{"id":20051,"date":"2024-03-17T10:46:07","date_gmt":"2024-03-17T09:46:07","guid":{"rendered":"https:\/\/nyje.al\/?p=20051"},"modified":"2024-10-02T12:33:27","modified_gmt":"2024-10-02T10:33:27","slug":"berbili-kenge-te-harruara-te-arbenesheve-te-zadarit","status":"publish","type":"post","link":"https:\/\/nyje.al\/sq\/berbili-kenge-te-harruara-te-arbenesheve-te-zadarit\/","title":{"rendered":"B\u00ebrbili: K\u00ebng\u00eb t\u00eb harruara t\u00eb Arb\u00ebnesh\u00ebve t\u00eb Zadarit"},"content":{"rendered":"\t\t
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B\u00ebrbili: K\u00ebng\u00eb t\u00eb harruara t\u00eb Arb\u00ebnesh\u00ebve t\u00eb Zadarit<\/span><\/h2><\/header>

Mikaela Minga | 17.03.2024 | nyje.al\u00a0<\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00cbsht\u00eb nj\u00eb befasi e k\u00ebndshme tek zbulon se si nj\u00eb projekt muzikor p\u00ebr t\u00eb cilin ke punuar n\u00eb t\u00eb shkuar\u00ebn, gjen nj\u00ebfar\u00ebsoj, t\u00eb ngjashmin e vet, duke ndar\u00eb me t\u00eb q\u00ebndrime q\u00eb b\u00ebjn\u00eb bashk\u00eb pun\u00ebn etnomuzikologjike me at\u00eb krijuese artistike. Akoma edhe m\u00eb bukur \u00ebsht\u00eb at\u00ebher\u00eb kur projektet n\u00eb fjal\u00eb flasin t\u00eb nj\u00ebjt\u00ebn gjuh\u00eb, ose m\u00eb sakt\u00eb, variante t\u00eb shqipes dhe l\u00ebvizin n\u00eb peizazhe t\u00eb ngjashme tingullore dhe emocionale.<\/span><\/p>

K\u00ebt\u00eb ndjesi e pata n\u00eb momentin kur d\u00ebgjova albumin muzikor B\u00ebrbili: Zaboravljene Pjesme Zadarskih Arbanasa, [K\u00ebng\u00eb t\u00eb harruara t\u00eb Arb\u00ebnesh\u00ebve t\u00eb Zadarit<\/i><\/em>]\u00a0<\/i><\/em>realizuar nga Dina e Mel<\/u><\/a>\u00a0<\/span>– Dina Bu\u0161i\u0107 (z\u00eb) e Melita Ivkovi\u0107 (kitar\u00eb) – publikuar nga etiketa e mir\u00ebnjohur kroate Nota Bene Records (2020).<\/span><\/p>

Albumi p\u00ebrmban k\u00ebng\u00eb t\u00eb cilat kan\u00eb qen\u00eb pjes\u00eb e praktikave muzikore t\u00eb arb\u00ebnesh\u00ebve t\u00eb Zar\u00ebs, ose Zadarit\u00b9. Fillesat e k\u00ebtij albumi shkojn\u00eb prapa n\u00eb koh\u00eb, n\u00eb vitin 1999, kur Dina Bu\u0161i\u0107-it, at\u00eb koh\u00eb studente muzikologjie, iu caktua t\u00eb b\u00ebnte k\u00ebrkime dhe regjistrime etnomuzikologjike mbi trash\u00ebgimin\u00eb muzikore t\u00eb origjin\u00ebs s\u00eb saj. Si rr\u00ebfen n\u00eb lib\u00ebrthin shoq\u00ebrues t\u00eb albumit, ajo ishte arb\u00ebneshe nga ana e n\u00ebn\u00ebs, por ishte distancuar prej k\u00ebsaj p\u00ebrkat\u00ebsie p\u00ebr nj\u00eb s\u00ebr\u00eb rrethanash \u201caspak fatlume\u201d. Nd\u00ebr k\u00ebto ishte edhe transferimi p\u00ebr t\u00eb jetuar n\u00eb nj\u00eb pjes\u00eb tjet\u00ebr t\u00eb qytetit. K\u00ebsisoj, k\u00ebrkimi i saj studentor mbi muzik\u00ebn kthehet n\u00eb nj\u00eb m\u00ebnyr\u00eb p\u00ebr t\u00eb rilidhur fijet me nj\u00eb t\u00eb shkuar prej s\u00eb cil\u00ebs ajo kujton momentet kur, f\u00ebmij\u00eb, merrte pjes\u00eb n\u00eb procesionin e Zoj\u00ebs son\u00eb, kremtimi i fest\u00ebs fetare t\u00eb lidhur me Kish\u00ebn e Zoj\u00ebs s\u00eb Loretos q\u00eb p\u00ebrnderohet nga arbnesh\u00ebt e Zar\u00ebs. N\u00eb k\u00ebt\u00eb fest\u00eb, ajo vishte kostumin e bardh\u00eb qepur posa\u00e7\u00ebrisht p\u00ebr at\u00eb rast, nd\u00ebrsa t\u00eb vjetrit q\u00eb ndiqnin procesionin e kishin zakon ta pyesnin se e kujt ishte. P\u00ebrgjigjja e saj do t\u00eb ishte: \u201ce Fjakas dhe Kires\u201d. Ishin emrat e dy st\u00ebrgjysh\u00ebrve q\u00eb, n\u00eb fakt, ajo nuk i kishte njohur ndonj\u00ebher\u00eb, por fal\u00eb \u201cemrit\u201d q\u00eb kishin l\u00ebn\u00eb brenda komunitetit, b\u00ebheshin leht\u00ebsisht nj\u00eb form\u00eb identifikuese p\u00ebr st\u00ebr-mbes\u00ebn e tyre.<\/span><\/p>

