{"id":47,"date":"2025-03-31T11:59:04","date_gmt":"2025-03-31T11:59:04","guid":{"rendered":"https:\/\/beyondyesterday.org\/?page_id=47"},"modified":"2026-03-21T19:09:50","modified_gmt":"2026-03-21T19:09:50","slug":"beyondyesterday-project","status":"publish","type":"page","link":"https:\/\/beyondyesterday.org\/sq\/beyondyesterday-project\/","title":{"rendered":"P\u00ebrtej s\u00eb djeshmes!"},"content":{"rendered":"\n

Nj\u00eb udh\u00ebtim antropologjik n\u00eb gjurm\u00ebt e V\u00ebllez\u00ebrve Manakia n\u00eb fillim t\u00eb shekullit t\u00eb XX<\/strong><\/p>\n\n\n\n

Nj\u00eb projekt i antropologjis\u00eb vizuale  nga C\u0103t\u0103lin D. Constantin<\/strong><\/p>\n\n\n\n

Si antropolog, i jap p\u00ebrpar\u00ebsi pun\u00ebs s\u00eb drejtp\u00ebrdrejt\u00eb n\u00eb terren ndaj k\u00ebrkimeve n\u00eb bibliotek\u00eb apo arkiva, n\u00eb p\u00ebrputhje me fokusin metodologjik t\u00eb disiplin\u00ebs. P\u00ebr m\u00eb shum\u00eb se nj\u00eb dekad\u00eb, shumica e k\u00ebrkimeve t\u00eb mia t\u00eb vazhdueshme n\u00eb terren jan\u00eb zhvilluar n\u00eb Ballkan, n\u00eb vendbanimet e vjetra t\u00eb vlleh\u00ebve apo arumun\u00ebve, komunitete barinjsh q\u00eb sot gjenden kryesisht n\u00eb Greqi dhe Shqip\u00ebri, por edhe n\u00eb Maqedonin\u00eb e Veriut, Rumani dhe, n\u00eb nj\u00eb mas\u00eb m\u00eb t\u00eb vog\u00ebl, n\u00eb Bullgari. Pothuajse gjithmon\u00eb, m\u00eb ka shoq\u00ebruar kolegu dhe miku im i mir\u00eb nga Nju Jorku, Dan Bora, me t\u00eb cilin takohem nj\u00eb ose dy her\u00eb n\u00eb vit n\u00eb Athin\u00eb apo Selanik, p\u00ebrpara se t\u00eb nisim rrug\u00ebtimin drejt fshatrave t\u00eb larg\u00ebta n\u00eb lart\u00ebsit\u00eb e maleve Pind. Po ashtu, kush\u00ebrira ime, Carmen Dobrot\u0103, s\u00eb cil\u00ebs i jam mir\u00ebnjoh\u00ebs p\u00ebr kaq shum\u00eb udh\u00ebtime t\u00eb p\u00ebrbashk\u00ebta, e cila ka kuruar disa nga ekspozitat e mia t\u00eb antropologjis\u00eb vizuale nd\u00ebr vite.<\/strong><\/p>\n\n\n\n

N\u00eb vitin 2017, gjat\u00eb nj\u00eb sesioni k\u00ebrkimor n\u00eb Arkivin e Muzeut Komb\u00ebtar t\u00eb Fshatarit Rumun n\u00eb Bukuresht, zbulova se vet\u00ebm nj\u00eb pjes\u00eb e vog\u00ebl e fotografive q\u00eb p\u00ebrshkruanin vendbanime vllehe n\u00eb Fondin Manakia, nj\u00eb nga koleksionet m\u00eb t\u00eb r\u00ebnd\u00ebsishme t\u00eb fotografis\u00eb s\u00eb hershme t\u00eb ruajtura n\u00eb Rumani, kishin vendndodhje t\u00eb sakt\u00ebsuara. Shum\u00eb prej tyre p\u00ebrmbanin vet\u00ebm p\u00ebrshkrime t\u00eb shkurtra, tipike p\u00ebr fillimin e shekullit XX, si \u201cfshat vlleh n\u00eb Ballkan\u201d. Sot, antropolog\u00ebt kan\u00eb detyrimin t\u00eb jen\u00eb shum\u00eb m\u00eb t\u00eb sakt\u00eb. Disa vendndodhje i identifikova menj\u00ebher\u00eb, fal\u00eb k\u00ebrkimeve t\u00eb m\u00ebparshme n\u00eb terren, si fotografia e fshatit Iliochori n\u00eb Zagori, ku rrapi mij\u00ebvje\u00e7ar n\u00eb sheshin e fshatit, nj\u00eb nga m\u00eb t\u00eb vjetrit n\u00eb Greqi, sh\u00ebrbente si nj\u00eb shenj\u00eb vizuale e pamohueshme. P\u00ebr fotografi t\u00eb tjera, historia ishte m\u00eb aventureske. Kjo m\u00eb \u00e7oi drejt nj\u00eb s\u00ebr\u00eb hetimesh t\u00eb reja n\u00eb terren, takimesh dhe rast\u00ebsish n\u00ebp\u00ebr Ballkan. Pik\u00ebrisht n\u00eb at\u00eb koh\u00eb m\u00eb lindi ideja q\u00eb t\u00eb rikrijoja, n\u00eb dit\u00ebt e sotme, fotografit\u00eb e realizuara nga v\u00ebllez\u00ebrit Manakia rreth vitit 1900, duke p\u00ebrdorur t\u00eb nj\u00ebjt\u00ebn korniz\u00eb q\u00eb ata kishin zgjedhur dikur.<\/strong><\/p>\n\n\n\n

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Ianaki dhe Milton Manakia<\/figcaption><\/figure>\n\n\n\n

V\u00ebllez\u00ebrit Ianaki dhe Milton Manakia lind\u00ebn n\u00eb nj\u00eb familje barinjsh vlleh\u00eb n\u00eb gjysm\u00ebn e dyt\u00eb t\u00eb shekullit XIX, n\u00eb Avdela, nj\u00eb fshat i vendosur lart n\u00eb Malet Pind, asokohe ende pjes\u00eb e Perandoris\u00eb Osmane, sot n\u00eb Greqi. Historia i kujton ata si autor\u00eb t\u00eb nj\u00eb numri t\u00eb madh fotografish me vler\u00eb t\u00eb jasht\u00ebzakonshme dokumentare dhe si t\u00eb par\u00ebt kineast\u00eb q\u00eb regjistruan nj\u00eb film n\u00eb Perandorin\u00eb Osmane dhe n\u00eb Ballkan, vet\u00ebm nj\u00eb dekad\u00eb pasi v\u00ebllez\u00ebrit Lumi\u00e8re kishin krijuar filmin e par\u00eb n\u00eb historin\u00eb njer\u00ebzore.<\/p>\n\n\n\n

Dy v\u00ebllez\u00ebrit ndoq\u00ebn shkoll\u00ebn rumune n\u00eb fshatin e tyre t\u00eb lindjes, pastaj gjimnazin rumun n\u00eb Janin\u00eb, pas s\u00eb cil\u00ebs rrug\u00ebt e tyre u ndan\u00eb nga ato t\u00eb paraardh\u00ebsve t\u00eb tyre, t\u00eb cil\u00ebt kishin qen\u00eb pronar\u00eb t\u00eb tufave t\u00eb m\u00ebdha t\u00eb deleve. N\u00eb vend t\u00eb k\u00ebsaj, ata u b\u00ebn\u00eb \u201ctranshumant\u00eb\u201d t\u00eb nj\u00eb lloji tjet\u00ebr, duke endur Ballkanin p\u00ebr t\u00eb realizuar fotografi gjat\u00eb nj\u00eb periudhe jasht\u00ebzakonisht komplekse politike dhe historike, t\u00eb sh\u00ebnuar nga kolapsi p\u00ebrfundimtar i Perandoris\u00eb Osmane, Luft\u00ebrat Ballkanike dhe vizatimi i kufijve komb\u00ebtar\u00eb. Ata hap\u00ebn fillimisht nj\u00eb studio fotografike n\u00eb Janin\u00eb, pastaj e zhvendos\u00ebn at\u00eb n\u00eb Manastir, sot Bitola n\u00eb Maqedonin\u00eb e Veriut, at\u00ebher\u00eb kryeqyteti i provinc\u00ebs osmane me t\u00eb nj\u00ebjtin em\u00ebr dhe qyteti i dyt\u00eb m\u00eb i madh n\u00eb rajon pas Selanikut.<\/p>\n\n\n\n

