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Elira Lluka

The “Rose Tattoo” through the colors of life finds love

Media: KTV
Story title: “Tatuazhi i trëndafilit” nëpër ngjyrat e jetës gjen dashurinë
Date: July 16, 2023

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 10th 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+.

“The Haunted Land”


“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

#zanahoxha #artist #hauntedland #kosovo #theatre

“The Bug”


“ÇIMKA” (The Bug) reflecting on the past of the Albanian people and a call to reflect.

On May 1st, 2022, the public had an opportunity to experience special emotions, at the premiere of the performance “ÇIMKA” (The Bug), authored by Shpetim Selmani under direction of Zana Hoxha.

Resurected at the “ House of Leaves”, where not long ago many peronalities and ordinary citizens were bugged “ÇIMKA” (The Bug) comes as a reflection on the past of the Albanian people and a call to reflect and learn from it.

The public as a “leaf” or a “bug” experienced two worlds in parallel, the dictatorship in Albania and the Yugoslav regime in Kosova.
The taping stories, tortures, terror, the oppression of thousands of souls comes alive between two Protagonists, dervish Shaqa and Musine Kokalari.

The protagonists of the play “ÇIMKA” ( The Bug) for the Director Zana Hoxha represents the symbol of resistence in different ways: “ A troubadour, surviving through his songs, and the other a dissident artist who gave her life without losing her integrity”.

The scenes change. The public moves from the tight spaces of the museum into the open space outside, to be introduced with an anxiety that the Albanian people have experienced for a long time. This is also portayed through the painting of Edison Gjergo, an artist who was a victim of the totalitarian regime in Albania. The anxiety arises when the protagonists cannot find an appropriate space to hide the Gjergos’s painting, that was hit by the irron fist of the censorship.

But, the dreams, and the love of life and freedom, the song and dance climaxes during the meeting between Dervish and Musine, both the victims of the regimes on both sides of the border. The protagonists that inspire us until this day.

The performance closes with a powerful mesage from Musine Kokalari: “ The truth is that here reigns fear, and terror. But who dares to say no, who? Nobody! But inside my heart the dreams reign. I know if it’s not me, those who will come after me will dance, they will take their steps as they please. Not a single oppressive system would be able to throw their net over the needs of a person to practice his free will”.

The Production: National Experimental Theater
“Kujtim Spahivogli” & Qendra Artpolis

Author: Shpetim Selmani
Director: Zana Hoxha

Actors: Lulzim Zeqja, Loredana Gjeçi , Myzafer Zifla, Xhulia Musagalliu, Mikel Markaj, Edlir Gashi, Urim Aliaj, Altea Dulellari

Composer: Liburn Jupolli

Scenography and Costumed: Youliana Voykova – Najman
Director Assistant: Greta Baci & Kevin Rrapaj
Technical Assistant: Elira A Lluka
Choreographer: Valentina Mytevelli

This performance was sponsored by the Ministry of Culture in Albania, “ The House of Leaves” The Office of the President, Kosovo, CFD, and Buçaj Corporation.

📸 Andis Rado

#ZanaHoxha #Artpolis #TeatriKombetarEksperimental #Çimka #theater #documentary #tirana #prishtina #albanianart #muzeugjetheve #albania #kosova #artandcommunity

Stage reading “Games in the Backyard”

On June 25, 2021, the stage reading “Games in the Backyard”, directed by Zana Hoxha, was premiered in the City Park in Prishtina.

The resident troupe of the Artpolis Center performed this work by Edna Mazyas in front of an audience with gender, age, and ethnicity diversity, which welcomed the realization of this work and the topics addressed in it.

Edna Mazya through her work brings us the real story of the rape of a girl by four young people in Israel, in the years 1988-91. In addition, “Games in the Backyard” highlights the deep roots of the patriarchal system in state institutions, which only increases the burden of oppression on women.

The activist, Durim Elshani, regarding this topic said that “it is not natural for a boy to be unemotional, aggressive, violent, and harassing. It is a system of power created with clear norms, and with roles defined according to social constructs, where to be a ‘good, honest and loving’ boy one must be aggressive, provocative, and dominant. That is why the boys during the rape were not afraid of the violence they were causing, because that, within the masculine hegemony, makes you a strong man.”

