{"id":7112,"date":"2022-11-04T09:20:58","date_gmt":"2022-11-04T09:20:58","guid":{"rendered":"https:\/\/dwp-balkan.org\/staging\/?p=7112"},"modified":"2022-11-04T09:48:15","modified_gmt":"2022-11-04T09:48:15","slug":"muzete-ne-pritje","status":"publish","type":"post","link":"https:\/\/dwp-balkan.org\/staging\/sq\/muzete-ne-pritje\/","title":{"rendered":"Muzet\u00eb \u201cn\u00eb pritje\u201d<\/strong>"},"content":{"rendered":"
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Ndryshimet intensive gjeopolitike, sociale dhe kulturore q\u00eb kan\u00eb shenjuar dy dekadat e fundit t\u00eb shekullit t\u00eb trazuar 20-t\u00eb dhe fillimi po aq dinanik dhe dramatik i shekullit 21-t\u00eb jan\u00eb p\u00ebrcjell\u00eb nga af\u00ebr nga zhvillimi i shpejt\u00eb i teknologjive t\u00eb informacionit dhe komunikimit dhe nga procesi i globalizimit. Teoricien\u00eb t\u00eb shumt\u00eb n\u00eb sferat e shkencave shoq\u00ebrore dhe humane v\u00ebn\u00eb n\u00eb dukje r\u00ebnd\u00ebsin\u00eb e disa ngjarjeve q\u00eb kan\u00eb shenjuar fundin e shekullit t\u00eb 20-t\u00eb, q\u00eb gjithashtu kan\u00eb paralajm\u00ebruar ndryshime n\u00eb nivel global. Historiani francez Pjer Nora (Pierre Nora) e quan k\u00ebt\u00eb \u201cepoka e p\u00ebrkujtimeve\u201d. Nga ana tjet\u00ebr, anglicistja dhe antropologia kulturore gjermane Aleida Asman (Assmann) e quan \u201ctransformim i regjimit t\u00eb koh\u00ebrave moderne\u201d. Sipas Noras, \u201cepoka e p\u00ebrkujtimeve\u201d apo ndryshimi n\u00eb marr\u00ebdh\u00ebnien me t\u00eb kaluar\u00ebn ka nisur n\u00eb Franc\u00eb n\u00eb vitet 1970-t\u00eb dhe \u00ebsht\u00eb pasuar nga: r\u00ebnia e Murit t\u00eb Berlinit; kolapsi i Bashkimit Sovjetik; \u201crilindja e kujtes\u00ebs\u201d n\u00eb Evrop\u00ebn Lindore, r\u00ebnia e diktaturave ushtarake n\u00eb Amerik\u00ebn Latine; fundi i aparteidit n\u00eb Afrik\u00ebn e Jugut dhe puna e Komisionit p\u00ebr t\u00eb V\u00ebrtet\u00ebn dhe Pajtimin.[1]<\/a> Po ashtu, ashtu si n\u00eb Gjermani (A. Asman), k\u00ebto ndryshime u b\u00ebn\u00eb t\u00eb dukshme n\u00eb vitet 1980-t\u00eb edhe n\u00eb kontekstin ton\u00eb. Gjat\u00eb asaj periudhe kriza ekonomike dhe politike q\u00eb tronditi Republik\u00ebn Federale Socialiste t\u00eb Jugosllavis\u00eb u pasua nga nj\u00eb intensifikim i diskutimeve antagoniste dhe (etno)nacionalizmit, q\u00eb arrit\u00ebn kulmin me \u201cluft\u00ebn mediatike\u201d q\u00eb i parapriu luft\u00ebrave n\u00eb Slloveni (1991), Kroaci (1991\u20131995) dhe Bosnje e Hercegovin\u00eb (1992\u20131996). Nj\u00eb banor i Sarajev\u00ebs s\u00eb rrethuar, i cili n\u00eb vitet 1990-t\u00eb, si duket gjat\u00eb nj\u00eb bisede me nj\u00eb gazetar, e ka vler\u00ebsuar r\u00ebnien e Murit t\u00eb Berlinit si di\u00e7ka t\u00eb mir\u00eb, por ka arritur n\u00eb p\u00ebrfundimin se Muri i Berlinit \u201cp\u00ebr fat t\u00eb keq \u2018ra mbi kokat tona\u2019\u201d duke p\u00ebrmbledhur k\u00ebshtu n\u00eb m\u00ebnyr\u00eb interesante ndryshimet q\u00eb pasuan r\u00ebnien e Murit t\u00eb Berlinit n\u00eb vitin 1989 dhe efektet e tij n\u00eb nivel lokal dhe global.[2]<\/a><\/p>\n\n\n\n