Ianaki dhe Miltoni udh\u00ebtuan n\u00ebp\u00ebr fshatra, disa prej t\u00eb cil\u00ebve ishin v\u00ebshtir\u00ebsisht t\u00eb arritsh\u00ebm, si dhe n\u00ebp\u00ebr qytete dhe tregje, duke realizuar fotografi me porosi me nj\u00eb aparat t\u00eb madh, t\u00eb r\u00ebnd\u00eb dhe pllaka xhami t\u00eb brishta. Fotografia ishte nj\u00eb profesion i ndjekur me pasion dhe talent t\u00eb madh, por mbi t\u00eb gjitha, ishte nj\u00eb mjet jetese. Shumica e fotografive t\u00eb ruajtura n\u00eb arkivin e Muzeut Komb\u00ebtar t\u00eb Fshatarit Rumun jan\u00eb portrete t\u00eb njer\u00ebzve t\u00eb zakonsh\u00ebm t\u00eb asaj kohe, t\u00eb veshur me kostume tradicionale ose me rroba \u201cgjermane\u201d n\u00eb stil per\u00ebndimor. Imazhet e tyre kapin gjall\u00ebrisht bashk\u00ebjetes\u00ebn e modernitetit dhe arkaizmit, m\u00eb bashk\u00ebkohore se kurr\u00eb n\u00eb at\u00eb periudh\u00eb t\u00eb hershme t\u00eb modernizimit t\u00eb Ballkanit. Kjo m\u00eb habiti t\u00eb kuptoja se k\u00ebto nuk ishin dy bot\u00eb t\u00eb ndara, ekzistuese paralelisht, por q\u00eb rrall\u00eb nd\u00ebrthureshin, si\u00e7 kisha qen\u00eb i prirur t\u00eb besoj dhe si\u00e7 kan\u00eb sugjeruar shum\u00eb historian\u00eb t\u00eb periudh\u00ebs. Ishte di\u00e7ka tjet\u00ebr: bot\u00eb t\u00eb mbivendosura. Duke udh\u00ebtuar n\u00ebp\u00ebr fshatrat e Pindit, zbulova se ndonj\u00ebher\u00eb t\u00eb nj\u00ebjt\u00ebt individ\u00eb shfaqeshin n\u00eb fotografi, her\u00eb t\u00eb portretizuar si barinj me veshje tradicionale, her\u00eb t\u00eb veshur me rrobat e tyre m\u00eb t\u00eb mira \u201ct\u00eb qytetit\u201d, si zot\u00ebrinj dhe zonja t\u00eb p\u00ebrputhura me mod\u00ebn dhe luksin europian, megjith\u00ebse jetonin n\u00eb fshatra q\u00eb dukeshin t\u00eb izoluara nga bota. P\u00ebrve\u00e7 portreteve, koleksioni p\u00ebrfshin fotografi t\u00eb ngjarjeve familjare, dasma dhe funerale, festime t\u00eb festave t\u00eb m\u00ebdha fetare, si dhe momente politike, si vizita e sulltanit n\u00eb Manastir, t\u00eb cil\u00ebn v\u00ebllez\u00ebrit Manakia e fiksuan n\u00eb film. Nd\u00ebrsa fotografit\u00eb e ruajtura n\u00eb Bukuresht jan\u00eb kryesisht me interes etnografik, mij\u00ebra pllaka xhami t\u00eb arkivuara n\u00eb Bitola zbulojn\u00eb nj\u00eb kaleidoskop t\u00eb jasht\u00ebzakonsh\u00ebm t\u00eb jet\u00ebs ballkanike t\u00eb fillimit t\u00eb shekullit XX, shpesh duke paraqitur p\u00ebrditshm\u00ebrin\u00eb e zakonshme t\u00eb koh\u00ebs, q\u00eb sot mahnit p\u00ebr pasurin\u00eb, intensitetin dhe kontrastin e saj me t\u00eb tashmen. Shum\u00eb nga skenat e fotografuara nga v\u00ebllez\u00ebrit jan\u00eb p\u00ebrjet\u00ebsuar me nj\u00eb ndjeshm\u00ebri artistike t\u00eb jasht\u00ebzakonshme, nj\u00eb fines\u00eb t\u00eb rrall\u00eb n\u00eb kornizim dhe kapjen e \u00e7astit, e cila vazhdon t\u00eb magjeps\u00eb antropologun q\u00eb sot g\u00ebrmon n\u00ebp\u00ebr arkiva.<\/p>\n\n\n\n

N\u00eb vitin 1906, Ianaki dhe Milton Manakia u ftuan n\u00eb Bukuresht p\u00ebr Ekspozit\u00ebn e P\u00ebrgjithshme Rumune dhe u nderuan me titullin \u201cFotograf\u00eb t\u00eb Oborrit Mbret\u00ebror t\u00eb Rumanis\u00eb\u201d. Me k\u00ebt\u00eb rast, nj\u00eb koleksion fotografish q\u00eb p\u00ebrshkruanin portrete t\u00eb vlleh\u00ebve dhe vendbanimeve t\u00eb tyre n\u00eb Malet Pind u ble p\u00ebr Muzeun Komb\u00ebtar t\u00eb Artit, paraardh\u00ebsin e Muzeut Komb\u00ebtar t\u00eb Fshatarit Rumun t\u00eb sot\u00ebm, themeluar pik\u00ebrisht n\u00eb at\u00eb koh\u00eb nga Tzigara Samurca\u0219. Pik\u00ebrisht k\u00ebto fotografi ishin ato q\u00eb kolegu im amerikan dhe un\u00eb u nis\u00ebm t\u00eb rikrijonim gjat\u00eb ver\u00ebs s\u00eb vitit 2017.<\/p>\n\n\n\n

Vizitat e v\u00ebllez\u00ebrve Manakia n\u00eb Bukuresht sh\u00ebnuan nj\u00eb pik\u00eb kthese n\u00eb karrier\u00ebn e tyre. Nga ai moment, puna e tyre u b\u00eb thelb\u00ebsore p\u00ebr historin\u00eb vizuale t\u00eb Ballkanit. N\u00eb Bukuresht ata pan\u00eb p\u00ebr her\u00eb t\u00eb par\u00eb nj\u00eb projeksion filmi dhe m\u00ebsuan rreth teknikave kinematografike t\u00eb v\u00ebllez\u00ebrve Lumi\u00e8re. Ata mbet\u00ebn t\u00eb mahnitur, aq sa Ianaki udh\u00ebtoi n\u00eb Lond\u00ebr p\u00ebr t\u00eb bler\u00eb nj\u00eb kamer\u00eb filmi. Rast\u00ebsisht, ajo rezultoi t\u00eb ishte kamera Bioscope me numrin serik 300 n\u00eb bot\u00eb.<\/p>\n\n\n\n

N\u00eb nj\u00eb koh\u00eb kur kinematografia ishte kryesisht e p\u00ebrqendruar n\u00eb arritjet m\u00eb t\u00eb fundit t\u00eb teknologjis\u00eb moderne, si grata\u00e7ielat dhe avulloret transatlantike, dy v\u00ebllez\u00ebrit u kthyen n\u00eb fshatin e tyre malor dhe, rreth viteve 1906 ose 1907 (viti i sakt\u00eb mbetet i pasigurt), realizuan nj\u00eb dokumentar etnografik. Natyrisht, ai ishte pa z\u00eb dhe zgjaste rreth nj\u00eb minut\u00eb, sipas standardeve teknike t\u00eb koh\u00ebs. Pa e kuptuar, p\u00ebrmes k\u00ebtij filmi ata arrit\u00ebn nj\u00eb rekord bot\u00ebror t\u00eb trefisht\u00eb. Ai u b\u00eb filmi i par\u00eb i realizuar ndonj\u00ebher\u00eb n\u00eb Perandorin\u00eb Osmane, dokumentari i par\u00eb etnografik n\u00eb Ballkan dhe, n\u00eb fakt, dokumentari i par\u00eb i \u00e7do lloji n\u00eb rajon. Tema? P\u00ebrpunimi tradicional i leshit. Filmi kap grupe grash t\u00eb veshura me kostume popullore. Mes tyre, n\u00eb qend\u00ebr, q\u00ebndron Despa, gjyshja e v\u00ebllez\u00ebrve, e cila, sipas d\u00ebshmis\u00eb s\u00eb m\u00ebvonshme t\u00eb Miltonit, ishte 114 vje\u00e7e n\u00eb at\u00eb koh\u00eb. Sado befasuese t\u00eb duket mosha e saj, ajo nuk ishte nj\u00eb p\u00ebrjashtim mes vlleh\u00ebve t\u00eb Pindit. Me fjal\u00eb t\u00eb tjera, gjyshja Despa kishte lindur n\u00eb shekullin XVIII (1792 – 1793), n\u00eb koh\u00ebn e Ali Pash\u00ebs, kur Napoleoni sapo kishte nisur t\u00eb shfaqej n\u00eb sken\u00ebn bot\u00ebrore. Nj\u00eb e kaluar e pabesueshme p\u00ebr nj\u00eb person t\u00eb cilin sot mund ta shohim duke l\u00ebvizur n\u00eb film.<\/p>\n\n\n\n

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Gjyshja Despa<\/figcaption><\/figure>\n\n\n\n

Ishte nj\u00eb tjet\u00ebr rekord, p\u00ebr t\u00eb cilin dy v\u00ebllez\u00ebrit nuk ishin t\u00eb vet\u00ebdijsh\u00ebm, teksa filmonin n\u00eb fshatin e tyre t\u00eb larg\u00ebt malor, t\u00eb panjohur p\u00ebr Europ\u00ebn, t\u00eb panjohur p\u00ebr bot\u00ebn. N\u00eb kund\u00ebrshtim me historin\u00eb zyrtare t\u00eb kinemas\u00eb, nuk ishte Papa Leoni XIII (i lindur m\u00eb 1810) apo Rebeca Clarke (e lindur m\u00eb 1804 n\u00eb Britani dhe e regjistruar me nj\u00eb kamer\u00eb Kinora n\u00eb vitin 1912) personi me dat\u00ebn m\u00eb t\u00eb larg\u00ebt t\u00eb lindjes q\u00eb \u00ebsht\u00eb filmuar ndonj\u00ebher\u00eb. P\u00ebrkundrazi, ishte Maia Despa nga Avdela, st\u00ebrgjyshja e Miltonit dhe Ianakit Manakia. Ajo nuk ishte nj\u00eb figur\u00eb e njohur nga Europa Per\u00ebndimore, motori i teknologjis\u00eb dhe \u201ccivilizimit\u201d, por ishte nj\u00eb grua e moshuar nga Malet Pind, nga nj\u00eb fshat i izoluar i Ballkanit Osman, nj\u00eb rajon i err\u00ebt q\u00eb Europa sapo kishte filluar ta njihte n\u00eb prag t\u00eb shekullit XX, nj\u00eb Ballkan n\u00eb trazira, i raportuar n\u00eb gazetat per\u00ebndimore me t\u00eb nj\u00ebjt\u00ebn doz\u00eb tmerri dhe fascinimi p\u00ebr shkak t\u00eb Luft\u00ebrave Ballkanike. \u00cbsht\u00eb e v\u00ebrtet\u00eb q\u00eb mosha e gjyshes Despa (n\u00ebn nj\u00ebr\u00ebn nga fotografit\u00eb e saj, Ianaki kishte sh\u00ebnuar se ajo ishte 102 vje\u00e7e) dhe data e sakt\u00eb e filmit jan\u00eb ende t\u00eb debatueshme. Por, p\u00ebrtej \u00e7do datimi t\u00eb sakt\u00eb, arritja mbetet e pamohueshme.<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n
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click to open<\/em><\/figcaption><\/figure>\n\n\n\n