Author: Edna Mazyac
Directed by: Zana Hoxha
Translator: Artur Lena

Actors: Zhaneta Xhemajli, Mikel Markaj, Edlir Gashi, Ismail Kasumi, Blerta Gubetini and Art Pasha

Zana e artit dhe e aktivizmit

“Është identitet i jemi”, thotë regjisorja Zana Hoxha. Qysh prej kohës së studimeve, e ka shoqëruar kombinimi i krijimtarisë teatrale me vullnetarizmin qytetar. Shpesh, në dërrasat e teatrit, ka gërshetuar kauzat shoqërore, sidomos ato në mbrojtje të të drejtave të grave. Mesazhet për ndryshim janë përçuar nëpërmjet artit, të cilin e ka kthyer edhe në mjet mirënjohjeje edhe për sakrificën e grave dhe aktivisteve të viteve nëntëdhjetë.

“Zana, në radhë të parë, është një feministe e fortë, edhe ajo lufton përmes punës së saj për të drejtat e grave dhe vajzave dhe këtë e ka dëshmuar shumë herë”, thotë Igballe Rogova, drejtoreshë e Rrjetit të Grave të Kosovës.

“Zana është grua e fortë, por paralelisht është edhe e ndjeshme, dhe ndien e solidarizohet me të tjerët, të cilët kanë nevojë me pasë përkrahjen e saj”, thekson Venera Ismaili, pjesë e qendrës “Artpolis”.

“….por kjo është Zana, nuk ka qejf me qenë e dyta, ka qejf me realizu deri në perfeksion, si në jetë si profesionalisht, por puna e saj si aktiviste e të drejtave të njeriut, puna e saj e jashtëzakonshme me ‘FemArtin’, ku është pjesa edhe profesionale dhe humanitare, e bën Zanën shumë të veçantë për modelin, hajde unë po them qysh kemi qejf, të gruas shqiptare…”, spikat aktori Adrian Morina.

Këto janë fjalët e disa prej miqve dhe bashkëpunëtorëve më të ngushtë që pasqyrojnë veprimtarinë si aktiviste dhe krijimtarinë si regjisore të Zana Hoxhës. Krejt jeta e saj dyzon angazhimin vullnetar qytetar jashtë e realizimin e ambicieve profesionale brenda teatrit. Aty ndihet më së miri. Mesazhi i saj, gjithnjë thirrje për ndryshim.

Arka si thirrje për ndryshim

Edhe kthesat më të mëdha në karrierën e saj lidhen me ndryshimet historike të Kosovës.

Për jetësimin e tyre, Zana do të frymëzohej nga gjyshja Hedije, një grua me karakter të fortë.

“Gjyshja e ka pasur një histori interesante të rritjes, nuk ka përtuar kurrë që me m’i tregu historitë e saj mua. Ka qenë një model se si duhet me i pranu personat që shoqëria i gjykon, i përjashton, që i sheh më ndryshe”, kujton me krenari Hoxha copëza rrëfimi në zyrën e saj në Prishtinë. Muret, të mbushura me shenja që ia përkujtojnë kohë të ndryshme. Secila prej tyre, histori më vete.

“Qoftë komunitetet tjera, qoftë njerëz të preferencave të tyre ndryshe, qoftë prej stilit të jetesës që kanë bërë në atë kohë, dhe gjyshja ime është njohur si person që i përqafon të gjitha këto preferenca dhe që nuk i gjykon dhe nuk i largon”.

Arkën e gjyshes e ka sjellë në zyrë. Nga Gjakova në Prishtinë. Ishte edhe pjesë e shfaqjeve në teatër. Arka përfaqëson të kaluarën e familjes. Përherë ia kujton se për të ardhmen duhet të punojë tani.

Shpërblimet nëpër mure, mirënjohje për veprat e saj. Ama, më me qejf flet për thesarin e gjyshes.