P\u00ebrmes k\u00ebsaj pun\u00eb etnomuzikologjike, Dina Bu\u0161i\u0107 rilidh gjithashtu fijet edhe me t\u00eb tashmen, duke gjurmuar njer\u00ebzit q\u00eb ruanin ende kujtes\u00ebn e k\u00ebng\u00ebve. T\u00eb par\u00ebt nd\u00ebr k\u00ebta protagonist\u00eb ishin pik\u00ebrisht gjyshi dhe gjyshja e saj (dida dhe baba, si i th\u00ebrrisnin n\u00eb arb\u00ebnesh). Baba Ermana, me nj\u00eb z\u00eb t\u00eb spikatur sopranoje ishte e para q\u00eb e befasoi n\u00eb k\u00ebt\u00eb drejtim. M\u00eb pas, tetoja e s\u00eb gjyshes, me tri vajzat e veta, p\u00ebr ta zgjeruar rrethin edhe me protagonist\u00eb t\u00eb tjer\u00eb. Z\u00ebrat e k\u00ebtyre njer\u00ebzve kishin shenjuar kujtes\u00ebn e p\u00ebrbashk\u00ebt t\u00eb komunitetit. Disa prej tyre si, fjala vjen, baritoni Petar U\u010di dhe sopranoja Ana Perovi\u0107 kishin qen\u00eb edhe an\u00ebtar\u00eb t\u00eb korit t\u00eb kish\u00ebs. N\u00eb zenitin e vet, ky kor pati realizuar gjithashtu nj\u00eb album n\u00eb vinil, publikuar nga Jugoton m\u00eb 1979: Kori miks \u201cVicko Zmajevi\u0107\u201d i arbnesh\u00ebve t\u00eb Zadarit: Kompozime klasike e bashk\u00ebkohore. Traku i par\u00eb i k\u00ebtij albumi \u00ebsht\u00eb n\u00eb arb\u00ebnesh: \u201cLegjenda p\u00ebr Zonj\u00ebn te arb\u00ebneshit<\/u><\/a><\/span>\u201d.<\/span><\/p>

Teksa flet p\u00ebr kontekstin e vet familjar, Bu\u0161i\u0107 tregon edhe p\u00ebr\u00a0<\/i><\/em>gjuh\u00ebn arb\u00ebneshe, arbanasi<\/i><\/em>; p\u00ebr faktin se n\u00eb sht\u00ebpin\u00eb e tyre flitej mjaft mir\u00eb vet\u00ebm nga baba Ermana, dida Ante dhe nga e \u00ebma e vet (q\u00eb ishte vajza e madhe e tyre). E flisnin mes tyre, p\u00ebr t\u00eb ndar\u00eb \u201csekrete\u201d q\u00eb f\u00ebmij\u00ebt nuk duhet t\u2019i d\u00ebgjonin. Prej momentit kur familja u zhvendos p\u00ebr t\u00eb jetuar jasht\u00eb territoreve historike t\u00eb komunitetit, gjuha filloi t\u00eb p\u00ebrdorej gjithnj\u00eb e m\u00eb rrall\u00eb dhe shkak thelb\u00ebsor p\u00ebr k\u00ebt\u00eb ishte kujdesi p\u00ebr t\u00eb mos u dalluar si ndryshe prej t\u00eb tjer\u00ebve. K\u00ebshtu, me kalimin e koh\u00ebs, ajo mbeti vet\u00ebm nj\u00eb \u201caset\u201d i gjyshes, gjyshit dhe t\u00eb \u00ebm\u00ebs \u201cn\u00eb koh\u00eb krizash\u201d, v\u00ebren Bu\u0161i\u0107.<\/span><\/p>

Materialet q\u00eb ajo regjistron paraqiten relativisht fragmentare, n\u00eb shum\u00eb raste kapen vet\u00ebm cop\u00ebza melodish e tekstesh. Por, nga m\u00ebnyra se si p\u00ebrshkruan Bu\u0161i\u0107 bisedat me njer\u00ebzit gjat\u00eb seancave t\u00eb regjistrimit, v\u00ebrejm\u00eb se kjo muzik\u00eb, megjith\u00ebse e ka mbyllur ciklin e vet aktiv, ruan ende ngarkes\u00eb afektive n\u00eb kujtes\u00ebn e njer\u00ebzve.<\/span><\/p>

Gjithsesi, do t\u00eb kalonte nj\u00eb far\u00eb kohe p\u00ebrpara se k\u00ebto regjistrime t\u00eb merrnin trajt\u00ebn e nj\u00eb albumi. Ideja filloi t\u00eb konkretizohej gjat\u00eb vitit 2017 dhe mb\u00ebshtetje e m\u00ebtejshme p\u00ebr k\u00ebt\u00eb ishin nd\u00ebr t\u00eb tjer\u00eb, Maximiljana Baran\u010di\u0107, studiuese dhe promovuese e gjuh\u00ebs dhe kultur\u00ebs arb\u00ebneshe, si dhe Bernard Kotlar, djali i k\u00ebng\u00ebtares s\u00eb mir\u00ebnjohur Lidija Kotlar, i cili kishte mbledhur shum\u00eb regjistrime t\u00eb praktikave muzikore t\u00eb arbnesh\u00ebve t\u00eb Zar\u00ebs.<\/span><\/p>

Por, para s\u00eb gjithash, ishin vet\u00eb regjistrimet muzikore ato q\u00eb do t\u00eb bindnin dy artistet q\u00eb, p\u00ebrmes p\u00ebrvoj\u00ebs s\u00eb tyre muzikore, artistike e njer\u00ebzore, t\u2019iu jepnin frym\u00eb e shpirt k\u00ebtyre materialeve, duke i p\u00ebrpunuar, p\u00ebrshtatur, harmonizuar e sjell\u00eb si k\u00ebng\u00eb t\u00eb p\u00ebrfunduara n\u00eb vetvete.<\/span><\/p>

P\u00ebr konceptimin muzikor dhe aranzhimet, atyre iu bashkuan edhe Miroslav Tadi\u0107 (kitar\u00eb), Edin Karamazov (kitar\u00eb, saz) dhe Yvette Holzwarth (violin\u00eb). Ky formacion instrumental q\u00eb vjen me kombinime t\u00eb ndryshme nga nj\u00eb k\u00ebng\u00eb te tjetra, p\u00ebrpiqet t\u00eb ruaj\u00eb nga ana timbrike e harmonike raportet mes t\u00eb shkuar\u00ebs s\u00eb k\u00ebtyre materialeve \u2013 duke mbajtur vet\u00ebm linj\u00ebn melodike – dhe jet\u00ebsimit t\u00eb tyre me nj\u00eb ansamb\u00ebl m\u00eb bashk\u00ebkohor. Melita Ivkovi\u0107 e p\u00ebrshkruan si nj\u00eb lloj kaleidoskopi, n\u00eb t\u00eb cilin veshi harmonik b\u00ebn bashk\u00eb referenca t\u00eb repertorit p\u00ebr kitar\u00eb klasike, trajtimet moderniste t\u00eb k\u00ebng\u00ebve folklorike nga Benjamin Britten, formate m\u00eb urbane si, fadoja portugeze, deri te disa sprova t\u00eb hershme kompozicionale t\u00eb asaj vet\u00eb. T\u00eb gjitha bashk\u00eb i vendosen si shtrat mb\u00ebshtet\u00ebs melodive. \u00a0<\/span><\/p>