Hartat e shfaqura s\u00eb bashku me k\u00ebt\u00eb tekst d\u00ebshmojn\u00eb p\u00ebr kompleksitetin e fatit t\u00eb Ballkanit n\u00eb at\u00eb epok\u00eb. Ato jan\u00eb harta etnike t\u00eb provinc\u00ebs osmane t\u00eb Maqedonis\u00eb. N\u00eb jug, megjith\u00ebse nuk shfaqet n\u00eb hart\u00eb, pasi nuk kishte shum\u00eb r\u00ebnd\u00ebsi n\u00eb at\u00eb koh\u00eb, ndodhet Avdela, fshati i v\u00ebllez\u00ebrve Manakia. Pak m\u00eb n\u00eb veri ndodhet qyteti i Manastirit, i njohur si Qyteti i Konsujve, i cili sh\u00ebnohet n\u00eb hart\u00eb. Pik\u00ebrisht k\u00ebtu v\u00ebllez\u00ebrit kishin studion e tyre fotografike dhe m\u00eb von\u00eb hap\u00ebn nj\u00eb kinema q\u00eb shpejt u b\u00eb e njohur n\u00eb t\u00eb gjith\u00eb provinc\u00ebn. S\u00eb shpejti, Avdela do t\u00eb b\u00ebhej pjes\u00eb e Greqis\u00eb dhe Manastiri do t\u00eb riem\u00ebrtohej Bitola, duke u b\u00ebr\u00eb pjes\u00eb e Mbret\u00ebris\u00eb s\u00eb Jugosllavis\u00eb. Dhe k\u00ebto ndryshime ishin rezultat i tensioneve t\u00eb m\u00ebdha historike. Hartat ilustrojn\u00eb nj\u00eb mozaik etnik t\u00eb v\u00ebshtir\u00eb p\u00ebr t\u2019u kuptuar, ku p\u00ebrcaktimi i sakt\u00eb i kufijve, nj\u00eb imperativ i ideologjis\u00eb nacionaliste t\u00eb epok\u00ebs, ishte i pamundur. Vet\u00eb emri i provinc\u00ebs, Maqedonia, i dha lindje fjal\u00ebs franceze p\u00ebr sallat\u00eb t\u00eb p\u00ebrzier, mac\u00e9doine<\/em>, nj\u00eb kujtes\u00eb se francez\u00ebt, zakonisht t\u00eb sjellsh\u00ebm, nuk ishin gjithmon\u00eb aq delikat\u00eb n\u00eb histori.<\/p>\n\n\n\n

Por, p\u00ebrtej diversitetit etnik, hartat zbulojn\u00eb gjithashtu mosmarr\u00ebveshjet territoriale t\u00eb koh\u00ebs. Nj\u00ebra mban n\u00ebntitullin point de vue bulgare<\/em>, nj\u00eb tjet\u00ebr point de vue serbe<\/em>, secila duke reflektuar nj\u00eb pretendim politik m\u00eb shum\u00eb sesa nj\u00eb realitet demografik objektiv. Pik\u00ebrisht n\u00eb k\u00ebt\u00eb koh\u00eb nj\u00eb identitet i ri etnik u shfaq n\u00eb diskursin historik, politik dhe hartografik evropian: maqedonasit sllav\u00eb, t\u00eb cil\u00ebt m\u00eb par\u00eb p\u00ebrmendeshin thjesht si bullgar\u00eb. Territori ishte nj\u00ebsoj i kontestuar nga Serbia dhe Bullgaria. Greqia pretendonte pjes\u00ebn m\u00eb t\u00eb madhe t\u00eb tij, duke u mb\u00ebshtetur n\u00eb nj\u00eb trash\u00ebgimi historike q\u00eb shtrihej madh\u00ebrisht deri n\u00eb antikitet. N\u00eb nj\u00eb epok\u00eb kur kombet, pas shekujve t\u00eb sundimit osman, k\u00ebrkonin si pavar\u00ebsi ashtu edhe sa m\u00eb shum\u00eb territor, hartat etnike p\u00ebrdoreshin si argumente p\u00ebr ndarjen territoriale. Por asnj\u00eb hart\u00eb e asaj kohe nuk lejonte ndarje t\u00eb qarta etnike. Dhe, n\u00eb \u00e7do rast, pothuajse t\u00eb gjitha ekzagjeronin madh\u00ebsin\u00eb e nj\u00eb grupi n\u00eb d\u00ebm t\u00eb t\u00eb tjer\u00ebve, duke form\u00ebsuar historin\u00eb dhe gjeografin\u00eb p\u00ebr t\u00eb sh\u00ebrbyer interesat politike dhe territoriale. Situata ishte b\u00ebr\u00eb aq absurde sa brenda s\u00eb nj\u00ebjt\u00ebs familje, disa an\u00ebtar\u00eb deklaroheshin si pjes\u00eb e nj\u00eb etnie, nd\u00ebrsa t\u00eb tjer\u00eb pretendonin nj\u00eb identitet tjet\u00ebr.<\/p>\n\n\n\n

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N\u00eb pamje t\u00eb par\u00eb, asgj\u00eb nga ky konflikt politik dhe territorial nuk \u00ebsht\u00eb i duksh\u00ebm n\u00eb fytyrat e njer\u00ebzve t\u00eb zakonsh\u00ebm apo n\u00eb skenat etnografike t\u00eb kapura n\u00eb fotografit\u00eb e Fondit Manakia. Megjithat\u00eb, nga nj\u00eb perspektiv\u00eb antropologjike, e ndjeshme ndaj detajeve, e gjith\u00eb epoka \u00ebsht\u00eb krejt\u00ebsisht e lexueshme, me t\u00eb gjitha trazirat e saj. Arkivi fotografik i Manakis\u00eb mbetet nj\u00eb fresk\u00eb e jasht\u00ebzakonshme e tensioneve q\u00eb sh\u00ebnuan fillimin e shekullit XX n\u00eb Ballkan. \u00cbsht\u00eb e jasht\u00ebzakonshme dhe e v\u00ebshtir\u00eb p\u00ebr t\u2019u kuptuar sot se Milton dhe Ianaki krijuan portrete pa marr\u00eb parasysh p\u00ebrkat\u00ebsin\u00eb etnike n\u00eb nj\u00eb koh\u00eb kur konfliktet komb\u00ebtare ishin n\u00eb kulmin e tyre.<\/p>\n\n\n\n

N\u00eb t\u00eb v\u00ebrtet\u00eb, ata fotografuan sulltanin, patriarkun e Kostandinopoj\u00ebs, familjen mbret\u00ebrore rumune dhe pat\u00ebn madje mund\u00ebsin\u00eb t\u00eb portretizonin mbret\u00ebrit e Greqis\u00eb dhe t\u00eb Jugosllavis\u00eb. M\u00eb von\u00eb, Milton pati gjithashtu rastin t\u00eb fotografoj\u00eb Titon, shum\u00eb koh\u00eb p\u00ebrpara se ai t\u00eb b\u00ebhej udh\u00ebheq\u00ebs i Jugosllavis\u00eb socialiste \u2013 nj\u00eb episod q\u00eb, n\u00eb vitet e m\u00ebvonshme, do t\u00eb rezultonte vendimtar p\u00ebr fatin e tij.<\/p>\n\n\n\n

Edhe vlleh\u00ebt u gjend\u00ebn n\u00eb vorbull\u00ebn e luft\u00ebs p\u00ebr identitet t\u00eb koh\u00ebs. Nj\u00eb p\u00ebr\u00e7arje e thell\u00eb ndau komunitetin e tyre. Nj\u00eb pjes\u00eb e konsiderueshme, ndoshta shumica, p\u00ebrqafoi fort identitetin komb\u00ebtar grek, duke luftuar me p\u00ebrkushtim p\u00ebr Greqin\u00eb. T\u00eb tjer\u00eb, p\u00ebr shkak t\u00eb gjuh\u00ebs s\u00eb tyre, u identifikuan me Rumanin\u00eb dhe, n\u00eb kontekstin e ndryshimeve t\u00eb kufijve, shum\u00eb zgjodh\u00ebn t\u00eb linin vendlindjen p\u00ebr t\u2019u vendosur n\u00eb Dobrogjen e Jugut, e cila asokohe ishte pjes\u00eb e Rumanis\u00eb, por q\u00eb n\u00eb vitin 1940 iu dor\u00ebzua Bullgaris\u00eb, duke shkaktuar val\u00eb t\u00eb tjera t\u00eb shk\u00ebmbimeve t\u00eb detyruara t\u00eb popullsis\u00eb. Megjithat\u00eb, m\u00eb p\u00eblqen t\u00eb besoj se shumica e njer\u00ebzve thjesht vazhduan t\u00eb jetonin jet\u00ebn e tyre, duke ruajtur traditat dhe duke u p\u00ebrshtatur me koh\u00ebn, pa u r\u00ebnduar nga dilemat e identitetit.<\/p>\n\n\n\n