Duke reflektuar p\u00ebr ndryshimet radikale n\u00eb q\u00ebndrimin ndaj s\u00eb kaluar\u00ebs, q\u00eb gjat\u00eb k\u00ebsaj periudhe ka ndodhur n\u00eb t\u00eb gjitha segmentet e t\u00eb gjitha shoq\u00ebrive kudo n\u00eb bot\u00eb, Pjer Nora rendit disa nga format e ndryshme se si \u00ebsht\u00eb manifestuar ky ndryshim: kritika p\u00ebr versionin zyrtar t\u00eb historis\u00eb dhe rikthimi i atyre pjes\u00ebve t\u00eb historis\u00eb q\u00eb m\u00eb par\u00eb ishin shtypur; k\u00ebrkesa p\u00ebr shenja t\u00eb s\u00eb kaluar\u00ebs q\u00eb m\u00eb par\u00eb jan\u00eb shtypur dhe konfiskuar; rritje e interesimit n\u00eb hulumtime gjeneaologjike dhe n\u00eb k\u00ebrkimin p\u00ebr ‘rr\u00ebnj\u00ebt’; t\u00eb gjitha llojet e ngjarjeve p\u00ebrkujtimore, si dhe muzet\u00eb e rinj; ndjeshm\u00ebri dhe vet\u00ebdije e p\u00ebrt\u00ebrir\u00eb p\u00ebr r\u00ebnd\u00ebsin\u00eb e mbajtjes dhe hapjes s\u00eb arkivave p\u00ebr konsultime publike; fuqizim i lidhjes me trash\u00ebgimin\u00eb.[3]<\/a> Pavar\u00ebsisht se si ishin kombinuar, arrin Nora n\u00eb p\u00ebrfundim, k\u00ebto forma t\u00eb prirjeve mbar\u00ebbot\u00ebrore krijojn\u00eb lidhje t\u00eb af\u00ebrta nd\u00ebrmjet respektit p\u00ebr t\u00eb kaluar\u00ebn \u2013 reale apo t\u00eb imgjinuar \u2013 dhe ndjesis\u00eb s\u00eb p\u00ebrkat\u00ebsis\u00eb, nd\u00ebrgjegjes kolektive dhe vet\u00ebdijes, kujtes\u00ebs dhe identitetit individual.[4]<\/a> <\/p>\n\n\n\n

Ngjash\u00ebm, egjiptologu gjerman Jan Asman (Assmann) v\u00eb n\u00eb dukje lidhjen nd\u00ebrmjet koh\u00ebs, identitetit dhe kujtes\u00ebs brenda tre dimensioneve t\u00eb tyre: personale, sociale dhe kulturore, t\u00eb cilat ai i b\u00ebn bashk\u00eb n\u00ebn termin kujtesa kulturore<\/em>.[5]<\/a> Jan Asmani i thjeshton marr\u00ebdh\u00ebniet komplekse nd\u00ebrmjet k\u00ebtyre aspekteve duke shpjeguar se kujtesa jon\u00eb na mund\u00ebson t\u00eb jetojm\u00eb n\u00eb grupe dhe komunitete dhe jetesa n\u00eb grupe dhe komunitete na mund\u00ebson q\u00eb t\u00eb kemi kujtes\u00eb.[6]<\/a> Kujtesa jon\u00eb, q\u00eb e kemi si qenie njer\u00ebzore, thekson Asmani, ekziston vet\u00ebm n\u00eb nd\u00ebrveprim t\u00eb vazhduesh\u00ebm, jo vet\u00ebm me kujtes\u00ebn tjet\u00ebr njer\u00ebzore, por edhe me sendet, simbolet e jashtme, artefaktet e ndryshme, objektet, p\u00ebrvjetor\u00ebt dhe peizazhet.[7]<\/a> Duke qen\u00eb se grupet n\u00eb vetvete nuk kan\u00eb kujtes\u00eb, ata p\u00ebrpiqen t\u00eb imagjinojn\u00eb veten n\u00ebp\u00ebrmjet sendeve, pikave t\u00eb fiksuara n\u00eb t\u00eb kaluar\u00ebn, q\u00eb funksionojn\u00eb si p\u00ebrkujtime \u2013 monumente, muze, biblioteka, arkiva dhe institucione t\u00eb tjera t\u00eb kujtes\u00ebs. Aleida dhe Jan Asmani b\u00ebjn\u00eb dallimin nd\u00ebrmjet konceptit t\u00eb kujtes\u00ebs kulturore<\/em>, q\u00eb ata e p\u00ebrkufizojn\u00eb si institucionale, t\u00eb jashtme dhe q\u00eb nd\u00ebrlidhet me nj\u00eb lloj relativisht t\u00eb q\u00ebndruesh\u00ebm t\u00eb kujtes\u00ebs, t\u00eb mb\u00ebshtetur nga institucionet p\u00ebr arsim, transmetim dhe interpretim; dhe kujtes\u00ebs komunikuese<\/em>, q\u00eb nuk simbolizohet n\u00eb kuptimin material, por jeton n\u00eb komunikim dhe nd\u00ebrveprim t\u00eb p\u00ebrditsh\u00ebm nd\u00ebrmjet bashk\u00ebkoh\u00ebsve, n\u00eb traditat orale dhe p\u00ebrfshin m\u00eb s\u00eb shumti tre breza. Po ashtu, Aleida Asman thekson se kujtesa kulturore nuk mund t\u00eb barazohet me kujtes\u00ebn komb\u00ebtare<\/em>, duke patur parasysh se kujtesa kulturore \u00ebsht\u00eb nj\u00eb koncept shum\u00eb m\u00eb i gjer\u00eb, q\u00eb shtrihet nd\u00ebr mij\u00ebvje\u00e7ar\u00eb dhe nuk mund t\u00eb vendoset n\u00ebn kontrollin e qeveris\u00eb, nd\u00ebrsa kujtesa komb\u00ebtare \u00ebsht\u00eb koncept modern i shekullit 19, nga koha kur kombet evropiane nd\u00ebrtuan nj\u00eb lloj t\u00eb ri t\u00eb identitetit kolektiv.[8]<\/a><\/p>\n\n\n\n

