Elira Lluka

Media: KTV
Story Title: Zëra të padëgjuar: “Gratë e Trojës” zërojnë rrëfimin e dhunimeve në luftë
Date: November 10, 2024
Link: https://www.koha.net/shtojca-kulture/zera-te-padegjuar-grate-e-trojes-zerojne-rrefimin-e-dhunimeve-ne-lufte

By: Col Mehmeti

The dead are no longer affected, for fear, agony, and suffering weigh heavily on those who have survived. In a marked departure from Euripides’ original work, where the curtains fall on wail and tragedy, this performance brings hope through the interspersing of moments of humor.

Today, writing anti-war appeals may seem like the easiest thing to do. Unfortunately, there are times when it’s damn hard to draw the line between single-minded anger and bloodshed for moral capital, pretense for moral righteousness, or selfish self-affirmation. However, when calls against war are raised on the foundations of human suffering amidst the wreckage, screams, and sorrowful wails, great art permeates the human conscience deeply. Against the backdrop of relentless wars that plagued 5th-century Greece, Euripides gave voice to the shattered inner worlds of the unfortunate women and the all-encompassing nightmare of war.

Created in the distant year of 415 BCE, the play Trojan Women does not bring forth the heroic battlegrounds of Troy, the bold assaults on its walls and ramparts, the intrigues of the Gods, or the schemes of warring factions. Instead, Hecuba, Cassandra, Andromache, Helen, and the chorus of grief-stricken women emerge as the tragic heroines in the aftermath of a devastating war. Winners and losers alike stand before the heap of the dead, among whom are their dearest ones, and all that extinguished world that seems as though it never existed. Through his drama, Euripides breathed new life into the Homeric past, even its darkest side, to allude to the grim and terrifying present, where the Greek city-states, mired in wars with one another, were carving themselves an epitaph of shame.

Where Euripides only reluctantly showed any resistance to the Gods for their disregard, this performance from Prishtina, full of courage and without a trace of fear, boldly declares that religion itself is a factory of violence. The ruined world of Troy has victims on both sides, but the dead are no longer touched, for fear, agony, and suffering weigh most heavily on those who have survived.

Ancient Troy, Modern Troy

Euripides’ anti-war work carries timeless and universal resonances, but its reinvention with new language, fresh voices, and contemporary touches is a powerful invitation to sit, much like the ancient Athenian theatergoers during the Dionysian festival, and experience Euripides’ latest production. Such sensations are also embodied in the theatrical performance “Women of Troy”, co-directed by Zana Hoxha and Maja Mitić, which for the second consecutive year was presented at the Dodona Theatre in Prishtina. Originating from a collaborative creative process between Prishtina and Belgrade, the two-night performance, held on November 5th and 6th, highlighted an intricate performance by the artists of the Artpolis ensemble and their colleagues from Serbia.

As early as 1965, Sartre made an adaptation of this ever-relevant drama, which served as a powerful protest against the war in Algeria. Recently, writer and actor Shpëtim Selmani took on this challenging endeavor, infusing it with a local flavor while maintaining a universal resonance. His text preserves the original framework with gods and mortals, yet its dramatic update reverberates widely in the realities of our time.

Through the voices of female characters trapped in their own misery – like the sorrowful Hecuba, the unfortunate Andromache, the doomed Cassandra, and the defiant Helen – he unravels the unceasing pain of Kosovo, with the screams, tears, and suffering of the 20,000 women who were victims of sexual violence during the war.

“All happy families are alike; each unhappy family is unhappy in its own way,” said Tolstoy, with which he opens his novel on the psychological unraveling of his modern heroine, Anna Karenina. These words could somewhat be adapted here to say that every human pain has a unique mark, one that requires effort to grasp the inner world of disintegration and psychological ruin, which often goes unnoticed.

While the στιχομυθία (stichomythia) of the Euripidean original speaks in modern language, it simultaneously gains strength against war and its atrocities. This is most clearly expressed through Selmani’s monologues (who is also part of the cast). The intertwining of two different eras is masterfully balanced through the breaking of the “fourth wall” and occasional modern references: “The whole world is our ancient Troy and your modern Troy. Thousands of horses, not made of wood, but of steel… flying. Iron Pegasi dropping bombs here and there.”

The living suffer

Beyond its technical aspects, the performance as an undertaking is far more demanding than one might expect. In addition to the challenges of a still difficult neighborhood filled with grudges, prejudices, and hostilities, “The Women of Troy” also faced an additional issue. Would the two languages of the performance, Albanian and Serbian, complement each other? As a bilingual production, the work of directors Zana Hoxha and Maja Mitić deserves nothing but praise. The bilingualism is so seamlessly integrated through the interaction of a carefully chosen cast, including Maja Mitić, Shpëtim Selmani, Semira Latifi, Branka Stojković, Qëndresa Kajtazi, Labinot Raci, and Aleksandar Stoimenovski. Therefore, it can be freely said that neither the local audience nor the foreign one could notice any inconsistency.

