Approach to Albanian oral creativity published by others
"Traditional Albanian culture became an object of ethno-folklore re- search for many travellers, missionaries, scholars, writers, anthropolo- gists, and various consuls serving in the Balkans during the 19th century. The published writings of these missionaries and personalities of foreign cultures on the history of Albanian culture at that time, either in English, German or French, became the basis for the beginning of the rise of Albanian studies, not only of linguistical and historical aspect, but also of the traditional culture. This paper will address the contribution of two foreign albano- logists, that of the German medical doctor and philologist Karl Heinrich Theodor Reinhold with the publication ""Noctes pelasgicae"" published in 1855, in Athens, and that of the French consul Auguste Dozon, with the publication ""Manuel de la Langue Chkipe ou Albanaise"" published in 1879, in Paris. The purpose of bringing these two albanological publi- cations back into focus of consideration is that, in addition to having in the first place a common analysis in the philological aspect, specifically of the southern dialect of Albanian language, at the same time they also contain empirical materials of the traditional culture, from which we try to distinguish some of those oral creations containing substantial values for the Albanian folkloristics, as well as what is the consideration given to these creations from the point of view of the other, even though sometimes seem to be hasty in the conclusions they draw on the basis of a limited empirical material, especially for the given time and space where those folklore units had been gathered."
The path to genre mixing
Almost all musical genres have their distinct features and tend to preserve their originality. The features of musical genres, including performing and reverence towards a specific musical genre, frequently serve as indicators of affiliation with a particular (sub)cultural group. Traditional folk music is regarded as one of the least flexible genres subject to changes due to its emphasis on authenticity and its deep-rooted connection to an “unalterable” past. Nevertheless, the contemporary music scene is experiencing a fusion of various genres in music. A rather uncommon example of blending of genres within Kosovo scene may be regarded the one in the 1990s of the 20th century, when two renowned popular singers of our traditional music, Hashim Shala and Tahir Drenica, collaborated with the well-known pop singer and lyricist Aida Baraku. Not only did the challenge lie in blending different musical genres, but it also lied in the provocative nature of the song's lyrics. The lyrics depicted a deviation from the traditional “model personality” of an Albanian man, which is represented through the appearance and example provided by traditional folk singers. This paper delved into various aspects, including how the collaboration took place, the underlying motives for that, any potential hesitations surrounding this partnership, how did the public of traditional songs perceived it and how it was received by the target audience of this song. The data for this study were gathered through interviews conducted with Aida Baraku -the singer, (as both singers of the traditional popular music are deceased now) and the fans. Additionally, the research was conducted by examining magazines from that period related to the subject matter concerned.
Ndryshimi i hapësirës së interpretimit dhe i audiencës: individual në skenik
Krijimtaria folklorike, e shprehur nëpërmjet formave të njohura artistike, dikur ka pasur një kohë dhe një hapësirë të caktuar performance, para një audience gjithashtu të caktuar. Për shkak të një morie faktorësh, si pasojë e zhvillimit shoqëror, social dhe teknologjik, komunikimi i dikurshëm gojor i folklorit, sot nuk mund të gjendet si dikur në shtresat e paarsimuara të popullatës. Folklori tradicional, po edhe ai i rikrijuar mbi format e dikurshme, që sot shpërndahet brenda një horizonti të ri komunikimi, nëpërmjet formave të ndryshme audiovizuale dhe teknologjike, ndikoi në krijimin e raporteve të reja, të ndryshme ndërmjet pranuesit/recipientit dhe krijuesit/riprodhuesit, për dallim nga ato që kanë ekzistuar dikur. Nga ana tjetër, prezantimi i folklorit si pjesë e trashëgimisë kulturore, gjithnjë e më shumë po përdoret për promovimin e kulturës tradicionale në industrinë kulturore me anë të festivaleve folklorike, kulturës
tradicionale në industrinë kulturore me anë të festivaleve folklorike,
të cilat në kulturën shqiptare, si ngjarje kulturore, kanë një traditë relativisht të gjatë të organizimit.
Mbështetur mbi referencat e studiuesve, që janë marrë me këtë problematikë, ky punim ka për synim të theksojë se cili ishte raporti kohëhapësirë-audiencë dikur për interpretimet folklorike, cilët janë faktorët që ndikuan në ndryshimin e këtij raporti sot, si dhe sa kanë ndryshuar aspekti funksional i krijimtarisë shpirtërore, me vënien në skenë në festivale folklorike dhe raporti i saj me audiencën.