Sot, v\u00ebllez\u00ebrit Manakia p\u00ebrmenden gjer\u00ebsisht n\u00eb Greqi si pionier\u00eb t\u00eb kinemas\u00eb ballkanike, kremtohen me entuziaz\u00ebm n\u00eb Maqedonin\u00eb e Veriut dhe vet\u00ebm her\u00eb pas here n\u00eb Rumani. Secili nga k\u00ebto shtete ballkanike i sheh ata si pjes\u00eb t\u00eb historis\u00eb s\u00eb vet komb\u00ebtare. Por n\u00eb koh\u00ebn ton\u00eb, k\u00ebto narracione nuk duhet t\u00eb ken\u00eb m\u00eb r\u00ebnd\u00ebsi. V\u00ebllez\u00ebrit Manakia i p\u00ebrkasin, thjesht, historis\u00eb s\u00eb Ballkanit.<\/p>\n\n\n\n

Edhe jeta e tyre pasqyron fatin e Ballkanit. Pas vitit 1935, ata u ndan\u00eb. Ianaki vdiq n\u00eb Selanik n\u00eb vitin 1954, n\u00eb Greqi, i varf\u00ebr dhe i shkat\u00ebrruar nga vdekja e parakohshme e t\u00eb birit. Nga viti 1935 deri n\u00eb vdekjen e tij, p\u00ebr gati dy dekada, Ianaki nuk mundi ta shihte m\u00eb t\u00eb v\u00ebllan\u00eb, pasi Milton mbeti n\u00eb Bitola, n\u00eb Jugosllavi, e cila n\u00eb vitin 1943 u b\u00eb nj\u00eb shtet socialist. Kufijt\u00eb ishin t\u00eb ngurt\u00eb dhe t\u00eb pakaluesh\u00ebm. Kjo ndodhte n\u00eb nj\u00eb rajon ku p\u00ebr shekuj me radh\u00eb, l\u00ebvizja e lir\u00eb kishte qen\u00eb ritmi natyror i jet\u00ebs, pavar\u00ebsisht nga etnia apo feja.<\/p>\n\n\n\n

Nga ana tjet\u00ebr, Milton g\u00ebzoi njohje komb\u00ebtare n\u00eb Jugosllavi, pjes\u00ebrisht p\u00ebr shkak t\u00eb rast\u00ebsis\u00eb q\u00eb kishte fotografuar n\u00eb rinin\u00eb e tij disa nga figurat e ardhshme t\u00eb komunizmit jugosllav, p\u00ebrfshir\u00eb, si\u00e7 u p\u00ebrmend m\u00eb par\u00eb, Titon. Arkivi i tij u ble nga shteti jugosllav, ai u intervistua, dhe madje gjat\u00eb jet\u00ebs s\u00eb tij u realizua nj\u00eb film dokumentar p\u00ebr t\u00eb n\u00eb Zagreb. Vdiq n\u00eb vitin 1964 dhe q\u00eb nga viti 1979 (viti kur linda un\u00eb…), n\u00eb Bitola mbahet \u00e7do vit festivali nd\u00ebrkomb\u00ebtar i filmit dokumentar \u201cCamera 300\u201d, nj\u00eb nga festivalet m\u00eb jet\u00ebgjata t\u00eb dokumentarit n\u00eb Europ\u00eb.<\/p>\n\n\n\n

Mjeshtri grek i kinemas\u00eb, Theo Angelopoulos, n\u00eb kryevepr\u00ebn e tij To vlemma tou Odyssea \/ Shikimi i Uliksit<\/em> (1995), rr\u00ebfen, p\u00ebrmes nj\u00eb gjuhe jasht\u00ebzakonisht melankolike artistike, historin\u00eb tragjike t\u00eb cop\u00ebzimit t\u00eb Ballkanit n\u00eb shtete me kufij t\u00eb mbyllur dhe p\u00ebrvoj\u00ebn e dhimbshme t\u00eb shkuljes nga rr\u00ebnj\u00ebt. Filmi merr frym\u00ebzim nga filmimi i Maia Desp\u00ebs, i realizuar nga v\u00ebllez\u00ebrit Manakia n\u00eb Avdela. Angelopoulos nd\u00ebrton udh\u00ebtimin e nj\u00eb personazhi bashk\u00ebkohor p\u00ebrmes Ballkanit t\u00eb viteve \u201990, kur kufijt\u00eb po rihapeshin pas dekadash ndarjeje, n\u00eb k\u00ebrkim t\u00eb nj\u00eb filmi t\u00eb humbur t\u00eb v\u00ebllez\u00ebrve Manakia. N\u00eb t\u00eb v\u00ebrtet\u00eb, \u00ebsht\u00eb nj\u00eb k\u00ebrkim p\u00ebr identitetin e tij t\u00eb humbur.<\/p>\n\n\n\n

Ky shteg\u00ebtim n\u00eb historin\u00eb e v\u00ebllez\u00ebrve \u00ebsht\u00eb thelb\u00ebsor p\u00ebr t\u00eb kuptuar, qoft\u00eb edhe n\u00eb m\u00ebnyr\u00eb sip\u00ebrfaq\u00ebsore, kontekstin e k\u00ebrkimeve t\u00eb mia n\u00eb antropologjin\u00eb vizuale. Nga rreth 200 fotografi t\u00eb ruajtura n\u00eb Arkivin e Imazheve t\u00eb Muzeut Komb\u00ebtar t\u00eb Fshatarit Rumun, nj\u00eb pjes\u00eb e konsiderueshme paraqet vendbanime vllehe, pamje panoramike t\u00eb marra nga larg, duke treguar fshatra me arkitektur\u00ebn e tyre karakteristike. Disa prej tyre jan\u00eb pak t\u00eb njohur; t\u00eb tjer\u00eb mbajn\u00eb status legjendar mes vlleh\u00ebve, si Samarina, vendbanimi m\u00eb i lart\u00eb n\u00eb Greqi dhe n\u00eb t\u00eb gjith\u00eb Ballkanin, apo Moskopole, nj\u00eb qytet malor dikur i lul\u00ebzuar.<\/p>\n\n\n\n

N\u00eb shekullin XVIII, Moskopole ishte qyteti i dyt\u00eb m\u00eb i madh i Ballkanit pas Stambollit, nj\u00eb qend\u00ebr e pasur me shtypshkronja, biblioteka dhe dhjet\u00ebra kisha. Sot, ndodhet n\u00eb Shqip\u00ebri, i reduktuar n\u00eb nj\u00eb vendbanim t\u00eb vog\u00ebl historik, pasi u dogj dhe u shkat\u00ebrrua n\u00eb fund t\u00eb shekullit XVIII nga Ali Pasha, fama dhe potenciali i tij si qend\u00ebr rebelimi, duke e b\u00ebr\u00eb nj\u00eb objektiv t\u00eb shtypjes osmane n\u00eb Ballkan.<\/p>\n\n\n\n

Me nj\u00eb p\u00ebrjashtim, t\u00eb gjitha k\u00ebto fotografi t\u00eb vendbanimeve p\u00ebr\u00e7ojn\u00eb qet\u00ebsin\u00eb e izolimit n\u00eb natyr\u00eb, t\u00eb vendosura pran\u00eb majave t\u00eb maleve, t\u00eb rrethuara nga pyje, larg rrug\u00ebve kryesore tregtare q\u00eb dikur p\u00ebrshkonin gadishullin. Megjithat\u00eb, p\u00ebrtej qet\u00ebsis\u00eb s\u00eb tyre, syri i antropologut v\u00ebren n\u00eb sfond zhurm\u00ebn e koh\u00ebs, konfliktet dhe p\u00ebrplasjet e identitetit t\u00eb vlleh\u00ebve t\u00eb asaj epoke, pasuar nga largimi i tyre nga k\u00ebto fshatra dhe qytete malore drejt viseve t\u00eb larg\u00ebta, ndarja e tyre mes kombeve rivale dhe papritmas, pamund\u00ebsia e praktikimit t\u00eb transhumanc\u00ebs p\u00ebrgjat\u00eb rrug\u00ebve q\u00eb tani ishin prer\u00eb nga kufijt\u00eb.<\/p>\n\n\n\n

Nd\u00ebr vendbanimet e kapura n\u00eb fotografit\u00eb e v\u00ebllez\u00ebrve Manakia q\u00eb riprodhohen n\u00eb faqet e m\u00ebposhtme, shumica ndodhen sot n\u00eb Greqi, kat\u00ebr jan\u00eb n\u00eb Maqedonin\u00eb e Veriut dhe vet\u00ebm nj\u00eb \u00ebsht\u00eb n\u00eb Shqip\u00ebri.<\/p>\n\n\n\n

Kur Tzigara Samurca\u0219 bleu k\u00ebto fotografi nga dy v\u00ebllez\u00ebrit p\u00ebr Muzeun Komb\u00ebtar t\u00eb Artit, ai sh\u00ebnoi emrat e disa vendbanimeve. Megjithat\u00eb, shumica e tyre nuk mbajn\u00eb nj\u00eb em\u00ebr specifik, por vet\u00ebm nj\u00eb sh\u00ebnim t\u00eb paqart\u00eb, t\u00eb shkruar n\u00eb frym\u00ebn nacionaliste t\u00eb koh\u00ebs: \u201cNj\u00eb fshat rumun n\u00eb Ballkan.\u201d<\/p>\n\n\n\n