There are two scenographic details that truly deserve recognition: in the opening scene, sea waves are improvised, from which Poseidon emerges, mourning the fall of Troy. Combined with the sound effects of the roaring sea waves, this creates a profound sense of utter hopelessness in the face of a merciless and mute providence that has abandoned the mortals. Throughout the performance, periodically, pendants appear suspended in the air, an element that aligns with the bitter and anguished faces of the unfortunate women, emphasizing the fragility of their lives. In truth, these are marvelous directorial strategies that use such elements to highlight the heroic efforts of the women against the all-powerful forces.

In the original Greek, almost every declamation of the female characters contains bursts of pain and sorrow (in the original, there are countless instances of wailing sounds such as aiaí aiaí, ottototototoí, ió ió, aiaí, and é é, which, in Euripides’ time, were realistic evocations from daily life). While the agony of these tragic women lingers in the air, the performance as a whole is a beautiful interplay between striking dialogues, a simple yet captivating set, and music that captures the contrasting and ever-changing states of the characters.

It is a blend of Euripidean verses with entirely modern evocations, highlighting the tragic fate of the 20,000 women who were victims of sexual violence during the war in Kosovo. This mental and physical juxtaposition is best expressed by Andromache: “They forced me to live.”

It often happens, especially in moments of agony that deep existential bursts emerge: “Only the dead do not feel pain.” Where Euripides hesitantly expressed any opposition to the gods for their disregard, this performance from Prishtina, full of courage and without a trace of fear, boldly declares that religion itself is a factory of violence. The shattered world of Troy has victims on both sides, but the dead are no longer affected, as fear, agony, and suffering weigh most heavily on those who have survived.

With a notable departure from Euripides’ original work, where the curtains fall with wails and tragedy, this performance brings hope through the insertion of moments of humor. This is another example of breaking the “fourth wall,” where the author and actor, Shpëtim Selmani, revives a scene reminiscent of Woody Allen’s “Deconstructing Harry”: out of nowhere, he comes face to face with his real-life characters, full of quirks, who complain about the fates he has assigned to them. Therefore, where there is hope, there is life!

Media: Kallxo.com
Story Title: Shfaqja ‘Gratë e Trojës’, thirrjet shqip e serbisht që shkundën skenën e “Dodonës” në kërkim të paqes
Date: November 7, 2024
Link: https://kallxo.com/kulture/shfaqja-grate-e-trojes-thirrjet-shqip-e-serbisht-qe-shkunden-skenen-e-dodones-ne-kerkim-te-paqes/

By: Isa Vatovci

The most tragic story of the conquest and destruction of ancient Troy is reflected in the captivity of the Trojan women by the Greeks; Queen Hecuba, Cassandra, Polyxena and Andromache. Immortalized with the tragedy “The Women of Troy”, written by Euripides, after the end of Troy they are separated from the kings of the Greek princes as spoils of war-captives. This painful story has served the Center for Arts and Communities, “Artpolis” and a group of artists from Belgrade (Serbia) to create theater performance “Women of Troy”, showing that pain and the Trojan reality continues to live even in our time.

With dramaturgy and direction by Zana Hoxha and Maja Mitić, and with a contemporary text by Shpëtim Selmani, “Women of Troy” was shown on Tuesday 05.11.2024, at the “Dodona” Theater in Prishtina. Staged by Albanian and Serbian actors, “Women of Troy” revealed the suffering of women after the war, highlighting the violence and brutality towards them. The special feature of the show is that the Albanian actors speak Albanian, while the Serbian ones speak Serbian, throughout the show, subtitled in English. The show brings, through a feminist approach, the sensitivity and resistance of women in the face of the terror of war, from ancient Greece to the present day, where wars are the havoc The Trojan women travel back in time, re-enacting the tragedy of women who experienced the last war in Kosovo, the war in Gaza, Ukraine, and more.

The play calls for peace and an end to conflicts in the world, a call that received applause from the audience.

“Troy, a metaphor for today’s crimes”

The Serbian actress, Maja Mitiq, told KALLXO.com that “Women of Troy” talks about the war, which is currently happening in Gaza or Somalia, or the war during the 90s in the Balkans, in the former Yugoslavia. She says that art must win in the face of war. “I feel that art must always win, not war and not murder, rape, who knows how many artists these days from Gaza or Ukraine who are immigrants. We think about these people, they are from the war, they are immigrants, and that’s why I ask the screenwriter, why didn’t you include some gods from Greek mythology that could protect them a little bit, maybe we could stop these wars that are happening” – says Mitiq, who is also the co-director of the show, “Women of Troy”.