Ruajtja e k\u00ebtij raporti mes t\u00eb shkuar\u00ebs e bashk\u00ebkohores realizohet edhe p\u00ebrmes ve\u00e7orive t\u00eb regjistrimit dhe miksimit, p\u00ebr t\u00eb p\u00ebrcjell\u00eb te d\u00ebgjuesi gjall\u00ebsin\u00eb e performanc\u00ebs. \u00a0Kemi t\u00eb b\u00ebjm\u00eb me nj\u00eb regjistrim in situ <\/i><\/em>dhe jo n\u00eb studio, regjistrim ama q\u00eb iu p\u00ebrmbahet gjith\u00eb parametrave me cil\u00ebsi t\u00eb lart\u00eb. Ai \u00ebsht\u00eb realizuar n\u00eb vitin 2018, n\u00eb Kish\u00ebn e Ngjitjes s\u00eb Hyjlind\u00ebses, n\u00eb ishullin e Zlarin, n\u00ebn kujdesin e inxhinierit t\u00eb z\u00ebrit Marin Fulgosi. Nd\u00ebrsa p\u00ebr pjes\u00ebn e miksimit audio \u00ebsht\u00eb kujdesur Jan-Eric Persson, i njohur gjer\u00ebsisht p\u00ebr pun\u00ebt e tij me tingullin.<\/span><\/p>

N\u00eb album jan\u00eb p\u00ebrfshir\u00eb 10 numra t\u00eb cil\u00ebt mund t\u00eb d\u00ebgjohen lirsh\u00ebm edhe n\u00eb youtube (ndon\u00ebse personalisht do t\u00eb inkurajoja blerjen e tij si nj\u00eb lloj suveniri muzikor i arb\u00ebnesh\u00ebve t\u00eb Zadarit):<\/span><\/p>

\u00a0Albumi B\u00ebrbili, nga Dina e Mel<\/u><\/a><\/span><\/span><\/p>

7 prej k\u00ebtyre k\u00ebng\u00ebve i p\u00ebrkasin komunitetit t\u00eb arbnesh\u00ebve t\u00eb Zar\u00ebs; dy t\u00eb tjerat jan\u00eb k\u00ebng\u00eb t\u00eb arb\u00ebresh\u00ebve t\u00eb Italis\u00eb (\u201cMoj e bukura More\u201d dhe \u201cIshj\u00eb nj\u00eb dit\u00eb t\u00eb mojit majit\u201d), kurse traku i fundit \u00ebsht\u00eb nj\u00eb miksim nga seancat e regjistrimit t\u00eb realizuara p\u00ebr p\u00ebrgatitjen e tij. N\u00eb k\u00ebt\u00eb trak d\u00ebgjojm\u00eb interpretimet e materialeve nga z\u00ebrat burimor\u00eb (Ana Modrini\u0107 Mazija, Fernanda Mazija, \u00d0ani Mazija, Palma Nikpalj, Lidija Kotlar, Ermana Stip\u010devi\u0107, Petar U\u010di Perovi\u0107, Du\u0161ko Modrini\u0107 dhe Dina Bu\u0161i\u0107), \u00cbsht\u00eb nj\u00eb zgjidhje e p\u00ebrve\u00e7me, e cila b\u00ebhet edhe m\u00eb kuptimplot\u00eb teksa lexon se nj\u00eb pjes\u00eb e tyre nuk jan\u00eb m\u00eb n\u00eb jet\u00eb n\u00eb koh\u00ebn kur \u00ebsht\u00eb publikuar albumi. P\u00ebrfshirja n\u00eb album, p\u00ebr mendimin tim, nuk duhet konsideruar thjesht si tregues i pun\u00ebs etnomuzikologjike, por si nj\u00eb d\u00ebshmi zanore e cila \u00ebsht\u00eb po aq pjes\u00eb integrale e k\u00ebtij albumi, sa edhe vet\u00eb k\u00ebng\u00ebt e interpretuara nga Dina e Mel<\/u><\/a><\/span>.<\/span><\/p>

Tekstet e k\u00ebng\u00ebve q\u00eb d\u00ebgjojm\u00eb \u201cflasin\u201d nj\u00eb gjuh\u00eb q\u00eb p\u00ebrgjith\u00ebsisht, ruhet q\u00eb prej shp\u00ebrnguljes s\u00eb arbnesh\u00ebve nga vendet e origjin\u00ebs tre shekuj m\u00eb par\u00eb. Nd\u00ebrsa melodit\u00eb e k\u00ebtyre k\u00ebng\u00ebve i p\u00ebrkasin nj\u00eb bote m\u00eb bashk\u00ebkohore e urbane, rrjedhoj\u00eb e bashk\u00ebjetes\u00ebs n\u00eb nj\u00eb vend ku elementi italian dhe kroat kan\u00eb qen\u00eb shenjues kulturor\u00eb e identitar\u00eb t\u00eb Zadarit. S\u00eb pari, melodia lirike, italianiteti i s\u00eb cil\u00ebs dallohet qart\u00eb. Pastaj, mund t\u00eb rendisim vokalitetin, z\u00ebra t\u00eb impostuar sipas regjistrave specifik\u00eb t\u00eb kantos lirike, q\u00eb kan\u00eb si karakteristik\u00eb nj\u00eb lloj force kumbuese. Nj\u00eb tjet\u00ebr ndikim gjurmohet tek tradita korale fetare, q\u00eb si edhe e pata p\u00ebrmendur ka qen\u00eb l\u00ebvruar p\u00ebrmes korit t\u00eb kish\u00ebs. Ky i fundit, me shum\u00eb gjas\u00eb, ka sh\u00ebrbyer historikisht si nj\u00eb lloj \u201cshkolle\u201d kantoje. M\u00eb n\u00eb fund, nuk duhet t\u00eb harrojm\u00eb q\u00eb jemi n\u00eb mjedisin ku praktikohen gjer\u00ebsisht klapat<\/u><\/em><\/a>, <\/em>forma tradicionale e t\u00eb k\u00ebnduarit shum\u00ebz\u00ebr\u00ebsh polifonik.<\/span><\/p>