“Ka qenë arka e saj që i themi ne me çejzin që e ka dërguar. Ajo ka edhe arka tjera, ka edhe një pjesë tjetër të trashëgimisë që e ka lanë. Unë kam kërkuar pikërisht këtë sepse është edhe pjesë e trashëgimisë së nanës së saj”, thotë Hoxha. Me dorën e djathtë fërkon pjesën këndore të arkës.

“Për mua është një kujtesë shumë e mirë prej asaj nga unë vij, sepse ne vijmë prej një kulture, rrethanave të caktuara, unë vij nga Gjakova që është një qytet shumë matriarkal dhe si lokacion matriarkal, është shumë normale në Gjakovë me pa gra që kanë udhëhequr, të zonja, udhëheqëse jo vetëm të familjes, por edhe të bizneseve të ndryshme dhe jam rritur me këtë modelin e grave që udhëheqin”.

Dokumentimi i tmerrit të luftës

Dhe pasojat shoqërore të trashëgimisë patriarkale shpesh përbëjnë boshtin e shfaqjeve të Hoxhës. Edhe atëherë kur forca e zakonit e bën të veten, nuk heq dorë nga misioni i saj sfidues. Arti, mjet për të përçuar mesazhin për mbrojtje të të drejtave të njeriut. Sidomos të grave dhe të kategorive të margjinalizuara.

Prania dominuese e të rinjve e të rejave në performancat e saj, shenjë e shpresës për kapërcimin e pengesave. Aso, me të cilat ishte përballur edhe gjyshja Hedije. Por, betejën për barazi, Zana e zhvendos dhe e kolektivizon në dërrasat e teatrit.

Zana Hoxha dhe organizata e saj joqeveritare “Artpolis” promovojnë artin dhe diversitetin nëpërmjet dialogut shoqëror dhe krijimit të frymës së bashkësisë. Është vetëm njëri prej leksioneve të shumta që i transmeton artistikisht me lojën teatrore.

Por, edhe rrethanat në Kosovën e pushtuar, sidomos gjatë luftës në fundvitet nëntëdhjetë, do të ndikonin në formësimin dhe rrugëtimin e saj. Si tinejxhere nisi të punonte për organizata ndërkombëtare në Gjakovën e shkatërruar nga forcat serbe. Njohja me aktivistë të shteteve të ndryshme, mundësi për njohje të kulturave të reja.

Ajo do të dokumentonte terrorin serb mbi shqiptarët. Me veshët e saj po dëgjonte dëshmitë për mizoritë dhe format e ndryshme të dhunës që ishte ushtruar mbi gratë e burrat e pafajshëm.

“Ne kemi gra që kanë qenë lidere të lëvizjes paqësore dhe të rezistencës paqësore të viteve nëntëdhjetë. Kemi gra aktiviste, kemi,… ose aktiviste të protestave paqësore në rrugë nga Prishtina në Drenicë, gra që u janë bashkuar lëvizjeve studentore, ose lëvizjeve për paqe, dhe të gjitha këto histori nuk kanë arritur kurrë të mbërrijnë në teatër”, thotë Hoxha.

“Dhe, e kam ndier këtë nevojë me pasë këtë fuqi, këtë vijë të një fuqie të grave, të cilat vendosin për vetveten, vendosin për shoqërinë në të mirë të shoqërisë dhe nuk kërkojnë falje për ato që janë. Dhe, kjo ka qenë ajo që përfaqësoj, jo vetëm si lidere dhe aktiviste, por edhe si regjisore”.

Ky gërshetim e ka përcaktuar edhe kontributin e saj në skenë dhe jashtë saj. Me fjalë të ngjashme e përshkruajnë edhe kolegët e punës në “Artpolis”. Venera Ismaili është njëra prej tyre.

“…e fortë dhe e ndjeshme”

Venera Ismaili, e cila tani punon në “Artpolis”, ka përcjellë aktivitetin artistik e vullnetar të Hoxhës edhe para se të bëhej pjesë e stafit të qendrës.