Mitiq says that “Women of Troy” will be presented on November 22 and 23 (2024) at the Center for Cultural Decontamination in Belgrade. According to her, it is difficult to bring war narratives through art. But, as he says, they are important topics for changing society. “I usually choose topics that are important for changing society, because I believe that I can make a difference,” Mitiq said.

Actor Shpëtim Selmani, who has dramatized the modern text of the play, told KALLXO.com that the purpose of the play is to show that Troy still exists today. “The idea of ​​the play is to show that the suffering of women still exists, that today Troy still exists, in the various places where there are wars, stories that are similar to ancient Greek tragedies, we rely on the work of Euripides, ‘Women of Troy’, we have an interweaving with current conflicts and we connected the situations” – he said.

The challenge of bilingualism

Director Zana Hoxha told KALLXO.com that the show “Women of Troy” is the result of a long process of work. “It has not been easy, almost a year and a half, it is one of the most difficult processes I have done in my life,” she said. Hoxha added that even though the show is based on one of the Greek tragedies, it speaks about today’s reality.

“I didn’t want to run away from what’s happening, I couldn’t make ‘Women of Troy’ without updating it, without giving a part of Kosovo, Gaza, and what’s happening in the world today” – said Hoxha.

But, a challenge for her, it was the realism of a play where the Albanian actors speak Albanian, while the Serbian actors speak Serbian, throughout the play. But, thanks to her, this is a historic step. “Obviously, it has been challenging to work in two languages ​​because none of the actors know the Serbian language, nor the Serbian actors the Albanian language. Only I know both languages ​​and sometimes I gave the indications in all three languages, Albanian, English, Serbian” – she said.

The show “Women of Troy”, according to director Hoxha, will be shown in Belgrade, Serbia, on November 22 and 23 (2024). Meanwhile, director Hoxha has already received an invitation to participate in Italy for the next year (2025).

By: Shqipe Malushi

Day 4, FemArt 12 Festival
September 28, 2024 | 21:00-22:10 | Oda Theater, Prishtina

Written by: Alice Birch | Directed by: Zana Hoxha | Cast: Olive McHugh, Tanaka Mpofu, Xixi Xiao, Natalia May
Produced by: London Academy of Music & Dramatic Arts (LAMDA)

On September 28th, 2024, Zana Hoxha brought Alice Birch’s “Revolt. She Said. Revolt Again” to Kosovo’s Oda Theater during the FemArt 12 Festival. The play, recently premiered at London’s Orange Tree Theater, was produced by LAMDA and captivated the Prishtina audience, with some attendees sitting on the floor due to the overflow. Among the crowd was the British Ambassador, who personally congratulated the director and cast.

“Revolt. She Said. Revolt Again” challenges traditional ideas of how women should behave, using a series of short, provocative scenes to question language, relationships, work, and everyday norms. Alice Birch’s writing deconstructs these societal expectations, reimagining them in bold ways. Hoxha’s direction takes this further by turning familiar actions and words on their heads, from the symbolism of marriage proposals to rethinking motherhood, aging, and love.

The play reflects the notion that “well-behaved women seldom make history” and highlights the restrictive language that has controlled women for centuries. Zana Hoxha emphasizes this, allowing her actresses to explore words and actions in ways that disrupt conventional theater. The women, played by McHugh, Mpofu, Xiao, and May, present a range of emotions, often raw and uncomfortable, leading the audience to reflect on deeply embedded societal limitations. One striking scene involving a woman and a broken watermelon pushes boundaries of intimacy and self-exploration, provoking the audience to confront their own reservations about freedom.

The play is structured in three parts, each experimenting with different storytelling techniques. In one particularly memorable scene, four women from different generations silently face the audience, representing the struggles women endure across time. This moment, like much of the play, blurs the line between performer and character, making the audience feel engaged in the unfolding experience.

Zana Hoxha’s innovative direction encouraged the actresses to break traditional theater norms, making a strong statement that patriarchy is not an unchangeable structure but a societal construct that can be dismantled. Beyond gender, the play explores deeper themes of choice, freedom, power, and control.

The performance concluded with a standing ovation, as the actors raised banners above their heads, inviting the audience to join in shouting “WE HAVE A CHOICE.” Through Zana Hoxha’s bold approach, the audience witnessed the power of women pushing boundaries, urging everyone to reflect and take part in challenging societal norms. The performance leaves lingering questions for those accustomed to traditional theater: Have we ever allowed ourselves such complete freedom, to cast off societal constraints?