Ndryshimet n\u00eb praktikat e muzeve n\u00eb mbar\u00eb bot\u00ebn, bashk\u00eb me ndryshimet ndaj muzeve q\u00eb gjithnj\u00eb e m\u00eb shum\u00eb po p\u00ebrballen me sfida t\u00eb ndryshme jan\u00eb shembull i mir\u00eb i pasojave t\u00eb ndryshimeve rr\u00ebnj\u00ebsore n\u00eb marr\u00ebdh\u00ebnien me t\u00eb kaluar\u00ebn q\u00eb kan\u00eb rezultuar n\u00eb aktualizimin e konceptit t\u00eb kujtes\u00ebs \u2013 <\/em>q\u00eb gjithnj\u00eb e m\u00eb shum\u00eb po sh\u00ebrben si z\u00ebvend\u00ebsues i konceptit t\u00eb historis\u00eb<\/em>.[9]<\/a> N\u00eb nivel global, k\u00ebto sfida jan\u00eb t\u00eb dukshme n\u00ebp\u00ebrmjet kronologjis\u00eb s\u00eb pun\u00ebs s\u00eb K\u00ebshillit Nd\u00ebrkomb\u00ebtar t\u00eb Muzeve (ICOM).[10]<\/a> N\u00eb pun\u00ebn e shoqatave profesionale t\u00eb ekspert\u00ebve t\u00eb muzeve, p\u00ebrpjekjet e tyre t\u00eb vazhdueshme p\u00ebr t\u00eb ruajtur aktivisht marr\u00ebdh\u00ebniet me komunitetin e gjer\u00eb dhe p\u00ebr t\u2019iu p\u00ebrgjigjur nevojave t\u00eb s\u00eb tashmes, jan\u00eb t\u00eb dukshme. Kjo konfirmohet nga konferenca e 26-t\u00eb e ICOM e mbajtur rishtazi[11]<\/a> me tem\u00eb qendrore \u201cFuqia e muzeve\u201d[12]<\/a>, ku komitetet nd\u00ebrkomb\u00ebtare t\u00eb mbledhura rreth ICOM miratuan nj\u00eb p\u00ebrkufizim t\u00eb ri t\u00eb muzeut: \u201cmuzeu \u00ebsht\u00eb institucion jofitimprur\u00ebs, i p\u00ebrhersh\u00ebm n\u00eb sh\u00ebrbim t\u00eb shoq\u00ebris\u00eb q\u00eb hulumton, mbledh, ruan, interpreton dhe ekspozon trash\u00ebgimin\u00eb materiale dhe jomateriale. T\u00eb hapur p\u00ebr publikun, n\u00eb dispozicion dhe gjith\u00ebp\u00ebrfshir\u00ebs, muzet\u00eb inkurajojn\u00eb dallimet dhe q\u00ebndrueshm\u00ebrin\u00eb. Ata veprojn\u00eb dhe komunikojn\u00eb n\u00eb m\u00ebnyr\u00eb etike, profesionale dhe n\u00eb bashk\u00ebpunim me komunitetet ata ofrojn\u00eb mund\u00ebsi t\u00eb ndryshme p\u00ebr edukim, shijim, reflektim dhe shk\u00ebmbim t\u00eb njohurive\u201d.[13]<\/a> Se si muzet\u00eb e p\u00ebrkufizuar n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb funksionojn\u00eb n\u00eb komunitete t\u00eb ndryshme, kjo varet kryesisht nga konteksti kulturor, politik dhe historik brenda t\u00eb cilit ekzistojn\u00eb k\u00ebta muze. Duke mbajtur parasysh organizimin kompleks t\u00eb vendit dhe politikat antagoniste t\u00eb kujtes\u00ebs q\u00eb p\u00ebrkufizojn\u00eb shoq\u00ebrin\u00eb e ndar\u00eb nga lufta t\u00eb Bosnje e Hercegovin\u00ebs, pyetja \u00ebsht\u00eb: deri n\u00eb \u00e7\u2019shkall\u00eb munden muzet\u00eb n\u00eb Bosnje e Hercegovin\u00eb t\u00eb ndjekin drejtimin e sugjeruar t\u00eb veprimit t\u00eb v\u00ebn\u00eb n\u00eb dukje n\u00eb k\u00ebt\u00eb p\u00ebrkufizim, si dhe parull\u00ebn aktuale t\u00eb ICOM-it: \u201cMuzeut\u00eb nuk kan\u00eb kufinj, por kan\u00eb rrjet\u201d[14]<\/a>? K\u00ebto pyetje jan\u00eb shum\u00eb t\u00eb r\u00ebnd\u00ebsishme, sidomos p\u00ebr shkak t\u00eb faktit se lufta n\u00eb Bosnje e Hercegovin\u00eb ka qen\u00eb edhe luft\u00eb kund\u00ebr kultur\u00ebs s\u00eb Bosnjes e Hercegovin\u00ebs, q\u00eb d\u00ebshmohet nga shkat\u00ebrrimi sistematik i trash\u00ebgimis\u00eb kulturore dhe \u2018rojtar\u00ebve\u2019 t\u00eb kujtes\u00ebs kulturore: muzeuve dhe bibliotekave, q\u00eb edhe n\u00eb kuptimin e mir\u00ebfillt\u00eb, edhe simbolik, kan\u00eb qen\u00eb n\u00eb vij\u00ebn e par\u00eb t\u00eb frontit gjat\u00eb luft\u00ebrave t\u00eb viteve 1990-t\u00eb, si dhe nga (etno)politika e (pas)luft\u00ebs e kultur\u00ebs dhe e edukimit. Nga ana tjet\u00ebr, gjat\u00eb rrethimit t\u00eb Sarajev\u00ebs, banor\u00ebt e qytetit rrezikuan jet\u00ebt e tyre e shum\u00eb madje edhe i dhan\u00eb jet\u00ebt e tyre p\u00ebr t\u00eb ruajtur koleksionet e vlefshme muzeale dhe librat nga nd\u00ebrtesat e shkat\u00ebrruara t\u00eb muzeve ose librat nga bibliotekat q\u00eb digjeshin. Gjat\u00eb luft\u00ebs, disa entuziast\u00eb imagjinuan dhe konceptuan muze t\u00eb rinj dhe nis\u00ebn procese p\u00ebr t\u00eb krijuar koleksione p\u00ebr muze t\u00eb rinj, t\u00eb imagjinuar. Me k\u00ebto ide dhe praktika origjinale ata t\u00eb gjith\u00eb reaguan ndaj brutalitetit t\u00eb luft\u00ebs me empati dhe solidaritet dhe ravij\u00ebzuan horizontet e nj\u00eb bote m\u00eb njer\u00ebzore n\u00eb net\u00ebt e gjata dhe t\u00eb err\u00ebta t\u00eb Qytetit t\u00eb rrethuar.<\/p>\n\n\n\n