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N\u00eb gusht t\u00eb vitit 2017, pik\u00ebrisht n\u00eb dit\u00ebn kur do t\u00eb nisesha me kolegun tim amerikan p\u00ebr nj\u00eb tjet\u00ebr ekspedit\u00eb k\u00ebrkimore n\u00eb Greqi, ndala n\u00eb muze p\u00ebr t\u2019i treguar atij fotografit\u00eb origjinale (ai sapo kishte mb\u00ebrritur n\u00eb Bukuresht). S\u00eb bashku, kuptuam se vendndodhjet e sakta t\u00eb shum\u00eb imazheve mungonin n\u00eb katalog\u00ebt e muzeut. Disa fshatra i identifikuam menj\u00ebher\u00eb, pasi i kishim vizituar shpesh gjat\u00eb udh\u00ebtimeve tona t\u00eb m\u00ebparshme k\u00ebrkimore.<\/p>\n\n\n\n

Iliochori (Dobrinovo n\u00eb arumunisht) ishte i leht\u00eb p\u00ebr t\u2019u njohur. Ai ende ruan, n\u00eb sheshin e tij qendror, at\u00eb q\u00eb ndoshta \u00ebsht\u00eb rrapi m\u00eb i vjet\u00ebr n\u00eb Greqi, mbi 1.000 vjet i lasht\u00eb. Megjithat\u00eb, sot, ky vendbanim dikur i lul\u00ebzuar dhe i populluar duket krejt ndryshe, pasi u dogj brutalisht nga trupat gjermane n\u00eb t\u00ebrheqje gjat\u00eb Luft\u00ebs s\u00eb Dyt\u00eb Bot\u00ebrore. Po aq t\u00eb lehta p\u00ebr t\u2019u njohur ishin Kallarites (C\u0103larli n\u00eb arumunisht) dhe Syrrako (Sereacu n\u00eb arumunisht), me arkitektur\u00ebn e tyre karakteristike prej guri, t\u00eb paprekur deri n\u00eb dit\u00ebt e sotme. Kam kaluar jav\u00eb t\u00eb t\u00ebra atje duke shkruar nj\u00eb kapitull t\u00eb tez\u00ebs sime t\u00eb doktoratur\u00ebs n\u00eb arkitektur\u00eb.<\/p>\n\n\n\n

V\u00ebzhgimet tona u regjistruan menj\u00ebher\u00eb n\u00eb regjistrat e muzeut. Koordinatorja e arkivit, Simina B\u0103dic\u0103, shkroi m\u00eb von\u00eb n\u00eb nj\u00eb postim n\u00eb faqen e muzeut se \u201cdita m\u00eb e mir\u00eb p\u00ebr nj\u00eb kurator arkivi \u00ebsht\u00eb dita kur m\u00ebson di\u00e7ka t\u00eb re nga t\u00eb tjer\u00ebt p\u00ebr pllakat e qelqta n\u00eb koleksionin e vet.\u201d Fotografia ngjitur u \u201cvodh\u201d nga Simina teksa un\u00eb dhe kolegu im k\u00ebrkimor tregonim historit\u00eb e k\u00ebtyre fshatrave, i p\u00ebrmendnim me em\u00ebr, kujtonim arumun\u00ebt dhe historit\u00eb e ngulitura n\u00eb ato vende.<\/p>\n\n\n\n

Megjithat\u00eb, disa nga fotografit\u00eb mbet\u00ebn nj\u00eb mister edhe p\u00ebr ne. Pik\u00ebrisht at\u00ebher\u00eb vendos\u00ebm t\u00eb ndryshonim itinerarin ton\u00eb t\u00eb planifikuar p\u00ebrmes Greqis\u00eb p\u00ebr t\u00eb tentuar t\u00eb identifikonim t\u00eb gjitha vendndodhjet. Q\u00ebllimi yn\u00eb ishte t\u00eb rikrijonim secil\u00ebn nga imazhet e v\u00ebllez\u00ebrve Manakia, duke p\u00ebrdorur t\u00eb nj\u00ebjt\u00ebn korniz\u00eb, m\u00eb shum\u00eb se nj\u00eb shekull m\u00eb von\u00eb, n\u00eb fshatrat arumune q\u00eb ata kishin kapur dikur.<\/p>\n\n\n\n

Dy dit\u00eb m\u00eb von\u00eb, ndodheshim n\u00eb Maqedonin\u00eb e Veriut. Fotografia e qytetit t\u00eb Kru\u0161evos (Cru\u0219uva n\u00eb arumunisht) mbante nj\u00eb sh\u00ebnim me dor\u00eb nga Samurca\u0219: \u201cKomuna e Cru\u0219uv\u00ebs, e djegur nga turqit gjat\u00eb revolucionit bullgar t\u00eb 15 gushtit 1903.\u201d Detyra jon\u00eb ishte t\u00eb identifikonim vendin e sakt\u00eb nga ku v\u00ebllez\u00ebrit Manakia kishin b\u00ebr\u00eb fotografin\u00eb.<\/p>\n\n\n\n

Kru\u0161evo nuk \u00ebsht\u00eb nj\u00eb komun\u00eb, por nj\u00eb qytet \u2013 qyteti i vendosur n\u00eb lart\u00ebsin\u00eb m\u00eb t\u00eb madhe n\u00eb Ballkan. Ai u b\u00eb nj\u00eb streh\u00eb p\u00ebr disa nga arumun\u00ebt q\u00eb u larguan nga Moskopole pas shkat\u00ebrrimit t\u00eb saj, si\u00e7 u p\u00ebrmend m\u00eb her\u00ebt. Me kalimin e koh\u00ebs, atyre iu bashkuan Mijac\u00ebt, nj\u00eb grup intrigues maqedonas sllav\u00eb, ortodoks\u00eb shqiptar\u00eb t\u00eb cil\u00ebt gradualisht kishin kaluar n\u00eb gjuh\u00ebn sllave, si dhe grek\u00eb dhe maqedonas sllav\u00eb nga zonat p\u00ebrreth. N\u00eb shekullin XIX, Kru\u0161evo u rrit n\u00eb nj\u00eb qend\u00ebr t\u00eb r\u00ebnd\u00ebsishme tregtare. Arumun\u00ebt e qytetit ruanin lidhje tregtare me Vjen\u00ebn, Budapestin dhe qytete t\u00eb tjera t\u00eb m\u00ebdha t\u00eb Europ\u00ebs Qendrore.<\/p>\n\n\n\n

Kjo mir\u00ebqenie \u00e7oi n\u00eb modernizim dhe europianizim t\u00eb shpejt\u00eb, i cili pasqyrohet edhe sot n\u00eb arkitektur\u00ebn e qytetit, nj\u00eb kombinim t\u00ebrheq\u00ebs, por tashm\u00eb i rr\u00ebnuar, i stilit osman me ndikime veneciane dhe detaje t\u00eb Europ\u00ebs Qendrore, nj\u00eb miksim q\u00eb mund t\u00eb quhet stil ballkanik.<\/p>\n\n\n\n

M\u00eb 2 gusht 1903, n\u00eb Dit\u00ebn e Sh\u00ebn Ilias, banor\u00ebt e Kru\u0161evos u ngrit\u00ebn kund\u00ebr sundimit osman n\u00eb at\u00eb q\u00eb librat e historis\u00eb e njohin si Kryengritja e Ilindenit. Udh\u00ebheq\u00ebsi i kryengritjes ishte Pitu Guli, nj\u00eb arumun. U shpall nj\u00eb republik\u00eb dhe u hartua Manifesti i Kru\u0161evos, nj\u00eb thirrje drejtuar t\u00eb gjitha komb\u00ebsive t\u00eb Maqedonis\u00eb, pa dallim feje apo etnie, p\u00ebr t\u2019u bashkuar kund\u00ebr osman\u00ebve.<\/p>\n\n\n\n

Ideja e nj\u00eb republike multietnike dhe multireligjioze ishte befasuese p\u00ebr Ballkanin e fillimshekullit XX.<\/p>\n\n\n\n

Fillimisht, autoritetet osmane e shp\u00ebrfill\u00ebn revolt\u00ebn, duke e konsideruar qytetin shum\u00eb t\u00eb vog\u00ebl dhe t\u00eb larg\u00ebt p\u00ebr t\u00eb qen\u00eb nj\u00eb k\u00ebrc\u00ebnim i v\u00ebrtet\u00eb. Por kur e kuptuan r\u00ebnd\u00ebsin\u00eb e saj, d\u00ebrguan nj\u00eb forc\u00eb ushtarake t\u00eb madhe. Kund\u00ebr \u00e7do gjase, Kru\u0161evo rezistoi p\u00ebr dhjet\u00eb dit\u00eb. Banor\u00ebt e qytetit u organizuan n\u00eb m\u00ebnyr\u00eb t\u00eb jasht\u00ebzakonshme: formuan nj\u00eb k\u00ebshill qyteti me 60 an\u00ebtar\u00eb (20 arumun\u00eb, 20 maqedonas, 20 grek\u00eb, p\u00ebr t\u00eb siguruar p\u00ebrfaq\u00ebsimin e barabart\u00eb t\u00eb t\u00eb gjitha grupeve etnike). Ata shkrin\u00eb kambanat e kishave p\u00ebr t\u00eb b\u00ebr\u00eb arm\u00eb dhe madje ngrit\u00ebn nj\u00eb fabrik\u00eb t\u00eb improvizuar municionesh.<\/p>\n\n\n\n