“Më ka pëlqyer shumë edhe si artiste, por edhe si një grua e fortë që ka punuar dhe ka arritur atë që ka dashtë. Dua të them se pos që ka treguar se është një grua e fortë, por gjithnjë në biseda, po flas para se me qenë në ‘ArtPolis’, ajo e ka treguar edhe një anë të ndjeshme në punën e saj, ka pasur karakteristika që shumë më kanë pëlqyer dhe disi e kam çmuar shumë si grua. Zana është grua e fortë, por paralelisht është edhe e ndjeshme, dhe ndien e solidarizohet me të tjerët, të cilët kanë nevojë me pas përkrahjen e saj”, thotë Ismaili.

“Është identitet i jemi”, thotë Hoxha. Qysh prej kohës së studimeve, e ka shoqëruar ky kombinimin.

Adrian Morina ka hapëruar bashkë me Zana Hoxhën në rrugëtimin artistik qysh prej ditëve të para në Fakultetin e Arteve në Universitetin e Prishtinës. Bashkë do të ndërmerrnin edhe nisma e projekte studentore.

“Po flas për energjinë dhe ëndrrat, sepse Zana gjithnjë ka qenë edhe ëndërrimtare, edhe ambicioze, edhe energjike. I kemi nisur punët e para bashkë në provimet studentore, e mbaj mend ‘Jul Cezarin’, një shfaqje shumë ambicioze për kohën, prej një studenteje të regjisë”, kujton Morina në hollin e Teatrit Kombëtar.

“Ne atëherë ishim studentë të aktrimit, me kostumet u marrke vetë, me i qepë, me i përgatitë vetë. Ndoshta ka qenë hera e parë në shfaqjet studentore kur luanim me kostume të qepura enkas për ne, dhe natyrisht si student ndihesh mirë. Po e them këtë sepse është shumë insistuese. Ka qenë gjithmonë insistuese me realizu punën maksimalisht dhe me dashni shumë të madhe”.

Morina ia njihte aq mirë karakterin sa për t’iu përvjelë bashkërisht planeve ambicioze, si atëherë kur një grup të rinjsh themeluan festivalin e studentëve “Skena UP”. Zanës i ishte besuar programi i shfaqjeve teatrore.

“E kemi nisur me Zanën, Arzana Krajën, Mentor Halitin, Arjan Krasniqin, Arben Zharkun, dhe një grup e kemi realizu festivalin ‘Skena UP’. Zana ka qenë përgjegjëse për teatër. Kishim qejf me ba diçka më shumë se veç teatër. Ndoshta atëherë nuk e kemi ditur se ajo ishte aktivizëm, ose aktivizimi i diçkaje më shumë se sa aktivizëm, edhe në aspektin njerëzor”, thotë ai. “…dhe kthehem dhe them se njeriu definitivisht e ka të vështirë dhe ne nuk e kemi artikuluar çfarë po dojmë me ba, por rrugën sigurisht e ka trasuar Zana,, kjo punë e saj gjigante si një udhëheqëse e një organizate që merret me të drejtat e njeriut, ti e sheh se fillet i ka shumë moti. Ndoshta s’e kemi ditur emrin, ndoshta s’e kemi ditur kuptimin me quajt saktë, por gjatë jetës që kulmon sot jo vetëm me ‘FemArtin’, por edhe me shumë punë tjera që bën ‘ArtPolisi’”.

Shfaqja e kthesës së madhe

Në vitin e Pavarësisë së Kosovës, Zana pas një shfaqjeje do të merrte vlerësimin dhe përkrahjen e aktivisteve e artisteve vendore e ndërkombëtare për të kanalizuar edhe më shumë energjinë për shndërrimin e shfaqjeve të saj në platforma publike të thirrjeve për të drejta të barabarta, pavarësisht pikëpamjeve e orientimeve për zhvillimin e shoqërisë.

“Bëra një shfaqje në vitin 2008 dhe një aktiviste suedeze feministe erdhi më uroi për shfaqjen që e kisha bërë me artistë nga krejt Ballkani – ishte viti i Pavarësisë së Kosovës – dhe erdhi më tha se arti yt është shumë feminist, dhe unë nuk e kuptoja se çfarë po më thotë”, thotë Hoxha në sallën e qendrës së saj artistike. “Dhe, mandej gjeta përkrahje nga aktiviste dhe Rrjeti i Grave, në veçanti nga Igballe Rugova që thanë se na duhen aktiviste si ti dhe në lëvizje gjeta shumë solidaritet dhe shumë përkrahje për artin tim që nuk ishte vetëm brenda teatrove, por edhe në punë me komunitetin”.