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Nj\u00eb tjet\u00ebr \u00e7\u00ebshtje me r\u00ebnd\u00ebsi \u00ebsht\u00eb roli i muzeve n\u00eb Bosnje e Hercegovin\u00ebn e pas-Dejtonit, t\u00eb p\u00ebrballur me tranzicione t\u00eb shumta, ku pasojat e ndryshimeve t\u00eb thella n\u00eb nivel global ishin t\u00eb dukshme edhe nga p\u00ebrkrahja e pamjaftueshme q\u00eb iu dha edukimit n\u00eb fush\u00ebn e muzeologjis\u00eb dhe zhvillimit t\u00eb praktik\u00ebs muzeale n\u00eb Bosnje e Hercegovin\u00eb;[15]<\/a> zhdukja dhe\/ose konvertimi i muzeve nga periudha socialiste; procesi i gjat\u00eb i rind\u00ebrtimit t\u00eb nj\u00eb numri t\u00eb madh t\u00eb koleksioneve t\u00eb shkat\u00ebrruar nga lufta dhe mungesa e vazhdueshme e p\u00ebrkrahjes p\u00ebr pun\u00ebn e muzeve dhe institucioneve t\u00eb tjera kulturore me r\u00ebnd\u00ebsi komb\u00ebtare.[16]<\/a> K\u00ebto dhe probleme t\u00eb tjera t\u00eb nd\u00ebrlidhura jan\u00eb n\u00eb kontrast me hapjen e muzeve t\u00eb rinj n\u00eb Bosnje e Hercegovin\u00eb, p\u00ebrfshir\u00eb muzet\u00eb privat\u00eb. Meq\u00eb nuk ka regjistra t\u00eb institucioneve muzeale n\u00eb Bosnje e Hercegovin\u00eb, p\u00ebr t\u00eb mos p\u00ebrmendur pengesa t\u00eb shumta politike dhe ligjore lidhur me krijimin e nj\u00eb regjistri t\u00eb vet\u00ebm t\u00eb institucioneve muzeale, \u00ebsht\u00eb e v\u00ebshtir\u00eb t\u00eb p\u00ebrcaktohet numri i sakt\u00eb i muzeve n\u00eb Bosnje e Hercegovin\u00eb, apo numri i sakt\u00eb i muzeve privat\u00eb. Sidoqoft\u00eb, ajo \u00e7ka \u00ebsht\u00eb e dukshme edhe pa njohuri m\u00eb t\u00eb detajuara sa i p\u00ebrket ndryshimeve n\u00eb numrin dhe llojet e muzeve n\u00eb periudh\u00ebn e pasluft\u00ebs jan\u00eb rolet e ndryshme t\u00eb muzeve t\u00eb ndrysh\u00ebm n\u00eb shoq\u00ebrin\u00eb e pasluft\u00ebs. Po ashtu, ka edhe muze q\u00eb i koordinojn\u00eb aktivitetet me programet e institucionalizuara t\u00eb p\u00ebrkujtimeve t\u00eb luft\u00ebs nga vitet e n\u00ebnt\u00ebdhjeta.<\/p>\n\n\n\n