V\u00ebllez\u00ebrit Manakia arrit\u00ebn dy dit\u00eb pasi osman\u00ebt kishin shkat\u00ebrruar qytetin dhe realizuan fotografin\u00eb q\u00eb ka mb\u00ebrritur deri tek ne.<\/p>\n\n\n\n

Me at\u00eb fotografi n\u00eb dor\u00eb, n\u00eb gusht t\u00eb vitit 2017, ec\u00ebm n\u00ebp\u00ebr Kru\u0161evo, duke u p\u00ebrpjekur t\u00eb gjenim vendin e sakt\u00eb nga ishte b\u00ebr\u00eb imazhi. E gjet\u00ebm shpejt, por di\u00e7ka nuk p\u00ebrputhej. K\u00ebndv\u00ebshtrimi i fotografis\u00eb son\u00eb moderne ishte ose shum\u00eb i ul\u00ebt, ose shum\u00eb i lart\u00eb krahasuar me fotografin\u00eb e vjet\u00ebr, n\u00eb var\u00ebsi t\u00eb rrug\u00ebs ku ndodheshim. Shpejt kuptuam se fotografia origjinale ishte realizuar nga nj\u00eb pozicion mes dy rrug\u00ebve, ku tani q\u00ebndronte nj\u00eb sht\u00ebpi. Nj\u00eb shekull histori ndryshon shum\u00eb gj\u00ebra.<\/p>\n\n\n\n

Natyrsh\u00ebm, iu drejtuam mjeteve q\u00eb kishim n\u00eb dispozicion, dronit ton\u00eb, p\u00ebr t\u00eb b\u00ebr\u00eb fotografin\u00eb nga lart t\u00eb pron\u00ebs. Banor\u00ebt e sht\u00ebpis\u00eb, t\u00eb alarmuar, dol\u00ebn menj\u00ebher\u00eb p\u00ebr t\u00eb na ndalur. Por pas disa fjal\u00ebve t\u00eb sjellshme, u gjend\u00ebm pik\u00ebrisht aty ku \u00e7do antropolog \u00ebnd\u00ebrron t\u00eb jet\u00eb: brenda sht\u00ebpis\u00eb, duke ndar\u00eb kafe dhe histori n\u00eb dhom\u00ebn e ndenjjes s\u00eb Vasko dhe Ljubic\u00ebs, t\u00eb rrethuar nga f\u00ebmij\u00ebt dhe nip\u00ebrit e tyre.<\/p>\n\n\n\n

Pavar\u00ebsisht emrave t\u00eb tyre me ting\u00ebllim sllav, prit\u00ebsit tan\u00eb ishin vlleh\u00eb. Historit\u00eb e tyre rridhnin pa ndales\u00eb, duke i dh\u00ebn\u00eb nj\u00eb fytyr\u00eb njer\u00ebzore historis\u00eb s\u00eb qytetit. Nuk do t\u2019i tregoj k\u00ebtu. Ndoshta do t\u00eb gjejn\u00eb vend n\u00eb nj\u00eb lib\u00ebr t\u00eb ardhsh\u00ebm.<\/p>\n\n\n\n

Duke krahasuar fotografin\u00eb ton\u00eb t\u00eb realizuar n\u00eb gusht 2017 me imazhin e v\u00ebllez\u00ebrve Manakia nga gushti 1903, vum\u00eb re se, p\u00ebr \u00e7udi, shum\u00eb pak nga sht\u00ebpit\u00eb origjinale kishin mbijetuar. Udh\u00ebrr\u00ebfyesit turistik\u00eb p\u00ebrshkruajn\u00eb Kru\u0161evon si nj\u00eb qytet t\u00eb rind\u00ebrtuar thuajse identik pas shkat\u00ebrrimit t\u00eb vitit 1903, por krahasimi yn\u00eb vizual sugjeronte t\u00eb kund\u00ebrt\u00ebn. Rind\u00ebrtimi kishte qen\u00eb i p\u00ebraf\u00ebrt n\u00eb rastin m\u00eb t\u00eb mir\u00eb, larg mir\u00ebqenies q\u00eb qyteti kishte g\u00ebzuar n\u00eb shekullin XIX. Vet\u00ebm kisha vllehe ishte restauruar me besnik\u00ebri.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Banor\u00ebt e Kru\u0161evos ishin t\u00eb njohur si mjesht\u00ebr t\u00eb drurit dhe d\u00ebgjuam nj\u00eb legjend\u00eb vendase mbi ikonostasin e kish\u00ebs. Thuhet se mjeshtri q\u00eb e punoi i kishte kushtuar vite t\u00eb t\u00ebra krijimit t\u00eb saj, duke p\u00ebrfunduar detajet m\u00eb delikate pak para se osman\u00ebt ta shkat\u00ebrronin kish\u00ebn. Kur m\u00ebsoi p\u00ebr shkat\u00ebrrimin e saj, ai humbi mendjen dhe kaloi pjes\u00ebn e mbetur t\u00eb jet\u00ebs duke endur n\u00ebp\u00ebr qytet, hipur mbi nj\u00eb gomar dhe duke murmuritur fjal\u00eb t\u00eb pakuptueshme.<\/p>\n\n\n\n

Nj\u00eb detaj i vog\u00ebl n\u00eb fotografin\u00eb e v\u00ebllez\u00ebrve Manakia na \u00e7oi drejt nj\u00eb zbulimi t\u00eb papritur. Mikprit\u00ebsit tan\u00eb n\u00eb Kru\u0161evo shpreh\u00ebn me kujdes pak\u00ebnaq\u00ebsin\u00eb e tyre ndaj sh\u00ebnimit q\u00eb Samurca\u0219 kishte b\u00ebr\u00eb n\u00eb imazh, ku referohej si \u201crevolucioni bullgar\u201d i vitit 1903. \u201cIshte revolucioni maqedonas,<\/em>\u201d na korrigjuan but\u00ebsisht. \u201cNe nuk jemi bullgar\u00eb..<\/em>.\u201d \u00c7\u00ebshtja e identitetit n\u00eb Ballkan \u00ebsht\u00eb thell\u00ebsisht e nd\u00ebrlikuar dhe e dykuptimt\u00eb.<\/p>\n\n\n\n

Deri n\u00eb fillim t\u00eb shekullit XX, udh\u00ebtar\u00ebt dhe historian\u00ebt evropian\u00eb i referoheshin banor\u00ebve sllav\u00eb t\u00eb asaj q\u00eb sot \u00ebsht\u00eb Maqedonia e Veriut si bullgar\u00eb. Ata vet\u00eb shpesh e identifikonin veten si t\u00eb till\u00eb, nd\u00ebrsa fqinj\u00ebt e tyre per\u00ebndimor\u00eb (ata q\u00eb sot ndodhen n\u00eb per\u00ebndim t\u00eb Bullgaris\u00eb) nuk i quanin bullgar\u00eb, por m\u00eb s\u00eb shumti \u0160opi<\/em>. Por n\u00eb vitin 1900, k\u00ebto em\u00ebrtime nuk kishin t\u00eb nj\u00ebjtin kuptim si sot; ato ishin m\u00eb shum\u00eb p\u00ebrcaktime etnografike sesa identitete komb\u00ebtare t\u00eb mir\u00ebp\u00ebrcaktuara.<\/p>\n\n\n\n

Nd\u00ebrgjegj\u00ebsimi p\u00ebr identitetet p\u00ebrtej fes\u00eb mori form\u00eb n\u00eb fund t\u00eb shekullit XIX dhe fillim t\u00eb shekullit XX, n\u00eb nj\u00eb periudh\u00eb transformimesh t\u00eb thella politike dhe historike. Sot, banor\u00ebt e Maqedonis\u00eb s\u00eb Veriut jan\u00eb krenar\u00eb p\u00ebr identitetin e tyre historik dhe etnik unik, nj\u00eb identitet q\u00eb disa, gjat\u00eb bisedave, e lidhin drejtp\u00ebrdrejt me Aleksandrin e Madh. Sigurisht, nga nj\u00eb k\u00ebndv\u00ebshtrim historik, Aleksandri i Madh ishte padyshim grek, jo sllav apo vllah. Por rrjeta e identiteteve b\u00ebhet edhe m\u00eb e nd\u00ebrlikuar kur t\u00eb nj\u00ebjt\u00ebt njer\u00ebz t\u00eb thon\u00eb: \u201cNe jemi maqedonas, jo bullgar\u00eb,<\/em>\u201d dhe pastaj shtojn\u00eb: \u201dPor ne jemi vlleh\u00eb, dhe vlleh\u00ebt jan\u00eb latin\u00eb, jo sllav\u00eb.<\/em>\u201d \u00c7far\u00eb t\u00eb mendoj\u00eb dikush p\u00ebr k\u00ebt\u00eb? Shum\u00eb, n\u00eb fakt!<\/p>\n\n\n\n