By: Gili Hoxhaj

In rebellion, mere thought isn’t enough—at least not for the women of the 21st century. That’s why the show titled “Revolt. She Said. Revolt Again.” gives voice to this need. With a script by Alice Birch and directed by Zana Hoxha, the production from England featured a cast of actresses who showcased the uniqueness of their performances. It captivated and engaged the audience right in the heart of Pristina, at the “ODA” theater, as part of the 12th edition of FemArt. The director incorporated a crown for those entering to see the show, reflecting the spirit of the place from which it originated. Zana Hoxha returned to Kosovo with a production unlike anything she had created in her long career as an activist and director. She taught us to rebel and to engage with our rebellion in a modern way.

Actress Tanaka Mpofu began by addressing one of the girls in the audience with a compliment about her earrings and asking where she found them, establishing an immediate intimacy on stage. This created interaction with many in the audience, and she playfully asked, “Will you vote for me?” She received a few “yeses.” As an actress, her performance garnered many more “yeses” for the energy she brought to the stage and her disregard for the situations around her. She skillfully played with these dynamics, placing other characters into the mix and guiding them through dilemmas to spark debate. A scene exploring love and sexuality between two characters followed, illustrating various ways to express and desire one another. Tanaka Mpofu mentioned that all her power in the performance was inspired by the director’s passion. “I like works that have a purpose behind them. I am encouraged by Zana’s passion for feminism and for fighting for women’s empowerment. Her invitation to us in Kosovo was very emotional. The people here are very open and welcoming, and everything felt easy,” she said immediately after the show.

The actresses delivered their messages with a calm tone. The smell of watermelon scattered across the floor will always be linked to this performance. It served as a method of protest—pieces of watermelon that were shared and then savored. The actresses, while changing roles, embodied sensuality and expressed the need for better economic lives and freedom at work, for inclusion and power in politics, and for acceptance while being assured they are made for something greater. Through dialogues about love, they showed there are many ways to appreciate and tell someone you love them. Marriage was discussed in various contexts—as a means of acceptance and often rejection. The show conveyed concerns of the past century while speaking about women of this century, who find themselves navigating home life, public life, family, and romantic relationships, all seeking a little more time for themselves.

Olive McHugh, Tanaka Mpofu, Xixi Xiao, and Natalia May each brought unique qualities that complemented each other, drawing out the best in one another. The production is a collaboration between LAMDA and Orange Tree Theatre, created by the director during her master’s studies in England and previously presented at the GreenHouse festival. As an innovative and intensely engaging performance, it also made its way to FemArt. Comedic situations were abundant, teaching us that rebellion can occur without raising one’s voice, but by constantly discussing what belongs to us. It opens up space for new feminist debates. It transforms themes and prompts questions in an environment where women speak for themselves. Alice Birch’s language was placed by director Zana Hoxha in a context that speaks to everyone, particularly relevant to the present time—with courage. When she first held the text in her hands, director Hoxha expressed her shock.

“I was impressed by how it deconstructed language, behaviors, and other socio-cultural factors in constructing femininity,” she remarked. “The performance resonated with my artistic and activist methods. Birch challenged patriarchal oppression and posed the fundamental question: ‘What prevents us from doing something truly radical to change that?’ (Birch, 2016). This reflected my commitment to fostering critical thought and opening pathways for action through theater,” Zana Hoxha emphasized. She thoroughly explored the text and narrative, enriching them further with her extensive experience in feminist art. Even if you didn’t hear a single word from actress Olive McHugh, her eyes conveyed the anguish of longing to hear something kind from her mother. She possessed a strong maternal instinct but had an absent childhood. As she spoke with her eyes, she yearned for the moment in a typical dining scene with a vase of flowers and bread on a table. It was a deep dive into familial baggage and a tangled family drama whose consequences are inherited. McHugh shared that since reading the script, she felt a special energy in the room and felt very secure exploring the characters. “Oh, I love Zana since my first day in London. I had a wonderful connection with her, and when she told me I needed to come to Kosovo, I couldn’t believe I would be here to perform this show. The energy of FemArt is amazing; the people who come here, even those who aren’t actors, have a very special energy. I will always remember my time here,” said actress Olive McHugh. The audience’s intensive, energetic, and provocative responses shaped the flow of the performance. When actress Xixi Xiao addressed someone in the audience, asking which rights the team needed more rest and other requests related to work life, she awaited a response and eventually received one. In another instance, a delay led her to give up on getting an answer. “Very slowly, I don’t have time for this,” she stated as she returned to the performance with conviction. She conveyed a message that everyone should respect their own time, the time of the performance, and that of the audience.