Edhe drejtoresha ekzekutive e Rrjetit të Grave të Kosovës e kujton bisedën e para 14 vjetësh kur do t’i jepte zemër regjisores së re.

“Shih, duke pasur parasysh se në vitet nëntëdhjetë na, si Motrat Qiriazi, dhe gjatë luftës kemi vepruar përmes artit, përmes shfaqjes, sepse ne kemi besuar dhe akoma besoj se mesazhi më i mirë për t’iu dhënë qytetarëve është përmes artit. Dhe kur e kam takuar Zana Hoxhën në atë kohë, ajo më ka fascinuar për idenë që ajo kishte për të punuar që përmes artit të jepte mesazhin”, thotë Rogova në zyrën e Rrjetit të Grave të Kosovës.

“Për shembull, unë mundem me dhanë vetëm një shembull. Shumë është punuar për të drejtën për trashëgimi, janë dhënë shumë të dhëna, por mënyra qysh e ka prezantuar Zana përmes një shfaqjeje dhe kanë shkuar në gjithë Kosovën se pse kanë gratë të drejtë në pasuri, dhe mënyra që pas shfaqjes pastaj të ketë debat, ka qenë më efektivja. Prandaj, vërtet është një mënyrë shumë e fortë dhe shumë e qëlluar se si vepron ‘ArtPolisi’ dhe Zana Hoxha përmes artit”.

Rogova thotë se e përbashkëta e aktivitetit qytetar e artistik të “Motrave Qiriazi” dhe ‘ArtPolisit’ është lidhja e drejtpërdrejtë me anëtarët e komunitetit, për të cilët kërkohet drejtësi e barazi shoqërore.

Përpjekjet e Zanës janë intensifikuar edhe më shumë në këtë drejtim pas themelimit të festivalit ‘FemArt’ më 2013. Nëpërmjet tij promovohen vlerat artistike dhe qytetare të grave. Edicioni i vjetëm u realizua fizikisht dhe online në kohën e masave kundër përhapjes së pandemisë së koronavirusit. Pjesët e realizuara në ambient të hapur nuk përbënin sfidë për mënyrën thuajse rutinore të punës së regjisores kosovare.

Slogani i shpresës

Slogani, lidhje e fortë ndërmjet sfidave të mëdha, por të ndryshme, ndërmjet dy dekadave. Puna e saj lidh përherë artin me aktivizmin qytetar.

“Solidaritet me gra dhe burra që i ka prekur më së shumti COVID-i, që kanë përjetuar dhunë, solidaritet me ato gra që kanë mbetur në rrugë, solidaritet me ato gra që nuk kanë zë, solidaritet me ato gra që ndoshta janë në shtëpi, por që kur e hapin TV-në e kanë të vetmen liri komunikimi”, thotë Hoxha në teatër.

Zyra e regjisores, nënë e tre fëmijëve, pasqyron atë që ajo e quan binom të angazhimit të saj publik nëpërmjet aktivizimit vullnetar dhe artit. Aty ka gjëra që i ngjallin copëza kujtimesh të jetës personale, por edhe mirënjohje e nderime kombëtare e ndërkombëtare për jetën profesionale.

“Vizioni jem e parasheh edhe këtë pjesën si artiste që mbron të drejtat e njeriut, një vizion që është në kundërshtim me një grup të caktuar. Ne e dimë se në art ka abuzim të të drejtave të grave, në art në përgjithësi”, thekson Hoxha. “Në Kosovë shumë pak flitet për abuzimet apo diskriminimin në art. Diskriminohen në pagesa, gjithashtu kemi pak gra që janë në krye të institucioneve, por që edhe kur gjinden në krye, shpesh veprojnë si burrat për shkak të patriarkatit dhe mentalitetit se ti, për me qenë e fuqishme, duhet me vepru njëjtë si një burrë para teje. Pra, ka shumë çështje që më kanë pru këtu jam”.

(Ky shkrim është realizuar në kuadër të projektit “Human Rightivism” që implementohet nga Integra dhe mbështetet nga CDF dhe Ambasada Suedeze në Kosovë.)