Me interesimin n\u00eb rritje p\u00ebr p\u00ebrkujtime dhe me fokusin tek luft\u00ebrat e viteve 90-t\u00eb, vala e m\u00ebparshme e kujtimeve q\u00eb p\u00ebrmbyti bot\u00ebn n\u00eb vitet 1980-t\u00eb dhe 1990-t\u00eb e goditi gjithashtu zon\u00ebn m\u00eb t\u00eb zgjeruar t\u00eb pas – Jugosllavis\u00eb p\u00ebrfshir\u00eb edhe n\u00eb kontekst t\u00eb Bosnje e Hercegovin\u00ebs. Aleancat e reja t\u00eb kujtes\u00ebs q\u00eb jan\u00eb krijuar n\u00eb k\u00ebt\u00eb proces dhe jan\u00eb fuqizuar vazhdimisht nga krijimi i komiteteve t\u00eb kujtes\u00ebs, jan\u00eb mb\u00ebshtetur edhe nga puna e disa muzeve n\u00eb Bosnje e Hercegovin\u00eb dhe n\u00eb zon\u00ebn m\u00eb t\u00eb zgjeruar t\u00eb pas-Jugosllavis\u00eb, aktiviteti i t\u00eb cilave i ka kontribuuar thellimit t\u00eb ndasive t\u00eb imponuara nga lufta, revizionimit t\u00eb historis\u00eb dhe falsifikimit t\u00eb saj, n\u00eb vend se t\u00eb kontribuonin n\u00eb m\u00ebnyr\u00eb t\u00eb p\u00ebrgjegjshme n\u00eb procesin e ballafaqimit me t\u00eb kaluar\u00ebn. \u00cbsht\u00eb pik\u00ebrisht marr\u00ebdh\u00ebnia ndaj procesit t\u00eb nd\u00ebrtimit t\u00eb paqes dhe besimit pas luft\u00ebs n\u00eb Bosnje e Hercegovin\u00eb ku mund t\u00eb flasim p\u00ebr role t\u00eb shum\u00ebfishta t\u00eb muzeve t\u00eb ndrysh\u00ebm n\u00eb Bosnje e Hercegovin\u00eb, n\u00eb mesin e t\u00eb cil\u00ebve mund t\u00eb dallojm\u00eb edhe muzet\u00eb, puna e t\u00eb cil\u00ebve tejkalon kornizat e ngushta, antagoniste, (etno)politike t\u00eb kujtes\u00ebs dhe puna e t\u00eb cil\u00ebve n\u00eb kontekstin boshnjak t\u00eb pasluft\u00ebs krijon hap\u00ebsir\u00eb p\u00ebr dialog dhe i kontribuon procesit t\u00eb ballafaqimit t\u00eb p\u00ebrgjegjsh\u00ebm me t\u00eb kaluar\u00ebn.<\/p>\n\n\n\n