\u201cHumbja\u201d e atyre q\u00eb mund t\u00eb ken\u00eb qen\u00eb praktikat muzikore t\u00eb vendit t\u00eb origjin\u00ebs te arbnesh\u00ebt e Zar\u00ebs \u00ebsht\u00eb v\u00ebn\u00eb n\u00eb dukje qysh nga Tullio Erber, n\u00eb fund t\u00eb shekullit XIX. Por, si v\u00ebren ai,<\/span><\/p>

[\u2026] nuk duhet t\u00eb besojm\u00eb se ata jan\u00eb t\u00eb heshtur dhe t\u00eb m\u00ebrzitsh\u00ebm. P\u00ebrkundrazi, po t\u00eb p\u00ebrshkoni Borgo Erizzon gjat\u00eb mbr\u00ebmjes, mbasi t\u00eb gjith\u00eb kan\u00eb mbaruar pun\u00ebn ose n\u00eb dit\u00eb feste, do t\u00eb d\u00ebgjoni k\u00ebng\u00eb t\u00eb lumtura nga t\u00eb gjitha an\u00ebt. Dit\u00ebt familjare t\u00eb sh\u00ebnuara ose festat kishtare, varrimet ose banketet e lumtura shoq\u00ebrohen gjithmon\u00eb nga k\u00ebng\u00eb melodioze, q\u00eb t\u00eb prekin n\u00eb z\u00ebm\u00ebr. Ata kan\u00eb nj\u00eb vesh shum\u00eb t\u00eb rrall\u00eb p\u00ebr muzik\u00ebn dhe koret e tyre jan\u00eb me t\u00eb v\u00ebrtet\u00eb t\u00eb mrekulluesh\u00ebm. \u00cbsht\u00eb shum\u00eb e \u00e7uditshme sesi burrat q\u00eb nuk kan\u00eb asnj\u00eb ide t\u00eb muzik\u00ebs s\u00eb m\u00ebsuar n\u00ebp\u00ebr libra arrijn\u00eb t\u2019i alternojn\u00eb z\u00ebrat aq mir\u00eb, altot dhe basot, t\u00eb parin dhe t\u00eb dytin. Jam i bindur se po t\u00eb shkonin t\u00eb b\u00ebnin nj\u00eb xhiro n\u00ebp\u00ebr bot\u00eb nuk do t\u00eb kishin m\u00eb pak sukses se k\u00ebng\u00ebtar\u00ebt tirolez\u00eb. Edhe grat\u00eb jan\u00eb t\u00eb prera n\u00eb t\u00eb k\u00ebnduar dhe e din\u00eb k\u00ebt\u00eb; sepse kur kthehen nga puna kumbojn\u00eb me k\u00ebng\u00ebt e tyre harmonioze p\u00ebr m\u00eb tep\u00ebr n\u00ebse shohin qytetar\u00eb t\u00eb afrohen. Dhe \u00ebsht\u00eb e \u00e7uditshme q\u00eb nj\u00eb popull kaq muzikor nuk i ka ruajtur k\u00ebng\u00eb t\u00eb vetat, dhe k\u00ebndon k\u00ebng\u00eb sllave dhe disa italiane. Mbase shkaku i k\u00ebsaj duhet t\u00eb k\u00ebrkohet n\u00eb historin\u00eb e tyre dhe m\u00eb sakt\u00eb n\u00eb persekutimet q\u00eb kan\u00eb vuajtur p\u00ebr shum\u00eb e shum\u00eb vjet n\u00eb atdheun e t\u00eb par\u00ebve.\u00b2<\/span><\/p>

N\u00eb studimet e b\u00ebra rreth komunitetit t\u00eb arb\u00ebnesh\u00ebve t\u00eb Zadarit kan\u00eb mbizot\u00ebruar kryesisht ato mbi gjuh\u00ebn dhe dinamikat e ruajtjes e transformimeve t\u00eb saj. N\u00eb nj\u00eb plan t\u00eb dyt\u00eb gjurmohet historiku i migrimit t\u00eb popullsis\u00eb, kurse pjesa q\u00eb u takon aspekteve kulturore, dhe sidomos muzik\u00ebs, ka mbetur shum\u00eb pak e prekur dhe e njohur. Raporti mes asaj q\u00eb vijon t\u00eb ruhet dhe asaj q\u00eb ka humbur b\u00ebn q\u00eb muzika t\u00eb merret qysh n\u00eb krye t\u00eb her\u00ebs me nj\u00eb lloj rezerve dhe diskutimi t\u00eb lidhet me shkaqet se pse ka ndodhur humbja e tradit\u00ebs. Edhe fragmenti i sip\u00ebrcituar e mbart k\u00ebt\u00eb shqet\u00ebsim. Megjithat\u00eb, ai ofron nj\u00ebherazi edhe nj\u00eb p\u00ebrshkrim mjaft t\u00eb detajuar sa i takon praktikave muzikore. Ajo q\u00eb bie m\u00eb shum\u00eb n\u00eb sy \u00ebsht\u00eb gjall\u00ebria e praktik\u00ebs s\u00eb k\u00ebng\u00ebs brenda tij, sa pjes\u00ebmarr\u00ebse \u00ebsht\u00eb ajo n\u00eb jet\u00ebn e komunitetit n\u00eb fundin e shekullit XIX, t\u00eb pakt\u00ebn nga v\u00ebzhgimi q\u00eb jep Erber-i.<\/span><\/p>

Ky lloj \u201cz\u00ebvend\u00ebsimi\u201d i mundsh\u00ebm i traditave muzikore t\u00eb origjin\u00ebs b\u00ebhet m\u00eb grish\u00ebs sesa gjetja e arsyeve t\u00eb humbjes s\u00eb tyre. Dhe ajo q\u00eb d\u00ebgjoj te k\u00ebng\u00ebt e albumit B\u00ebrbili, <\/i><\/em>rreth nj\u00eb shekull e gjys\u00ebm m\u00eb pas tregon se n\u00eb nj\u00eb periudh\u00eb t\u00eb caktuar, k\u00ebto forma ekspresive q\u00eb i p\u00ebrkasin qoft\u00eb kultur\u00ebs sllavo-kroate, qoft\u00eb asaj italiane kan\u00eb arritur t\u00eb z\u00ebn\u00eb vend t\u00eb qen\u00ebsish\u00ebm. Kjo muzik\u00eb \u201cjo-origjinale\u201d, ngjashm\u00ebrisht me k\u00ebng\u00ebn kor\u00e7are – me t\u00eb cil\u00ebn jam marr\u00eb konkretisht dhe gjej edhe shum\u00eb pika takimi \u2013 na tregon p\u00ebr m\u00ebnyr\u00ebn si ky komunitet ka dh\u00ebn\u00eb e ka marr\u00eb n\u00eb rradh\u00eb t\u00eb par\u00eb me qytetin e Zadarit, me kultur\u00ebn e tij urbane p\u00ebr t\u2019u ndjer\u00eb i p\u00ebrfaq\u00ebsuar brenda saj, si edhe p\u00ebr t\u2019u p\u00ebrfaq\u00ebsuar si vendas.<\/i><\/em>\u00a0<\/span><\/p>