“I made small revisions to the text to make it more significant for a post-apocalyptic theme and a feminist approach. I brought in my previous knowledge of feminist theory and prior work, focusing on combating cultural narratives that undermine women (Butler, 1990). The text was a living skeleton from which the actors could create complex performances and allowed for deep exploration,” Zana further highlighted. For her, the great protest was the initial idea of this performance—a protest against the systems and values that lead to the collapse of societies and ecologies. The stage was a destroyed world, remnants of patriarchal structures; it was based on eco-feminist theories linking the exploitation of nature with the oppression of women. Director and playwright Shqipe Malushi stated that this was a daring and experimental theatrical show that challenges traditional ideas about how women should behave. “Zana Hoxha embraced this sense of disruption, encouraging the actresses to break the conventional rules of theater,” she remarked after the performance. In collaboration with set and costume designer Grace Rumsey, Hoxha worked intensively, promoting a sustainable practice that shows environmental awareness in theater by using recycled costumes. Even within the context of the stage and costumes, an important aspect was touched upon. On a stage made entirely of watermelon juice, the actresses gathered and cleaned the stage during the performance—preparing for their next act. Another form of awareness in theater came as the director joined the team in resetting the stage for the next act. Zana and her team penetrated the space with a creative vision—one that elevates the call for their choices. Choices made with great courage!

From March 14–17, 2024, Zana Hoxha, the Executive Director of Artpolis, participated in the IETM Caravan Ljubljana, a significant international platform for performing arts.

During this pivotal cultural event in the Balkans, over 60 professionals and IETM members from around the globe explored Slovenia’s independent performing arts scene through panels, discussions, and artistic showcases.

This experience offered an exceptional opportunity to foster collaboration between the artistic community in Kosovo and international artists. Hoxha’s visit to Slovenia resulted in the inclusion of international artists in the 12th edition of the FemArt Festival and initiated long-term partnerships for presenting Artpolis productions abroad.

Artpolis remains committed to developing intercultural dialogue and strengthening artistic networks to achieve a lasting impact on art and society.

Media: KTV
Story title: “Tatuazhi i trëndafilit” nëpër ngjyrat e jetës gjen dashurinë
Date: July 16, 2023
Linku: https://www.koha.net/shtojca-kulture/385374/tatuazhi-i-trendafilit-neper-ngjyrat-e-jetes-gjen-dashurine/?fbclid=IwAR1AE5vB0X1DvT8hI0eB13b05LUjdrYBXisc651t3oZRxdvmJ2HT0Cmkstc

By: Fisnik Minci

It has arrived as it was intended: a passionate tale of superstitions, promises and the possibility of love and passion after a broken heart. With an interactive approach with the public on the “black box” stage located in the Bosnian Cultural Center in Prizren, the well-known drama of Tennessee Williams, staged under the direction of Zana Hoxha, comes with the call to open the heart and find hope even where it is not expected.

The romantic comedy “Rose Tattoo” by the author Tennessee Williams, which remains a symbol of love, sex, emotional vulnerability and reproduction, was staged by the city theater “Bekim Fehmiu” thanks to the commitment of the director Zana Hoxha. The drama was performed on the ‘black box’ stage located in the Bosnian Cultural Center, integrating the audience into the game, who at the end of the show expressed their gratitude for the almost two-hour performance of the actors Aurita Agushi, Rifat Smani, Liridona Shehu, Alban Krasniqi, Xhevdet Doda, Beslidje Bytyqi, Valmira Hoti and Zana Duraku.

This drama is set in a small Sicilian-American community. There, Serafina delle Rose, played by the actress Aurita Agushi, is a fiery and passionate woman and mother, who, after the murder of the smuggler’s husband, shuts herself off from life and love. In the meantime, she often collides with her circle, while her daughter Rosa also faces the barrier set by her.

But the situation changes, when by chance a truck driver arrives at Serafina’s house.

The play, according to the description given by the city theater, is a passionate tale of superstitions, promises and the possibility of love and passion after a broken heart. In doing so, it offers a witty and interactive comedy with the audience, while reminding them to open their hearts and find hope where they least expect it. It also addresses the theme of sexual repression as a strong and ongoing theme, while turning her story into one of passion, romance and hope.

For the actress Aurita Agushi, this project marked the next collaboration with the theater “Bekim Fehmiu” in Prizren. She described the process of working with the resident actors as good, while also providing details about the challenges in interpreting her role.

“It was also very easy. I know the part very well, even Tennessee Williams is one of my favorite authors. This work on the Italian accent has been a bit challenging, I want to concentrate more on that. Even if I analyze the character of Serafina a little more closely, because she is a complex, multidimensional character, who varies throughout the performance, the tragedy that happened to her, then she recovers the love, prejudices and judgments that the circle makes of her, even here it is like I stopped and made a closer analysis and I believe that together with Zana, the director, with my colleagues, especially with Rifat (Smani), my partner on stage, we worked very closely and I believe that we did a very good job good”, said Agushi.