P\u00ebr nj\u00eb antropolog, q\u00ebllimi nuk \u00ebsht\u00eb t\u00eb p\u00ebrcaktoj\u00eb t\u00eb v\u00ebrtetat absolute historike, por t\u00eb kuptoj\u00eb se si identiteti form\u00ebsohet brenda nj\u00eb komuniteti, me gjith\u00eb paqart\u00ebsit\u00eb dhe kontradiktat e tij, shpesh t\u00eb ndikuara nga mite dhe histori t\u00eb imagjinuara q\u00eb kan\u00eb kuptim t\u00eb thell\u00eb p\u00ebr ata q\u00eb i besojn\u00eb. Personalisht, p\u00ebrtej \u00e7do t\u00eb v\u00ebrtete historike, gjenetike apo antropologjike, do t\u00eb mbaj gjithmon\u00eb t\u00eb nj\u00ebjtin parim: \u00e7do individ ka t\u00eb drejt\u00eb t\u00eb vet\u00ebp\u00ebrcaktohet si t\u00eb doj\u00eb, p\u00ebr aq koh\u00eb sa nuk ia mohon k\u00ebt\u00eb t\u00eb drejt\u00eb t\u00eb tjer\u00ebve.<\/p>\n\n\n\n

P\u00ebr t\u00eb shmangur nj\u00eb debat komb\u00ebtar q\u00eb mund t\u00eb prishte bisedat tona, vendos\u00ebm t\u00eb prisnim pjes\u00ebn e poshtme t\u00eb riprodhimit t\u00eb fotografis\u00eb s\u00eb v\u00ebllez\u00ebrve Manakia q\u00eb kishim sjell\u00eb me vete, ku ndodhej sh\u00ebnimi i Samurca\u0219. Vet\u00ebm m\u00eb von\u00eb kuptuam di\u00e7ka t\u00eb jasht\u00ebzakonshme: pa e planifikuar, ne e kishim b\u00ebr\u00eb fotografin\u00eb ton\u00eb jo vet\u00ebm nga i nj\u00ebjti vend, por n\u00eb t\u00eb nj\u00ebjt\u00ebn dit\u00eb, 114 vjet m\u00eb von\u00eb.<\/p>\n\n\n\n

Fillimisht, nuk kishim llogaritur ndryshimin e kalendar\u00ebve. N\u00eb vitin 1903, ende p\u00ebrdorej kalendari Julian. Kur e korrigjuam p\u00ebr diferenc\u00ebn prej 13 dit\u00ebsh, p\u00ebrputhja kohore u b\u00eb e qart\u00eb:<\/p>\n\n\n\n

Ne e kishim realizuar fotografin\u00eb pik\u00ebrisht n\u00eb t\u00eb nj\u00ebjt\u00ebn dit\u00eb!<\/p>\n\n\n\n

Nj\u00eb antropolog rrall\u00eb beson n\u00eb shenja apo p\u00ebrputhje kozmike. Por kjo rast\u00ebsi e pabesueshme dukej si nj\u00eb ogur i mir\u00eb p\u00ebr udh\u00ebtimin q\u00eb na priste p\u00ebrpara, teksa ndiqnim gjurm\u00ebt e fotografive t\u00eb v\u00ebllez\u00ebrve Manakia nga fillimi i shekullit XX.<\/p>\n\n\n\n

Do t\u00eb ishte tep\u00ebr e gjat\u00eb t\u00eb rr\u00ebfeja t\u00eb gjith\u00eb udh\u00ebtimin e rikrijimit t\u00eb k\u00ebtyre fotografive. Ndonj\u00ebher\u00eb, procesi ishte i drejtp\u00ebrdrejt\u00eb. Her\u00eb t\u00eb tjera, ishte sfidues. Dhe ndonj\u00ebher\u00eb, varej thjesht nga fati!<\/p>\n\n\n\n

N\u00eb Pisoderi, nj\u00eb cep i larg\u00ebt i Greqis\u00eb pran\u00eb kufirit me Shqip\u00ebrin\u00eb dhe Maqedonin\u00eb e Veriut, gjith\u00e7ka kishte ndryshuar q\u00eb nga fotografia e vitit 1900. Fshati ishte krejt\u00ebsisht i braktisur gjat\u00eb vizit\u00ebs son\u00eb, por, rast\u00ebsisht, u p\u00ebrball\u00ebm me nj\u00eb burr\u00eb q\u00eb kishte lindur aty, ishte larguar prej koh\u00ebsh dhe ndodhej p\u00ebr nj\u00eb ndales\u00eb t\u00eb shkurt\u00ebr p\u00ebr kafe n\u00eb tavern\u00ebn e vetme lokale. Ishte ai q\u00eb na konfirmoi se kishim gjetur vendndodhjen e sakt\u00eb t\u00eb fotografis\u00eb nga arkivi i Bukureshtit.<\/p>\n\n\n\n

Sht\u00ebpia e tij kishte qen\u00eb e fundit q\u00eb kishte mbijetuar nga kuadri origjinal, deri kur u dogj tre vjet para vizit\u00ebs sime. Ai e njohu menj\u00ebher\u00eb at\u00eb, n\u00eb fotografin\u00eb e v\u00ebllez\u00ebrve Manakia, t\u00eb ruajtur n\u00eb tabletin e kolegut tim.<\/p>\n\n\n\n

\u00cbsht\u00eb pafund\u00ebsisht m\u00eb e v\u00ebshtir\u00eb t\u00eb gjurmosh nj\u00eb fshat t\u00eb panjohur nga nj\u00eb imazh i vjet\u00ebr, sesa t\u00eb rikrijosh nj\u00eb fotografi shekullore t\u00eb nj\u00eb vendi t\u00eb famsh\u00ebm dhe t\u00eb njohur menj\u00ebher\u00eb.<\/p>\n\n\n\n

Udh\u00ebtuam shum\u00eb dhe me k\u00ebnaq\u00ebsi t\u00eb madhe n\u00ebp\u00ebr cepat e fshehur t\u00eb Greqis\u00eb s\u00eb Veriut. Historit\u00eb ishin t\u00eb panum\u00ebrta, disa madje edhe m\u00eb dometh\u00ebn\u00ebse p\u00ebr nga simbolika sesa ajo q\u00eb p\u00ebrjetuam n\u00eb Kru\u0161evo. Imagjinoja Milton dhe Ianaki Manakia, nj\u00eb shekull m\u00eb par\u00eb e m\u00eb shum\u00eb, duke mbajtur kamer\u00ebn e tyre gjigante mbi mushka, duke kaluar shtigje t\u00eb cilat, edhe sot, i gjeta t\u00eb v\u00ebshtira p\u00ebr t\u2019i p\u00ebrshkuar.<\/p>\n\n\n\n

N\u00eb dhjetor t\u00eb vitit 2021, menj\u00ebher\u00eb pas Krishtlindjeve, p\u00ebrfundova serin\u00eb e imazheve t\u00eb rikrijuara t\u00eb Manakiasve me nj\u00eb fotografi p\u00ebrfundimtare n\u00eb Metsovo (Aminciu n\u00eb arumunisht), vendbanimi m\u00eb i madh vllah n\u00eb Greqi, nj\u00eb vend me bukuri dhe poezi t\u00eb jasht\u00ebzakonshme, q\u00eb p\u00ebr mua \u00ebsht\u00eb shum\u00eb i dashur. Fotografia ime, ashtu si ajo origjinale e v\u00ebllez\u00ebrve Manakia, u realizua n\u00eb dim\u00ebr. Greqia moderne i detyrohet shum\u00eb komunitetit t\u00eb Metsovos. Historia e saj moderne nuk mund t\u00eb kuptohet plot\u00ebsisht pa k\u00ebt\u00eb qytet t\u00eb vog\u00ebl vllah n\u00eb Malet Pind, madje qoft\u00eb edhe vet\u00ebm p\u00ebr faktin se Universiteti Politeknik i Athin\u00ebs ende quhet Metsovion<\/em>, dhe se familja Averoff, nj\u00eb nga bamir\u00ebsit m\u00eb t\u00eb m\u00ebdhenj t\u00eb Greqis\u00eb moderne, vjen nga k\u00ebtu.<\/p>\n\n\n\n

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\"\"<\/a>
Map of settlements in the Pindus with their Aromanian names, created in the early 20th century by V. Diamandi Aminceanu, a native of Metsovo, and preserved in the archives of the French National Library. The areas marked in yellow indicate regions inhabited by the Vlachs at that time.<\/figcaption><\/figure>\n\n\n\n
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\"\"<\/a><\/figure>\n<\/figure>\n\n\n\n

P\u00ebr k\u00ebt\u00eb projekt, m\u00eb duhej t\u00eb konsultoja harta t\u00eb vjetra. Rrug\u00ebt q\u00eb t\u00eb \u00e7ojn\u00eb drejt k\u00ebtyre vendbanimeve t\u00eb izoluara kan\u00eb ndryshuar rr\u00ebnj\u00ebsisht gjat\u00eb nj\u00eb shekulli. Madje edhe peizazhi natyror \u00ebsht\u00eb transformuar. N\u00eb kund\u00ebrshtim me pritshm\u00ebrit\u00eb e mia, malet e Greqis\u00eb jan\u00eb sot shum\u00eb m\u00eb t\u00eb pyll\u00ebzuara dhe t\u00eb egra sesa shfaqen n\u00eb fotografit\u00eb e v\u00ebllez\u00ebrve Manakia.<\/p>\n\n\n\n

E kuptova shpejt arsyen: tufat e m\u00ebdha t\u00eb deleve q\u00eb dikur kullosnin n\u00eb shpatet e maleve jan\u00eb zhdukur dhe shum\u00eb prej vendbanimeve sot jan\u00eb pothuajse t\u00eb shpopulluara, me vet\u00ebm disa banor\u00eb t\u00eb mbetur.<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