\u00cbsht\u00eb nj\u00eb proces akulturimi i cili ndodh p\u00ebrmes p\u00ebrshtatjes s\u00eb melodive t\u00eb k\u00ebng\u00ebve t\u00eb njohura me tekste n\u00eb gjuh\u00ebn arb\u00ebneshe. Nuk \u00ebsht\u00eb e v\u00ebshtir\u00eb p\u00ebr artistet e albumit q\u00eb t\u00eb dallojn\u00eb tek \u201cArb\u00ebne\u0161i vendi tem<\/u><\/a><\/span>\u201d nj\u00eb version t\u00eb k\u00ebng\u00ebs napoletane \u201cTorna a Surriento\u201d.\u00a0\u00a0Po k\u00ebshtu, ato sqarojn\u00eb se \u201cJam arb\u00ebne\u0161<\/u><\/a><\/span>\u201d \u00ebsht\u00eb nj\u00eb contrafactum i \u201cSon\u2019 Zaratin\u201d nj\u00eb k\u00ebng\u00eb italiane q\u00eb qarkullonte n\u00eb qytet gjat\u00eb mbret\u00ebris\u00eb italiane t\u00eb qytetit (1920-1945). Nd\u00ebrsa p\u00ebr mua, ishte me interes t\u00eb zbuloja melodin\u00eb e k\u00ebng\u00ebs kor\u00e7are \u201cLule e bukur\u201d te \u201cZogu i ver\u00ebs<\/u><\/a><\/span>\u201d.\u00a0Shembulli m\u00eb i famsh\u00ebm nga t\u00eb gjith\u00eb \u00ebsht\u00eb \u201cB\u00ebrbili<\/u><\/a><\/span>\u201d, varianti n\u00eb arb\u00ebnesh i k\u00ebng\u00ebs \u201c\u00dcsk\u00fcdar’a Gider \u0130ken\u201d. Me siguri Adela Peeva do ta kishte p\u00ebrfshir\u00eb n\u00eb dokumentarin e saj\u00a0<\/i><\/em>t\u00eb bujsh\u00ebm\u00a0Whoose is this song <\/i><\/em>po ta kishte ditur edhe k\u00ebt\u00eb variant.<\/span><\/p>

Dina interpreton e interpreton n\u00eb tri variante k\u00ebng\u00ebn: arb\u00ebnesh, si sevdalink\u00eb boshnjake njohur me titullin \u201cAnadolka\u201d dhe variantin n\u00eb turqisht. K\u00ebshtu, rast\u00ebsisht na zbulohen, t\u00eb pakt\u00ebn deri tani, plot tri variante t\u00eb ndryshme t\u00eb melodis\u00eb s\u00eb bujshme me tekste n\u00eb shqip, po t\u00eb kemi parasysh se n\u00eb Shqip\u00ebri ekzistojn\u00eb t\u00eb dokumentuara dy versione\u00b3.\u00a0Krahas k\u00ebtyre melodive t\u00eb p\u00ebrshtatura gjejm\u00eb edhe nj\u00eb origjinale: \u201cNet\u00ebt<\/u><\/a><\/span>\u201d \u00a0krijuar rreth vitit 1956 nga Daro Kalmeta tenor, k\u00ebng\u00ebtar operistik dhe redaktor pran\u00eb Radio Zagrebit, nd\u00ebrkoh\u00eb q\u00eb t\u00eb tjerat kan\u00eb statusin e anonimatin. Sidoqoft\u00eb, t\u00eb gjitha interpretimet jan\u00eb t\u00eb \u00e7liruara, le t\u00eb themi, nga pengu i origjinales dhe autentikes n\u00eb k\u00ebng\u00eb. \u00a0\u00a0<\/span><\/p>

Ky album, me qasjen e vet k\u00ebrkimore dhe krijuese nj\u00ebher\u00ebsh, ku etnomuzikologjia b\u00ebhet bashk\u00eb m\u00eb performanc\u00ebn artistike, mund t\u00eb mos jet\u00eb nj\u00eb burim referencial p\u00ebr t\u2019u marr\u00eb si baz\u00eb nga ana studimore. Megjithat\u00eb, duke u \u00e7liruar pak prej skrupulozitetit akademik, n\u00ebp\u00ebrmjet tij mund t\u00eb ndjekim nj\u00eb shteg interpretativ p\u00ebr t\u00eb kuptuar vendin q\u00eb kan\u00eb z\u00ebn\u00eb k\u00ebto k\u00ebng\u00eb te arb\u00ebnesh\u00ebt gjat\u00eb fundit t\u00eb shekullit XIX dhe atij XX. Dhe kjo, duke i pranuar materialet ashtu si vijn\u00eb: n\u00eb p\u00ebrpjekjen p\u00ebr t\u2019i gjurmuar brenda kushtit t\u00eb harres\u00ebs dhe bjerrjes s\u00eb praktik\u00ebs, n\u00eb fragmentarizimin e k\u00ebsaj kujtese, e cila vjen kryesisht p\u00ebrmes nj\u00eb rrethi t\u00eb ngusht\u00eb njer\u00ebzish e lidhjesh familjare, si dhe n\u00eb d\u00ebshir\u00eb p\u00ebr ta rijet\u00ebsuar artistikisht si performanc\u00eb artistike.<\/span><\/p>

P\u00ebr k\u00ebt\u00eb, d\u00ebshiroj t\u2019i referohem s\u00ebrish atij \u201cartizanati muzikor urban\u201d q\u00eb ashtu si e kam shqyrtuar edhe n\u00eb rastin e k\u00ebng\u00ebs kor\u00e7are<\/u><\/a><\/span>, p\u00ebrbrend\u00ebson stilema e shprehje t\u00eb caktuara dhe, brenda kontekstesh specifike t\u00eb jet\u00ebs urbane, i p\u00ebrpunon dhe i risjell n\u00eb forma t\u00eb ndryshme krijuese.<\/span><\/p>