Xhevdet Doda, who played the role of Father De Leo, assessed that the environment created with the “black box” brought him closer to the public and at the same time expressed his satisfaction with the teamwork in this project.

“Satisfied with the performance of my role. It is a role that I have tried to give some artistic ‘sweetness’, of course with the suggestions of the director. I am very satisfied with the team, I am very happy for this premiere and I hope that this show will find its way to our audience”, said Doda.

The director Zana Hoxha has assessed that it is a project worked on with mutual love, where as a result the realization has progressed easily and with good energy.

“And almost like the show that gives a certain reality a little more rosy, a little different, more optimistic, and it was a kind of disappointment I would say, because we had to work in the original building of the Prizren theater and due to the renovation we decided here. But everything is good when it ends well, like tonight’s show that started with more dramatic moments then developed, the other colors of life came to the fore, because life has ups and downs, there are challenges but there is also a lot of love if we want to see “, said Hoxha.

University professor, director and playwright Fadil Hysaj was also present in the audience, who appreciated the acting of the actors, the work of the director and the reaction of the public.

“Let’s start with the actors, really an extremely beautiful play, a brilliant director, Zana Hoxha, a reading of a dramaturgical masterpiece by Tennesee Williams that in an almost authorial sense decomposed into one dimension, that a deep drama of a woman transforms, it gives life, it turns the comedy into a kind of liberation that conveys it, which we need. It is understood that the fight against evil, against suffering begins and is won within oneself, not outside oneself. It is also a very beautiful show, built with finesse, with a brilliant acting that I think is rare as such and I wish that it will have a long life on stage and that many, many people will see it”, said Hysaj.

This performance is the third premiere after the beginning of the renovation of the theater building. The first premiere was the show “Fausti”, a co-production between the “Bekim Fehmiu” Theater, the National Theater of Kosovo and the Gjilan Theater. While the second premiere was the play for children “Aphrodite again at school”. This year, the “Bekim Fehmiu” theater has performed the first cycle of staged readings of contemporary Kosovar drama.

By Alba Ajdarevikj

One of the first things anyone thinks about when the land of Kosovo is mentioned is the brutal war that happened in the 90s. The fear, the anger, the tears, the courage, the sorrow, the resistance, and everything that led to its partial freedom. This chaotic period, haunting for many, traumatizing for all, even the generations that were brought to life after, was impeccably displayed on June 14, 2022, at the National Theater of Kosova, by the Artistic Resident Troupe of Artpolis. It was the opening night of the 10th edition of FemArt – the largest Feminist Festival of Women Artists and Activists in the region.

Before the play even started, a large number of people were standing outside the theater or in the lobby, excited about the play, some going in blindly, unaware of what they were about to witness. The theater was filled to the brim with people, curious to see this masterpiece and experience all the emotions the artists exhibited. As the play begins, the actors of the troupe accompanied by the melodic voice of Donika Rushiti, bring the scene to life. The singing resembles the lullabies we have all once heard being sung by our mother or grandmother; as a mother surrenders her daughter to marriage. The following scene, supported by the familiar sounds of the Albanian defa and drums, shows the marriage of this newlywed couple dancing. And then suddenly the sounds intensify, bringing back the memories of guns being picked up by the people resisting its ethnic cleansing.

Further, a lady in a ravishingly gorgeous bloody-red gown appeared in the scene. A dress so red, it made me think of a mesmerizing land covered in blood. A land that more than 20 years later, still carries the dried red blood of the fallen soldiers, the fallen heroines, and the innocent children. A land haunted by their spirits, a land haunted by its blood.

The people standing behind ‘Lady Blood’, facing an imaginary wall, with their hands behind their heads, fall on and get off the ground, as she voices the feeling of being trapped and isolated in a land of blood. Resisting the regime, resisting the feeling of being isolated, falling, and rising again, like a phoenix in a never ending, exhausting loop.

And then, the issue that is least discussed in this society unfolds. Women during this war. The experiences of women, their feelings, their memories, and their trauma. The feeling of weakness, shame, guilt, fear, being trapped, of feeling as if they are the one at fault. That horrific moment of finding yourself naked, exposed to the elements, with legs up high, being tormented by an army of men, an army of pigs, an army of dirtbags. That memory that will never die, that exact minute when your whole life turns around, and it is not under your control. The moment you know everything is falling apart, and yet, there is nothing you can do but fight – even if that means not winning. The moment your body feels endangered and your brain receives that signal. The moment your body feels violated and you get raped. Raped by disgusting inhumane “beings”. And no one believes you. “It is not true / I am a woman / Trying to escape / The nightmare of a lost battle / That was never mine.”