Camp of Artivists – influence of art and its inclusiveness in times of COVID

Human beings have continued to create even during unfortunate times and under the strangest of circumstances.  The process of becoming and creating is part of our genesis and essence. With this in mind, Center for Art and Community – Artpolis has organized the feminist camp with artist and activists from all around Kosovo for four days, in Kukaj from 26- 29 June, 2020. Though, it’s just the second time, this camp brought together twenty-five women “ART-VISTS” to create and develop art works that reflect experiences, resistance, challenges, conflicts, cruelty, resilience and devotion in times of the COVID 19 pandemic all around the world,

A powerful series of stories, experiences and feelings have been told for four days in a row. Openness toward each other revealed similarities not missing. They grasped these similarities and approached each other even further, giving the power and inspiration/motives for more. These four days of intense work consisted of group work sessions, including rehearsals for scenic moves, creative writing, meditation and catharsis/ emotional relief. These have assisted artists and activists on expressing deliberately their experience and perception about society.  Other than that, there were discussions going on with the aim to break down and reformulate concepts and ideas related to each of their artistic performance.

Artists and activists, which were divided in four groups established inspiring connections between each other and reunited with common goals and ideas to help one another carry out four artistic performances. This artwork is supposed to address messages on social matters. Every activity happening during these days was in function of developing their shows. They will proceed on betterment until finale which is presentation during 8TH Edition of FEMART Festival, from 15th -20th of October,2020.

Camp of Artists and Activists came into being thanks to facilitators: Zana Hoxha(director), Robert Nuha (choreographer) and Shpetim Selmani (actor, poet).

Integrated Security Workshop – Training of Trainers edition

Integrated Security Workshop – Training of Trainers edition was held on 14-17 December, 2020 in hotel surrounded by beautiful mountains in Bogë with 11 women staff members from five shelters from different municipalities in Kosovo, including: Prishtina, Peja, Gjakova, Mitrovica and Drenas.

Women participating in this training were trained by certified trainers Zana Hoxha and Yllka Soba on techniques and methodology of self-care, such as: coping mechanisms, finding a common ground, creating a social network, how to protect themselves and how to address their needs.

The workshop helped participants connect to their bodies, emotions and experiences

For three days’ participants shared their stories with the group and trainers, or in teams of two, in addition to the exercises and facilitating sessions.

All participants, shelter representatives and trainers pledged to be there for each other, to help and support each other, while these types of collaborations considered to be long-lasting and beneficial for both parties.

A handbook including a summary and exercises on stress management with explanations on the exercises and facilitating sessions adapted and translated in Albanian language was shared with participants women – shelters staff that took part in this Integrated Security workshop.

This workshop implemented by Artpolis is supported by the non-governmental organization CFD/Switzerland under the framework “NDAL/STOP – Jointly and creatively against gender based violence”.

The Forum Theater Program training brought together young people from Kosovo communities

In beautiful Prizren, girls and boys from communities living in Kosovo gathered to participate in the four-day training “Theater-based education”. The beautiful and sunny weather pushed the training organizers to modify the exercises and flood the stage of Prizren Castle. Then, coaches Zana Hoxha and Edlir Gashi continued with the agenda, developing exercises and improvisations of theater scenes, on socially discussed topics with a focus on multiethnic coexistence.

The special feature of this training was the masked workshop which was a relaxation but at the same time a stimulus for the development of creativity. Masks became part of the shows. The novelty of the training was the game with body movements, led by choreographer Robert Nuha, which also helped the performance of the participants.

“What distinguishes this workshop and group from the others, is that I have not seen any kind of prejudice here, something I have encountered in other workshops. And what was characteristic, we all tried to understand each other, since we do not speak the same language, and this is my strongest and most positive impression of this training “- says the participant of the training from North Mitrovica , Djurdjica Kaziq.

The 4-day training “Theater Based Education” was held in Prizren, organized by members of the Kosovo Coalition for Reconciliation, Artpolis and NGO Aktiv.

All activities were carried out in accordance with the recommendations for preventing the spread of Covid-19 virus.