\u00cbsht\u00eb interesante t\u00eb p\u00ebrmenden k\u00ebtu edhe raste t\u00eb tjera q\u00eb mund t\u2019i bashkojm\u00eb n\u00ebn titullin \u201cmuze n\u00eb pritje\u201d, q\u00eb kan\u00eb t\u00eb b\u00ebjn\u00eb me Muzeun e Rrethimit t\u00eb Sarajev\u00ebs (koleksioni FAMA)[17]<\/a> dhe Muzeun e Arteve Bashk\u00ebkohore Ars Aevi.[18]<\/a> Q\u00eb t\u00eb dy muzet\u00eb e imagjinuar me koleksione t\u00eb vlefshme jan\u00eb konceptuar n\u00eb fillimet e hershme t\u00eb rrethimit t\u00eb Sarajev\u00ebs dhe sot, pavar\u00ebsisht p\u00ebrpjekjeve t\u00eb ekipeve q\u00eb punojn\u00eb p\u00ebr promovimin e k\u00ebtyre koleksioneve dhe planeve t\u00eb detajuara p\u00ebr ngritjen e nd\u00ebrtesave, asnj\u00ebri prej k\u00ebtyre muzeve nuk \u00ebsht\u00eb nd\u00ebrtuar. Nj\u00eb pjes\u00eb e koleksionit Ars Aevi \u00ebsht\u00eb e hapur p\u00ebr publikun n\u00eb nd\u00ebrtes\u00ebn e ish-Bibliotek\u00ebs Universitare Komb\u00ebtare t\u00eb Bosnje e Hercegovin\u00ebs, tani, seli e K\u00ebshillit t\u00eb Qytetit dhe zyr\u00ebs s\u00eb kryetarit t\u00eb komun\u00ebs s\u00eb Sarajev\u00ebs. Sfida t\u00eb shumta dhe mungesa e p\u00ebrkrahjes s\u00eb nevojshme p\u00ebr nd\u00ebrtimin e k\u00ebtyre dy muzeve nuk e kan\u00eb cenuar disponueshm\u00ebrin\u00eb e koleksionit t\u00eb Ars Aevi, q\u00eb konsiderohet nj\u00eb nga koleksionet m\u00eb t\u00eb r\u00ebnd\u00ebsish\u00ebm t\u00eb artit bashk\u00ebkohor n\u00eb Evrop\u00ebn Juglindore, si dhe t\u00eb koleksionit FAMA, q\u00eb fokusohet tek puna edukative. Q\u00eb t\u00eb dy koleksionet jan\u00eb digjitalizuar dhe jan\u00eb n\u00eb dispozicion t\u00eb pubikut t\u00eb gjer\u00eb.<\/p>\n\n\n\n