Trapped by a barricade of men, pushing her back, silencing her, and yet, she continues raising her voice, speaking up. Nevertheless, no one wants to hear that, no one wants to believe that, and no one admits that. The sad reality of the many violated women.

A mother, a concerned mother, of a child who sees dead people and still hears gunshots and talks to herself. A mother seeking help for her own child. No one in the playground wants to play with her child, and no one can help her. Because as she said, “there are no doctors to help with her anxiety.” You can see people scorning her, ignorant to her pleas for help, as she is knocked down and raises up talking to them, crying for help.

And finally, the piece that affected each and every member of the audience. In the background, footage of soldiers, and other footage of the ‘99 Kosovo war is screened, projecting through the Motherland – the ‘Lady Red’, the clear curtain standing between her and the rest of the cast, in the role of the people of Kosovo. The latter were celebrating their liberation, Kosovo’s liberation. Dancing, laughing, singing, and ignoring their blooded Motherland who was speaking to them. She was pointing out that the earth they live in has been scarred – the land they know as their home is tainted with blood and it will remain as such forever. However, the citizens, as if trying to avoid the reality at that moment, paid no attention to her, divided by the curtain that was almost masked.

The war ended indeed; but, the armed conflict that followed, the atrocities that followed, did not end immediately. And still, people tried to identify a silver lining to the situation and just find what they received sufficient. Nevertheless, the next scene perfectly described what so many of the Kosovar families were confronted with – the reality of loss. A young man talking to his grandparents, his mother, and so forth, whom he could not see, but still appeared on the scene. The lack of conversation among them and the lack of physical attention towards one another made it obvious to the audience that they were gone. They were gone and were never coming back. Their bodies were there, but they, as he knew them, were not. The family members sat, eloquently and quietly, on a bench that was set on the stage. Following them, the son asks for his father, shouting on the stage. And just like the rest, he answers; however, they cannot conversate. Both remembering moments of the son’s childhood, the father slowly drifts to the back of the stage, lining up with other people. The fact that he does not join the rest of his family on the bench, suggests that he is among more than a thousand people, whose bodies are still missing. Whose bodies their families have still not found, and souls that have no resting place, which the family can go visit and express their anger and sadness. Whose luck is still unknown to many, and people who are believed to still be alive somewhere.

This play was definitely something I have personally not encountered before. It affected each person in the audience. As uncommon as it is remarkable. The direction, the scenic play, the poems, the coreography, the music and the videoprojection are in an extraordinary interaction. Through them, an extremery crucial piece of a nation’s history is conveyed. Many people, including myself, teared up during it. The swollen eyes were emphasized by the bright lights in the lobby of the National Theater of Kosova after the play. The souls battered by a bloody history loom on the horizon, never to be forgotten.

Alba Ajdarevikj is a recent graduate from Rochester Institute of Technology, with concentrations in Peace & Conflict Studies and Public Policy & Governance. She was an intern at Artpolis and is currently a project reporter at Artpolis.

By Ivana Bilic

Premiere performance “Haunted Land” opened the 10^th edition of FemArt Festival. What a synergy and multitude of disciplines – from poetry, theatrical choreography, dancing to traditional singing and video projections! The audience said it all with a three-minute applause and standing ovations after crying and applauding between the scenes. But let’s start from the beginning! 

What is the Language of Compassion?

“Haunted Land” was performed in both English and Albanian. The poems were originally written in English and then translated by the author herself and edited by Berat Bajrami. The author explained how the poems got entirely different meanings once translated in Albanian, they got strength and power. For sure, those who didn’t understand Albanian, witnessed the strength of these words, power of emotions and weighty presence of the actors. The polyphony of voices – both the author’s and the director’s – that was combined in the voices of actors and of the choir resonated in the entire theater hall.

The very opening comes as a messenger, a ghost from past times, to announce what we will be hearing for the next hour and a half. Interestingly enough, the poem in Albanian that opens the performance is the same poem in English that closes it: a vivid image of a house with a red rooftop, lingering in our mind. “The house was old / With golden webs hanging / From silver eaves, / An old, oaken door / And red rooftop.” These very lines introduced the colors we would see, the imagery and the tone of the performance.