K\u00ebto k\u00ebng\u00eb i p\u00ebrkasin nj\u00eb jete urbane e cila ka qen\u00eb relativisht aktive deri n\u00eb gjysm\u00ebn e par\u00eb t\u00eb shekullit XX, p\u00ebr t\u2019u zbehur gradualisht teksa Zadari dhe arb\u00ebnesh\u00ebt si qytetar\u00eb t\u00eb tij filluan t\u00eb integrohen n\u00eb realitetin kulturor e politik jugosllav. Ato pasqyrojn\u00eb gjurm\u00ebn e fort\u00eb italiane dhe kroate si pjes\u00eb e identitetit t\u00eb qytetit, por edhe si ideologji nacionale e program politik, ashtu si u form\u00ebsua duke filluar nga mesi i shekullit XIX. Dinamikat e lidhura me k\u00ebt\u00eb kan\u00eb trazuar jo pak jet\u00ebn e arb\u00ebnesh\u00ebve dhe po aq edhe t\u00eb gjith\u00eb banor\u00ebve t\u00eb Zadarit. Lirizmi, tema e emigracionit, nostalgjia e largimit, humbjes vijn\u00eb t\u00eb forta te k\u00ebng\u00ebt \u201cArb\u00ebne\u0161i vendi tem\u201d, por edhe te \u201cNet\u00ebt\u201d. Emocionaliteti referon ngjarje konkrete si ishte largimi i nj\u00eb pjese t\u00eb madhe t\u00eb popullsis\u00eb q\u00eb kishte qen\u00eb mb\u00ebshtet\u00ebse e Italis\u00eb dhe sundimit t\u00eb saj n\u00eb Zadar (1920-1943). Kjo pjes\u00eb e komunitetit q\u00eb kishte qen\u00eb edhe pjes\u00ebmarr\u00ebse n\u00eb Luft\u00ebn e Dyt\u00eb Bot\u00ebrore me t\u00eb vendosi t\u00eb largohej nga frika e p\u00ebrndjekjeve q\u00eb mund t\u00eb nd\u00ebrmerrnin partizan\u00ebt jugosllav\u00eb dhe regjimi jugosllav.<\/span><\/p>

K\u00ebng\u00ebt \u201cNi merrje kam vana\u201d q\u00eb flet p\u00ebr nj\u00eb martes\u00eb t\u00eb detyruar, ose fragmenti humoristik \u201cMe ofi\u0107iala\u201d q\u00eb ironizon vajzat e komunitetit q\u00eb flirtojn\u00eb dhe duan t\u00eb martohen me \u201cofi\u0107ialat\u201d dhe jo me arb\u00ebnesh\u00ebt japin e marrin me nj\u00eb realitet i cili karakterizohet nga forma dyzimi t\u00eb vazhdueshme t\u00eb p\u00ebrkat\u00ebsis\u00eb brenda komunitetit dhe humbjes s\u00eb pashmangshme t\u00eb tij. N\u00eb t\u00eb gjitha rastet, nuk kemi parrulla politike mbi etnicitetin apo nacionalitetin, por ndjesi t\u00eb brendshme, intime, t\u00eb cilat ankorohen tek nostalgjia.<\/span><\/p>

Melodit\u00eb, p\u00ebrpara se t\u00eb jen\u00eb k\u00ebng\u00eb kroate, apo italiane, jan\u00eb k\u00ebng\u00eb t\u00eb koh\u00ebs, jet\u00ebs urbane. Ato b\u00ebjn\u00eb pjes\u00eb te ajo sfer\u00eb e popullores n\u00eb t\u00eb cil\u00ebn njeriu negocion vazhdimisht vendin e vet n\u00eb raport me tjetrin, me realitetin q\u00eb e rrethon. Kjo sfer\u00eb nuk ka aft\u00ebsi vet\u00ebm t\u00eb t\u00eb arg\u00ebtoj\u00eb, por t\u00eb ofron edhe mjete e mund\u00ebsi p\u00ebr t\u2019u shprehur; her\u00eb duke u artikuluar p\u00ebrmes di\u00e7kaje t\u00eb krijuar m\u00eb par\u00eb e, her\u00eb duke krijuar di\u00e7ka t\u00eb re mbi ato modele.<\/span><\/p>

Artizanati urban mbart gjithashtu nj\u00eb ngarkes\u00eb specifike emocionale, e cila lidhet ngusht\u00eb me kujtes\u00ebn afektive. Shembujt m\u00eb kuptimplot\u00eb dhe emocionues q\u00eb ky album sjell mbi k\u00ebt\u00eb jan\u00eb \u201cZogu i ver\u00ebs\u201d dhe sidomos k\u00ebng\u00ebza f\u00ebminore \u201cSo edua nanen<\/u><\/a><\/span>\u201d, n\u00eb stilin nj\u00eb \u201cfilastroche\u201d italiane, e cila mund t\u00eb d\u00ebgjohet edhe n\u00eb variantin burimor k\u00ebnduar nga\u00a0Palma Nikpalj<\/u><\/a><\/span>\u00a0(traku 10, nga min: 1\u201933\u2019\u2019)<\/span><\/p>

Shumica e k\u00ebng\u00ebve nuk kan\u00eb lindur p\u00ebr t\u00eb qen\u00eb pjes\u00eb e jet\u00ebs koncertale, por i kan\u00eb sh\u00ebrbyer intimes, personales dhe konteksteve specifike ku ajo zakonisht shprehet e \u201ckonsumohet\u201d. Ndoshta kjo \u00ebsht\u00eb edhe arsyeja pse jan\u00eb mbajtur n\u00eb mend, n\u00eb krahasim me t\u00eb tjera q\u00eb mund t\u00eb jen\u00eb harruar me koh\u00eb, sidomos pas Luft\u00ebs s\u00eb Dyt\u00eb Bot\u00ebrore. Prej k\u00ebsaj kohe, si v\u00ebrejn\u00eb Dragutin Babi\u0107 dhe \u0160enol Selimovi\u0107, q\u00ebndrimi skeptik i qeveris\u00eb jugosllave ndaj arb\u00ebnesh\u00ebve b\u00ebri q\u00eb ruajtja e identitetit kulturor t\u00eb p\u00ebrqendrohej n\u00eb bot\u00ebn e mbyllur t\u00eb atyre pak narrativave familjare, konteksteve private, ku banonin kryesisht kujtimet e origjin\u00ebs dhe ruajtja e gjuh\u00ebs. N\u00eb k\u00ebt\u00eb koh\u00eb zbraz\u00ebtie, e vetmja q\u00eb u ruajt si pjes\u00eb e kujtes\u00ebs kulturore t\u00eb komunitetit ishte festa e Zoj\u00ebs s\u00eb Loretos, por edhe kjo si nj\u00eb ngjarje e izoluar dhe jasht\u00eb v\u00ebmendjes institucionale qytetare t\u00eb koh\u00ebs. Nd\u00ebrkaq, asimilimi i komuniteti vet\u00eb brenda jet\u00ebs jugosllave vazhdoi me ritmet e veta.<\/span><\/p>

