb si ata q\u00eb nis\u00ebn luft\u00ebn. Pra, kush ishte? Kush e mori fotografin\u00eb? <\/p>\n\n\n\n

Pyetja e dyt\u00eb q\u00eb kam \u00ebsht\u00eb: si? Si e mor\u00ebn? A ndodhi gjat\u00eb ngjarjes s\u00eb fundit q\u00eb pat\u00ebm, kur kishte me qindra njer\u00ebz q\u00eb p\u00ebrkujtonin koh\u00ebn e protestave masive studentore q\u00eb po zhvilloheshin n\u00eb vitet \u201980-t\u00eb, kur t\u00eb drejtat e shqiptar\u00ebve n\u00eb Jugosllavi shtypeshin? Pas vdekjes s\u00eb Titos n\u00eb maj 1980, tensionet nd\u00ebrmjet shqiptar\u00ebve dhe serb\u00ebve n\u00eb Kosov\u00eb u intensifikuan. N\u00eb vitin 1981, student\u00ebt shqiptar\u00eb nis\u00ebn t\u00eb organizojn\u00eb protesta p\u00ebr t\u00eb k\u00ebrkuar q\u00eb Kosova t\u00eb b\u00ebhej republik\u00eb brenda Jugosllavis\u00eb dhe jo provinc\u00eb brenda Serbis\u00eb, ashtu si ishte b\u00ebr\u00eb me miratimin e Kushtetut\u00ebs s\u00eb Jugosllavis\u00eb t\u00eb vitit 1974. Protestat u intensifikuan n\u00eb trazira t\u00eb dhunshme t\u00eb p\u00ebrhapura, ku mor\u00ebn pjes\u00eb mbi 20,000 vet\u00eb. Figura e Titos ve\u00e7se kishte nisur t\u00eb shp\u00ebrb\u00ebhej. <\/p>\n\n\n\n

Mir\u00ebpo \u00ebsht\u00eb e v\u00ebshtir\u00eb t\u00eb thuhet se ata e mor\u00ebn. Ata erdh\u00ebn, ec\u00ebn me shpejt\u00ebsi n\u00ebp\u00ebr k\u00ebto korridore t\u00eb gjata dhe t\u00eb ngushta dhe pastaj dol\u00ebn jasht\u00eb. Nuk q\u00ebndruan gjat\u00eb; thjesht ishin t\u00eb fokusuar tek ajo q\u00eb do t\u00eb ndodhte n\u00eb sall\u00ebn kryesore. P\u00ebr t\u00eb p\u00ebrkujtuar angazhimin e tyre qytetar n\u00eb t\u00eb kaluar. Gjithashtu, fotografia e tij ishte n\u00eb fund t\u00eb korridorit, p\u00ebrball\u00eb tualetit. Dikush duhej ta dinte mir\u00eb se si t\u00eb arrinte deri aty. Dhe korniza \u00ebsht\u00eb e paprekur. T\u00eb pakt\u00ebn, ashtu duket. Pra, duhet t\u00eb ket\u00eb qen\u00eb dikush q\u00eb pati koh\u00eb sa deshi. E ka hequr me ngadal\u00eb dhe me kujdes e ka kthyer korniz\u00ebn n\u00eb vend.\u00a0<\/p>\n\n\n\n

Krejt ajo q\u00eb di me siguri \u00ebsht\u00eb se fotografia e Titos nuk \u00ebsht\u00eb m\u00eb. Duket sikur fotografia e tij ka koh\u00eb q\u00eb mungon tani. Muri i kalt\u00ebr \u00ebsht\u00eb ende aty. Edhe korniza \u00ebsht\u00eb ende aty. Ajo tani shfaq muret e kaltra t\u00eb atij korridori t\u00eb gjat\u00eb e t\u00eb ngusht\u00eb, t\u00eb t\u00eb vetmes kinema n\u00eb qytetin e Pej\u00ebs n\u00eb Kosov\u00eb.\u00a0<\/p>\n\n\n\n

Kinemaja e pun\u00ebtor\u00ebve, e nd\u00ebrtuar nga pun\u00ebtor\u00ebt dhe e shp\u00ebtuar nga njer\u00ebzit e vet. <\/p>\n\n\n\n

*Kur artikulli u shkrua, muret e kinemas\u00eb ishin t\u00eb kaltra. Nd\u00ebrkoh\u00eb, stafi vendos\u00ebn t\u2019i lyejn\u00eb me ngjyr\u00eb t\u00eb kuqe. Ky veprim nuk ka aspak t\u00eb b\u00ebj\u00eb me artikullin. <\/em><\/p>\n\n\n\n

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Vullnet Sanaja<\/strong> \u00ebsht\u00eb aktivist kulturor dhe bashk\u00ebthemelues i nj\u00eb s\u00ebr\u00eb organizatash dhe nismash, si Anibar, Rrjeti i Organizatave Kulturore t\u00eb Pej\u00ebs, Akademia e Animacionit n\u00eb Pej\u00eb dhe Prishtin\u00eb, Peja Jazz dhe Festivali n\u00eb Park. Z. Sanaja ka punuar p\u00ebr disa OJQ t\u00eb p\u00ebrfshira n\u00eb angazhimin qytetar, edukimin mjedisor dhe zhvillimin e q\u00ebndruesh\u00ebm n\u00ebp\u00ebrmjet arteve, si ERA, Forumi Kulturor dhe CYCC. Q\u00eb nga viti 2010, ai \u00ebsht\u00eb Drejtori Ekzekutiv i Anibar-it, nj\u00eb organizat\u00eb me qend\u00ebr n\u00eb Pej\u00eb, Kosov\u00eb, q\u00eb i p\u00ebrkushtohet thyerjes s\u00eb apatis\u00eb qytetare n\u00ebp\u00ebrmjet aktivizmit kulturor. Anibar \u00ebsht\u00eb dhe organizatori i t\u00eb vetmet festival t\u00eb filmit t\u00eb animuar n\u00eb vend dhe menaxhon t\u00eb vetmen kinema n\u00eb Pej\u00eb. Organizata zhvillon programe edukative n\u00eb Prishtin\u00eb dhe n\u00eb Pej\u00eb.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Nuk e kan\u00eb prekur korniz\u00ebn, as nuk e kan\u00eb thyer qelqin. Ia kan\u00eb marr\u00eb vet\u00ebm fotografin\u00eb. As posterin me fytyr\u00ebn e tij, q\u00eb varet p\u00ebrball\u00eb fotografis\u00eb, nuk e kan\u00eb prekur. Korniza \u00ebsht\u00eb ende n\u00eb vend, edhe qelqi, t\u00eb paprekura. Duket sikur fotografia u tret n\u00eb aj\u00ebr. Sa koh\u00eb ka q\u00eb \u00ebsht\u00eb zhdukur? Si nuk na ka r\u00ebn\u00eb n\u00eb sy? Dua […]<\/p>\n","protected":false},"author":7,"featured_media":5906,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_editorskit_title_hidden":false,"_editorskit_reading_time":0,"_editorskit_is_block_options_detached":false,"_editorskit_block_options_position":"{}","footnotes":""},"categories":[58],"tags":[],"class_list":["post-5910","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog-al"],"acf":[],"yoast_head":"\nE humb\u00ebm Titon! Kush mund ta ket\u00eb marr\u00eb?\u00a0\ufffc - DWP-BALKAN<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"E humb\u00ebm Titon! 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