Actors in light, earthy-coloured costumes get on the stage, minutes before putting golden shirts as shields and beating the drums. As if we witnessed the presence of soldiers, of boots, of their heavy uniforms and rifles. “THE DRUMS ARE BEATING. / The people are waiting / For another day, / An endless tomorrow…” All the actors, or dancers as they were, were in perfect harmony. The jumps and moves and drum strokes and tambourine rolls became almost deafening. The tension and anxiety were palpable as the actors expressed anger and power of the army. Just like a perfect symphony – every element made a matching piece of a puzzle of a masterpiece.

I am a woman!

A woman, moving our hearts with energetic movements of her endless scarlet dress, saying: “I am a woman / With a gift / Of freedom (…) Touch me / And set me free.” This scene in a way opened and highlighted the main idea of the FemArt Festival that celebrates women, their power and strength and creativity and honors their courage and resilience. We were almost able to see the movement and tormenting of her soul in the movements of her dress. The lights were changing, emphasizing the color and the tones of her voice. In one moment, her voice goes up, she is at the verge of yelling, expressing her power and the power of her presence as if she was on a throne. There was the strength and power of a woman, of all women fighting for their rights. In the words of the author of the poem, she conquered the stage. At the end, she takes that heavy bright red dress, brighter than all the other costumes on the stage, as a centerpiece in a dream and she disappears in darkness as a ghost of past times.

Look at me! Hear me! See me!

She enters and runs and raises her voice as she tries to pass, but they, men, do not let her. They form barriers with their bodies, to keep her away, to keep her silenced, to hush her down. She then cries and yells and she wants to be heard, but no one wants to hear her story! What a deeply moving scene of women’s bodies as battlefields! But despite all the pain, both physical and psychological, she fights for her voice! She fights for the truth! She is now, today, being hushed, stigmatized, ashamed for what had happened to her and what was by no means her fault. Are we ready to hear these stories? Are we ready to accept, to understand, to hear, and see?

The author Shqipe Malushi finally saw a corporeal expression of the pain she has carried inside for more than 40 years. She found her home, her house that was impossible to find after the war. Zana Hoxha, the director, finally found closure with this performance. “I do not have war in my heart. I am a peace fighter! But theater serves for catharsis. We offered that to our audience tonight.” This is the value and sake of engaged theater, to leave you with a reflection and to offer you peace and closure.

Collective memory

“Why do I do this to my public? I have to keep them awake; they cannot fall asleep,” said the author. And, for sure, she did keep us all awake. She kept us awake for the sake of collective memory, so that we do not forget. We witnessed tonight an enormous strength of all of those included in this performance to preserve their memories from oblivion, as caring keepers of our common past.

Ivana Bilić (Sarajevo, BiH) is an intern in Artpolis where she will conduct her research on the role of performing arts for social change. She is a translator and interpreter in English, French and Bosnian and a human rights student with special interest in women’s rights, minorities and LGBT+.

14.06.2022

“The Haunted Land”, is a performance based on Shqipe Malushi’s poetry, evoking our collective memory about the absence of peace and confrontation with the war, that has been constant for Kosovar society throughout the centuries, and in particular its impact on our inter-generational traumas.

Presented in a unique experimental format, the performance by the director Zana Hoxha creates a multidisciplinary synergy through Malushi’s imaginative poems, Robert Nuha’s contemporary theatrical choreography, and dramaturgy by Shpëtim Selmani, including experimental music with authentic singing elements, and video projections that create a new narrative based on our collective memory.

Various poetic fragments and texts filled with pain, struggle, hope, and strength, appear as an image of our collective resilience, and are interpreted by Artpolis Artistic Resident Troupe, joined by music and dance artists in this project.

Through chronological acts “The Haunted Land” describes one of the most important stages of Kosovars towards what they had dreamed for centuries, freedom.

But is it enough to be free? Or is there anything beyond it?

“The Haunted Land” is a photo album that should never be covered by dust or forgotten in a drawer.

Author: Shqipe Malushi

Director: Zana Hoxha

Dramaturgy: Shpëtim Selmani

Choreographer: Robert Nuha

Actors/Actresses: Donikë Ahmeti, Kushtrim Qerimi, Kaltrinë Zeneli, Edlir Gashi, Qendresa Kajtazi, Mikel Markaj, Zhaneta Xhemajli

Soloists: Donika Rushiti, Etrit Nura, Urta Haziraj, Shaban Behramaj

Dancers: Altina Binaku, Qendrim Makolli, Erza Grajqevci, Patriot Osmani

Costumes: Arbnor Brahimi

Scene video projections: Florian Canga

Assistant and organizer : Elira Lluka

Scenography: Arben Shala

Tonist: Arben Aliu

Lighting Technicians: Sherif Sahiti and Mursel Bekteshi

Stage masters: Aziz Maloku, Rrahman Mehmeti

Make-up artists: Myrvete Tahiri, Flora Hasani

📸 Rilind Beqa

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