Prej momentit kur \u00ebsht\u00eb publikuar, albumi Dina dhe Mel kan\u00eb nd\u00ebrmarr\u00eb nj\u00eb seri koncertesh n\u00eb vende t\u00eb ndryshme p\u00ebr ta promovuar. Ato erdh\u00ebn edhe n\u00eb Tiran\u00eb, n\u00eb nj\u00eb koncert modest, t\u00eb realizuar n\u00eb sall\u00ebn \u00c7esk Zadeja t\u00eb Universitetit t\u00eb Arteve, m\u00eb 9 dhjetor 2022. Nga ky koncert kuptova se nuk do t\u00eb ishte i mjaftuesh\u00ebm nj\u00eb recension i thjesht\u00eb p\u00ebr k\u00ebt\u00eb album. Qysh n\u00eb fillim e ndjeva t\u00eb af\u00ebrt p\u00ebr shkak t\u00eb faktit se ndante shum\u00eb qasje metodologjike dhe artistike sidomos me v\u00ebllimin e realizuar p\u00ebr Spanja Pip\u00ebn dhe k\u00ebng\u00ebn kor\u00e7are n\u00eb periudh\u00ebn 2011-2015. Gjetja e shum\u00eb paraleleve mes t\u00eb dyve dhe mbi t\u00eb gjitha mes vet\u00eb k\u00ebng\u00ebs kor\u00e7are dhe asaj arb\u00ebneshe zadariote na tregojn\u00eb sesi operacione t\u00eb tilla rivler\u00ebsimi e jet\u00ebsimi t\u00eb nj\u00eb trash\u00ebgimie t\u00eb caktuar muzikore jan\u00eb rezultat i nj\u00eb pune t\u00eb kalibruar, ku secili prej aktor\u00ebve pjes\u00ebmarr\u00ebs vendos nj\u00eb cop\u00ebz t\u00eb vet\u00ebn brenda projektit.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Dina dhe Mel n\u00eb koncert n\u00eb Tiran\u00eb, 9 dhjetor 2022; Autore: Remila Ma\u00e7i<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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K\u00ebng\u00ebt thuajse t\u00eb harruara t\u00eb arb\u00ebnesh\u00ebve t\u00eb Zadarit jan\u00eb pjes\u00eb e identitetit muzikor e kulturor t\u00eb tyre, i m\u00ebnyr\u00ebs si ai ka ardhur duke u form\u00ebsuar gjat\u00eb shekujve XIX dhe XX. N\u00ebse gjuha ka ruajtur kuadrin identitar t\u00eb nj\u00eb p\u00ebrkat\u00ebsie ndryshe <\/i><\/em>nga kroat\u00ebt apo italian\u00ebt; k\u00ebng\u00ebt n\u00eb fjal\u00eb rr\u00ebfejn\u00eb komunitetin si pjes\u00eb vitale e k\u00ebtij qyteti me nj\u00eb histori t\u00eb dhimbshme, e plot drit\u00eb-hije. Q\u00ebllimisht ose jo, edhe autoret e k\u00ebtij albumi kan\u00eb l\u00ebn\u00eb m\u00ebnjan\u00eb detaje kontekstuale rreth k\u00ebsaj periudhe t\u00eb trazuar t\u00eb komunitetit n\u00eb raport me qytetin dhe politikat etno-nacionale, qofshin ato para apo pas viteve \u201990-t\u00eb. Ato p\u00ebrqendrohen posa\u00e7\u00ebrisht te thelbet emocionale t\u00eb k\u00ebsaj muzike, si kujtes\u00eb tingullore e identitare e arb\u00ebnesh\u00ebve t\u00eb Zadarit. Nuk mendoj se kjo zgjedhje \u00ebsht\u00eb diktuar nga synimi p\u00ebr t\u2019i l\u00ebn\u00eb gj\u00ebrat n\u00eb nivele neutraliteti, sesa nga vet\u00ebdija q\u00eb \u00ebsht\u00eb pik\u00ebrisht ky lloj emocionaliteti intim ai q\u00eb i ka b\u00ebr\u00eb k\u00ebto k\u00ebng\u00eb k\u00ebng\u00eb arb\u00ebneshe<\/em>.<\/span><\/p>

\u00b9 Ky komunitet u krijua nga nj\u00eb num\u00ebr familjesh t\u00eb krishtera q\u00eb emigruan aty nga zona e Shkodr\u00ebs (t\u00eb dh\u00ebnat referojn\u00eb fshatrat Brisk, Shestan, Larje t\u00eb Kraj\u00ebs duke filluar nga mesi i vitit 1726, me tri val\u00eb emigruese n\u00eb harkun t\u00eb thuajse nj\u00eb 10 vje\u00e7ari. Kjo u realizua n\u00ebn kujdesin e Arqipeshkvit Vin\u00e7enc Zmajevi\u00e7, si dhe t\u00eb kontit Niccol\u00f2 Erizzo, prej nga u njoh edhe si Borgo Erizzo. \u00a0<\/span><\/p>

\u00b2 Tullio Erber. 1996 [1883]. \u201cKolonia shqiptare e Borgo Erizos\u201d. P\u00ebrktheu Jora Mato. P\u00ebrpjekja 9: 101<\/span><\/p>