Shembujt e koleksioneve FAMA dhe Ars Aevi, si dhe puna e vazhdueshme e nj\u00eb s\u00ebr\u00eb muzesh t\u00eb r\u00ebnd\u00ebsish\u00ebm n\u00eb Bosnje e Hercegovin\u00eb, sikurse Muzeu i Historis\u00eb s\u00eb Bosnje e Hercegovin\u00ebs, pavar\u00ebsisht munges\u00ebs s\u00eb mb\u00ebshtetjes p\u00ebr pun\u00ebn e tyre, n\u00eb bashk\u00ebpunim me komunitetin vazhdojn\u00eb t\u00eb zhvillojn\u00eb programe interesante dhe frym\u00ebzuese, duke dh\u00ebn\u00eb pjes\u00ebrisht p\u00ebrgjigje ndaj disa prej pyetjeve t\u00eb ngritura m\u00eb her\u00ebt rreth rolit t\u00eb mundsh\u00ebm t\u00eb muzeve n\u00eb shoq\u00ebrin\u00eb boshnjake t\u00eb (pas)luft\u00ebs. N\u00ebp\u00ebrmjet k\u00ebtyre shembujve mund t\u00eb dallojm\u00eb praktika t\u00eb ndryshme, afatgjate dhe imagjinative, disa prej t\u00eb cilave fillimisht ishin reagim ndaj shkat\u00ebrrimeve t\u00eb luft\u00ebs dhe q\u00eb, edhe n\u00eb vitet pas luft\u00ebs, kan\u00eb treguar se muzet\u00eb mund t\u00eb jen\u00eb hap\u00ebsira t\u00eb shpres\u00ebs dhe hap\u00ebsirave t\u00eb \u00e7elura q\u00eb n\u00ebp\u00ebrmjet pun\u00ebs s\u00eb tyre kan\u00eb tejkaluar kufijt\u00eb e imponuar dhe kan\u00eb lidhur njer\u00ebzit, koh\u00ebn dhe idet\u00eb kreative \u2013 n\u00eb koh\u00ebra lufte, si dhe n\u00eb periudhat e rim\u00ebk\u00ebmbjes s\u00eb shoq\u00ebrive nga lufta.<\/p>\n\n\n\n

Melina Sadikoviq \u00ebsht\u00eb hulumtuese nd\u00ebrdisiplinore nga Sarajeva. Sferat e saj t\u00eb edukimit dhe hulumtimit nd\u00ebrdisiplinor jan\u00eb studimet kulturore, kujtesa kulturore dhe edukimi p\u00ebr paqe.<\/p>\n\n\n\n

\n\n\n\n

[1]<\/a> Pierre Nora, \u2018Reasons for the current upsurge in memory,\u2019 2002, URL: https:\/\/www.boell.de\/sites\/default\/files\/assets\/boell.de\/images\/download_de\/Nora_Synopse_b_1.pdf<\/p>\n\n\n\n

[2]<\/a> Igor \u0160tiks, \u201cThe Berlin Wall Fell on Our Heads\u201d, in Up&Underground<\/em>, revista p\u00ebr oraktikat utopike-revolucionare-kritike dhe teorike artistike-politike, numri 17-18.<\/p>\n\n\n\n

[3]<\/a> Pierre Nora, \u201cReasons for the current upsurge in memory\u201d<\/p>\n\n\n\n

[4]<\/a> Ibid<\/em>.<\/p>\n\n\n\n

[5]<\/a> Kujtesa kulturore<\/em> \u00ebsht\u00eb teori, pra, fush\u00eb shkencore e themeluar n\u00eb vitet 1990-t\u00eb nga Aleida dhe Jan Assmann.<\/p>\n\n\n\n

[6]<\/a> Assmann, Jan, \u201cCommunicative and Cultural Memory\u201c, u Astrid Erll, Angsar Nuenning (editor) Cultural Memory Studies. An International and Interdisciplinary Handbook<\/em>, Berlin, Nju Jork, 2008. (f. 110)<\/p>\n\n\n\n

[7]<\/a> Assmann J., 2008.<\/p>\n\n\n\n

[8]<\/a> Aleida Assmann, ‘Cultural Memory’, Network in Transnational Memory Studies (YOUTUBE video)<\/p>\n\n\n\n

[9]<\/a> Nora, 2002.<\/p>\n\n\n\n

[10]<\/a>Themeluar n\u00eb vitin 1946, pas Luft\u00ebs s\u00eb Dyt\u00eb Bot\u00ebrore, ICOM \u00ebsht\u00eb p\u00ebrballur me sfida t\u00eb ndryshme n\u00eb vitet 1970-t\u00eb, q\u00eb p\u00ebrshkruhen n\u00eb uebfaqen zyrtare t\u00eb ICOM-it si vitet e kriz\u00ebs dhe tranzicionit ku shfaqen llojet e reja t\u00eb muzeve. Le t\u00eb risjellim n\u00eb kujtes\u00eb se kjo \u00ebsht\u00eb periudha q\u00eb Nora e p\u00ebrshkruan si fillimin e ndryshimit n\u00eb q\u00ebndrimet ndaj s\u00eb kaluar\u00ebs.<\/p>\n\n\n\n

[11]<\/a> Konferenca e ICOM-it u mbajt nga 20-28 gusht 2022 n\u00eb Prag\u00eb; https:\/\/icom.museum\/en\/news\/icom-prague-2022-discover-the-social-program\/<\/p>\n\n\n\n

[12]<\/a>  ICOM, \u2018Fuqia e Muzeve\u2019; Dita Nd\u00ebrkomb\u00ebtare dhe Nata Evropiane e Muzeve n\u00eb Bosnje e Hercegovin\u00eb n\u00ebn k\u00ebt\u00eb moto t\u00eb ICOM-it u mbajt nga 14 deri 18 maj 2022; http:\/\/www.mcp.gov.ba\/Publication\/Read\/medjunarodni-dan-i-evropska-noc-muzeja-u-bosni-i-hercegovini-14-18-maj-2022-godine?pageId=27&lang=hr<\/p>\n\n\n\n

[13]<\/a> Komiteti Komb\u00ebtar Kroat i ICOM-it: http:\/\/www.icom-croatia.hr\/aktivnosti\/icom-definicija-muzeja-2022\/<\/a>; ICOM, https:\/\/icom.museum\/en\/news\/icom-approves-a-new-museum-definition\/<\/a><\/p>\n\n\n\n

[14]<\/a> ICOM, ‘Muzet\u00eb nuk kan\u00eb kufinj, ata kan\u00eb rrjet’<\/p>\n\n\n\n

[15]<\/a> M\u00eb shum\u00eb rreth edukimit museal n\u00eb kontekst nd\u00ebrkomb\u00ebtar, p\u00ebrfshir\u00eb dhe kontekstin e BeH, n\u00eb : Asja Mandi\u0107, Challenges of museum education. Contemporary Art and Visual Thinking Strategies.<\/em> 2014, Sarajev\u00eb, Dobra knjiga<\/p>\n\n\n\n

[16]<\/a> Le t\u00eb sjellim nd\u00ebr mend kriz\u00ebn ende aktuale t\u00eb njohur si ‘Shtat\u00eb institucionet kulturore me r\u00ebnd\u00ebsi shtet\u00ebrore p\u00ebr Bosnje e Hercegovin\u00ebn’.<\/p>\n\n\n\n

[17]<\/a> Fama Collection, https:\/\/www.famacollection.org\/eng\/general-information\/about-fama\/index.html<\/p>\n\n\n\n

[18]<\/a> Muzeu i Artit Bashk\u00ebkohor Ars Aevi, https:\/\/www.facebook.com\/ArsAeviMuseumSarajevo\/<\/p>\n","protected":false},"excerpt":{"rendered":"

Ndryshimet intensive gjeopolitike, sociale dhe kulturore q\u00eb kan\u00eb shenjuar dy dekadat e fundit t\u00eb shekullit t\u00eb trazuar 20-t\u00eb dhe fillimi po aq dinanik dhe dramatik i shekullit 21-t\u00eb jan\u00eb p\u00ebrcjell\u00eb nga af\u00ebr nga zhvillimi i shpejt\u00eb i teknologjive t\u00eb informacionit dhe komunikimit dhe nga procesi i globalizimit. Teoricien\u00eb t\u00eb shumt\u00eb n\u00eb sferat e shkencave shoq\u00ebrore dhe humane v\u00ebn\u00eb n\u00eb dukje […]<\/p>\n","protected":false},"author":8,"featured_media":7106,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_editorskit_title_hidden":false,"_editorskit_reading_time":9,"_editorskit_is_block_options_detached":false,"_editorskit_block_options_position":"{}","footnotes":""},"categories":[1033,50],"tags":[],"class_list":["post-7112","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-balkan-perspectives-21-alb-balkan-perspectives-alb","category-uncategorized-sq"],"acf":[],"yoast_head":"\nMuzet\u00eb \u201cn\u00eb pritje\u201d - 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=\"Muzet\u00eb \u201cn\u00eb pritje\u201d - DWP-BALKAN\" \/>\n<meta property=\"og:description\" content=\"Ndryshimet intensive gjeopolitike, sociale dhe kulturore q\u00eb kan\u00eb shenjuar dy dekadat e fundit t\u00eb shekullit t\u00eb trazuar 20-t\u00eb dhe fillimi po aq dinanik dhe dramatik i shekullit 21-t\u00eb jan\u00eb p\u00ebrcjell\u00eb nga af\u00ebr nga zhvillimi i shpejt\u00eb i teknologjive t\u00eb informacionit dhe komunikimit dhe nga procesi i globalizimit. 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