\u00b3 Nd\u00ebr ta m\u00eb i famshmi \u00ebsht\u00eb \u201cMu n\u00eb basht\u00ebn t\u00ebnde<\/u><\/a><\/span>\u201d por ekziston edhe nj\u00eb variant regjistruar n\u00eb Elbasan me titullin \u201cKaloshjes\u201d. K\u00ebnduar nga Fetah Banj dhe mbledhur nga Arsen Mustaqi n\u00eb vitin 1962.\u00a0 \u00a0<\/span><\/p>

Imazhi i ballin<\/span>\u00ebs<\/span>: Aleksandar Bona\u00e7i\u00e7<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

\u00cbsht\u00eb nj\u00eb befasi e k\u00ebndshme tek zbulon se si nj\u00eb projekt muzikor p\u00ebr t\u00eb cilin ke punuar n\u00eb t\u00eb shkuar\u00ebn, gjen nj\u00ebfar\u00ebsoj, t\u00eb ngjashmin e vet, duke ndar\u00eb me t\u00eb q\u00ebndrime q\u00eb b\u00ebjn\u00eb bashk\u00eb pun\u00ebn etnomuzikologjike me at\u00eb krijuese artistike. Akoma edhe m\u00eb bukur \u00ebsht\u00eb at\u00ebher\u00eb kur projektet n\u00eb fjal\u00eb flasin t\u00eb nj\u00ebjt\u00ebn gjuh\u00eb, ose m\u00eb sakt\u00eb, variante t\u00eb shqipes dhe l\u00ebvizin n\u00eb peizazhe t\u00eb ngjashme tingullore dhe emocionale…<\/p>","protected":false},"author":2,"featured_media":20052,"comment_status":"open","ping_status":"closed","sticky":false,"template":"elementor_header_footer","format":"standard","meta":{"episode_type":"","audio_file":"","podmotor_file_id":"","podmotor_episode_id":"","cover_image":"","cover_image_id":"","duration":"","filesize":"","filesize_raw":"","date_recorded":"","explicit":"","block":"","ocean_post_layout":"right-sidebar","ocean_both_sidebars_style":"","ocean_both_sidebars_content_width":0,"ocean_both_sidebars_sidebars_width":0,"ocean_sidebar":"ocs-kendveshtrim-category-post-sidebar","ocean_second_sidebar":"0","ocean_disable_margins":"enable","ocean_add_body_class":"","ocean_shortcode_before_top_bar":"","ocean_shortcode_after_top_bar":"","ocean_shortcode_before_header":"","ocean_shortcode_after_header":"","ocean_has_shortcode":"","ocean_shortcode_after_title":"","ocean_shortcode_before_footer_widgets":"","ocean_shortcode_after_footer_widgets":"","ocean_shortcode_before_footer_bottom":"","ocean_shortcode_after_footer_bottom":"","ocean_display_top_bar":"default","ocean_display_header":"default","ocean_header_style":"","ocean_center_header_left_menu":"0","ocean_custom_header_template":"0","ocean_custom_logo":0,"ocean_custom_retina_logo":0,"ocean_custom_logo_max_width":0,"ocean_custom_logo_tablet_max_width":0,"ocean_custom_logo_mobile_max_width":0,"ocean_custom_logo_max_height":0,"ocean_custom_logo_tablet_max_height":0,"ocean_custom_logo_mobile_max_height":0,"ocean_header_custom_menu":"0","ocean_menu_typo_font_family":"0","ocean_menu_typo_font_subset":"","ocean_menu_typo_font_size":0,"ocean_menu_typo_font_size_tablet":0,"ocean_menu_typo_font_size_mobile":0,"ocean_menu_typo_font_size_unit":"px","ocean_menu_typo_font_weight":"","ocean_menu_typo_font_weight_tablet":"","ocean_menu_typo_font_weight_mobile":"","ocean_menu_typo_transform":"","ocean_menu_typo_transform_tablet":"","ocean_menu_typo_transform_mobile":"","ocean_menu_typo_line_height":0,"ocean_menu_typo_line_height_tablet":0,"ocean_menu_typo_line_height_mobile":0,"ocean_menu_typo_line_height_unit":"","ocean_menu_typo_spacing":0,"ocean_menu_typo_spacing_tablet":0,"ocean_menu_typo_spacing_mobile":0,"ocean_menu_typo_spacing_unit":"","ocean_menu_link_color":"","ocean_menu_link_color_hover":"","ocean_menu_link_color_active":"","ocean_menu_link_background":"","ocean_menu_link_hover_background":"","ocean_menu_link_active_background":"","ocean_menu_social_links_bg":"","ocean_menu_social_hover_links_bg":"","ocean_menu_social_links_color":"","ocean_menu_social_hover_links_color":"","ocean_disable_title":"default","ocean_disable_heading":"default","ocean_post_title":"","ocean_post_subheading":"","ocean_post_title_style":"","ocean_post_title_background_color":"","ocean_post_title_background":0,"ocean_post_title_bg_image_position":"","ocean_post_title_bg_image_attachment":"","ocean_post_title_bg_image_repeat":"","ocean_post_title_bg_image_size":"","ocean_post_title_height":0,"ocean_post_title_bg_overlay":0.5,"ocean_post_title_bg_overlay_color":"","ocean_disable_breadcrumbs":"default","ocean_breadcrumbs_color":"","ocean_breadcrumbs_separator_color":"","ocean_breadcrumbs_links_color":"","ocean_breadcrumbs_links_hover_color":"","ocean_display_footer_widgets":"default","ocean_display_footer_bottom":"default","ocean_custom_footer_template":"0","ocean_post_oembed":"","ocean_post_self_hosted_media":"","ocean_post_video_embed":"","ocean_link_format":"","ocean_link_format_target":"self","ocean_quote_format":"","ocean_quote_format_link":"post","ocean_gallery_link_images":"on","ocean_gallery_id":[],"footnotes":""},"categories":[5,4],"tags":[674,676,671,677,675,670,672,673],"class_list":["post-20051","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kulture","category-kryenyje","tag-dina-busic","tag-dina-e-mel","tag-kenge-te-harruara","tag-kenge-te-harruara-te-arbenesheve-te-zadarit","tag-melita-ivkovic","tag-mikaela-minga","tag-shqiptare","tag-zadar","entry","has-media"],"_links":{"self":[{"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/20051","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/comments?post=20051"}],"version-history":[{"count":5,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/20051\/revisions"}],"predecessor-version":[{"id":26452,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/posts\/20051\/revisions\/26452"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/media\/20052"}],"wp:attachment":[{"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/media?parent=20051"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nyje.al\/sq\/wp-json\/wp\/v2\/catego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