M\u2019u desh gjithashtu t\u00eb konsultoja arkivat, pasi shum\u00eb emra fshatrash kan\u00eb ndryshuar q\u00eb nga viti 1900. Nj\u00eb burim ve\u00e7an\u00ebrisht i \u00e7muar ishte nj\u00eb lib\u00ebr i jasht\u00ebzakonsh\u00ebm i periudh\u00ebs, \u201cNomad\u00ebt e Ballkanit: Nj\u00eb p\u00ebrshkrim i jet\u00ebs dhe zakoneve t\u00eb vlleh\u00ebve t\u00eb Pindit t\u00eb Veriut<\/em>\u201d. Shkruar nga dy arkeolog\u00eb britanik\u00eb, Alan J. B. Wace dhe Maurice S. Thompson, dhe botuar p\u00ebr her\u00eb t\u00eb par\u00eb n\u00eb vitin 1914, ky v\u00ebllim ofron nj\u00eb p\u00ebrshkrim jasht\u00ebzakonisht t\u00eb holl\u00ebsish\u00ebm dhe t\u00eb drejtp\u00ebrdrejt\u00eb t\u00eb jet\u00ebs n\u00eb fshatrat vllahe n\u00eb fillim t\u00eb shekullit XX, pik\u00ebrisht n\u00eb t\u00eb nj\u00ebjt\u00ebn periudh\u00eb me fotografit\u00eb e v\u00ebllez\u00ebrve Manakia.<\/p>\n\n\n\n

Jam mir\u00ebnjoh\u00ebs q\u00eb kam nj\u00eb edicion origjinal t\u00eb k\u00ebtij libri n\u00eb bibliotek\u00ebn time personale, pasi historia e tij pasqyron n\u00eb shum\u00eb m\u00ebnyra kureshtjen q\u00eb shtyn \u00e7do antropolog. Arkeolog\u00ebt britanik\u00eb ran\u00eb rast\u00ebsisht n\u00eb k\u00ebt\u00eb bot\u00eb. Nd\u00ebrsa po kryenin g\u00ebrmime n\u00eb sitet e lashta pran\u00eb Volosit, ata u p\u00ebrball\u00ebn me barinj q\u00eb flisnin nj\u00eb gjuh\u00eb t\u00eb \u00e7uditshme, nj\u00eb gjuh\u00eb q\u00eb pjes\u00ebrisht e kuptonin, sepse, si t\u00eb gjith\u00eb arkeolog\u00ebt klasik\u00eb, ata ishin t\u00eb m\u00ebsuar me latinishten. I d\u00ebgjuan me habi historit\u00eb e barinjve p\u00ebr nj\u00eb bot\u00eb malore t\u00eb izoluar, q\u00eb dukej pothuajse e pabesueshme. T\u00eb intriguar, mes viteve 1910 dhe 1912, pak para shp\u00ebrthimit t\u00eb Luft\u00ebs s\u00eb Par\u00eb Ballkanike, ata e braktis\u00ebn pa hezitim pasionin e tyre kryesor, arkeologjin\u00eb e bot\u00ebs helenistike, p\u00ebr t\u00eb studiuar vlleh\u00ebt. Udh\u00ebtuan n\u00eb k\u00ebmb\u00eb me barinjt\u00eb nga Tirnavo n\u00eb Samarin\u00eb, duke praktikuar, pa e ditur, nj\u00eb metod\u00eb q\u00eb sot do t\u00eb quhej v\u00ebzhgim pjes\u00ebmarr\u00ebs, nj\u00eb nga qasjet themelore t\u00eb k\u00ebrkimit antropologjik n\u00eb terren.<\/p>\n\n\n\n

Kjo qasje, q\u00eb m\u00eb von\u00eb do t\u00eb b\u00ebhej baza e disiplin\u00ebs antropologjike, u formulua si teori vet\u00ebm disa vjet m\u00eb von\u00eb nga Bronis\u0142aw Malinowski. Origjinaliteti i k\u00ebsaj p\u00ebrpjekjeje e b\u00ebn librin e tyre t\u00eb r\u00ebnd\u00ebsish\u00ebm jo vet\u00ebm p\u00ebr historin\u00eb e vlleh\u00ebve, por edhe p\u00ebr antropologjin\u00eb si nj\u00eb e t\u00ebr\u00eb.<\/p>\n\n\n\n

Foto-elicitation<\/em> \u00ebsht\u00eb nj\u00eb metod\u00eb e p\u00ebrdorur gjer\u00ebsisht n\u00eb antropologjin\u00eb vizuale, e bazuar n\u00eb kuptimin se njer\u00ebzit reagojn\u00eb emocionalisht ndaj imazheve. N\u00eb fshatrat e Pindit, ku njer\u00ebzit mbeten thell\u00ebsisht t\u00eb lidhur me vendin e tyre t\u00eb origjin\u00ebs (edhe n\u00ebse tani jetojn\u00eb diku tjet\u00ebr dhe kthehen vet\u00ebm p\u00ebr periudha t\u00eb shkurtra gjat\u00eb ver\u00ebs), takova vendas q\u00eb u prek\u00ebn thell\u00eb kur pan\u00eb nj\u00eb imazh shekullor t\u00eb fshatit t\u00eb tyre, ndoshta fotografin\u00eb e par\u00eb ndonj\u00ebher\u00eb t\u00eb realizuar p\u00ebr vendbanimin e tyre. Histori dhe rr\u00ebfime rridhnin shum\u00eb m\u00eb leht\u00eb sesa do t\u00eb kishin rrjedhur po t\u00eb kisha mb\u00ebrritur pa k\u00ebto imazhe t\u00eb kapura nga v\u00ebllez\u00ebrit Manakia.M\u00eb duhet t\u00eb pranoj, ka di\u00e7ka thell\u00ebsisht prek\u00ebse, di\u00e7ka q\u00eb duket si nj\u00eb k\u00ebputje n\u00eb rrjedh\u00ebn e koh\u00ebs, kur ndodhesh pik\u00ebrisht n\u00eb t\u00eb nj\u00ebjtin vend, nj\u00eb shekull m\u00eb von\u00eb, dhe megjithat\u00eb nuk ndien asnj\u00eb distanc\u00eb nga realiteti i pasqyruar n\u00eb fotografin\u00eb q\u00eb mban n\u00eb duar. Nj\u00eb \u00e7ast i s\u00eb tashmes q\u00eb tretet n\u00eb t\u00eb kaluar\u00ebn, ashtu si\u00e7 \u00ebsht\u00eb ruajtur n\u00eb imazh!<\/p>\n\n\n\n

N\u00eb disa vende, zbulova fotografi identike me ato q\u00eb mbaja me vete, t\u00eb ruajtura n\u00eb sht\u00ebpit\u00eb e banor\u00ebve, ndon\u00ebse ata nuk kishin asnj\u00eb njohuri p\u00ebr mosh\u00ebn apo prejardhjen e tyre.<\/p>\n\n\n\n

Ky ishte rasti n\u00eb Laista \/ Laka, dikur vendbanimi m\u00eb i madh n\u00eb malet e Zagorit, ku nj\u00eb fotografi kishte fiksuar nj\u00eb dit\u00eb festive n\u00eb sheshin e fshatit. Edhe aty p\u00ebrjetova nj\u00eb histori t\u00eb ve\u00e7ant\u00eb. Nj\u00eb histori q\u00eb i p\u00ebrket nj\u00eb libri t\u00eb ardhsh\u00ebm.<\/p>\n\n\n\n

Dhe n\u00eb shtator t\u00eb vitit 2024, n\u00eb arkivat e Bitol\u00ebs, pata fatin t\u00eb gjej nj\u00eb version t\u00eb tret\u00eb t\u00eb s\u00eb nj\u00ebjt\u00ebs fotografi, nj\u00eb fragment t\u00eb pllak\u00ebs s\u00eb thyer t\u00eb qelqt\u00eb negative. I nj\u00ebjti \u00e7ast, i ruajtur n\u00eb tre vende t\u00eb ndryshme t\u00eb Ballkanit t\u00eb sot\u00ebm.<\/p>\n\n\n\n

Por q\u00ebllimi im nuk ka qen\u00eb kurr\u00eb thjesht t\u00eb rikrijoja fotografi shekullore me t\u00eb nj\u00ebjtin kornizim. Kjo ishte vet\u00ebm nj\u00eb m\u00ebnyr\u00eb p\u00ebr t\u00eb hyr\u00eb n\u00eb k\u00ebto komunitete t\u00eb izoluara ballkanike, p\u00ebr t\u00eb par\u00eb m\u00ebnyr\u00ebn e tyre t\u00eb jetes\u00ebs. Jet\u00ebn e tyre sot, jo dje.<\/p>\n\n\n\n

Prandaj, n\u00eb nj\u00eb moment, vendosa t\u2019i jap k\u00ebtij projekti t\u00eb antropologjis\u00eb vizuale titullin P\u00ebrtej s\u00eb Djeshmes<\/em> (Beyond Yesterday<\/em>). Sa ka ndryshuar bota e vlleh\u00ebve? Dhe, m\u00eb gjer\u00ebsisht, sa ka ndryshuar Ballkani n\u00eb nj\u00ebqind vitet e fundit?<\/p>\n\n\n\n

Ky \u00ebsht\u00eb shqet\u00ebsimi q\u00eb m\u00eb p\u00ebrndjek. Fotografia u tregua nj\u00eb mjet i pa\u00e7muar p\u00ebr k\u00ebrkimin tim n\u00eb terren. Nj\u00eb rrug\u00eb p\u00ebr t\u00eb kuptuar se si bot\u00ebt e vogla dhe komunitetet e izoluara evoluojn\u00eb n\u00ebn pesh\u00ebn e historis\u00eb. Prandaj, edhe pse kam p\u00ebrfunduar rikrijimin dhe lokalizimin e fotografive t\u00eb vjetra, puna ime n\u00eb terren \u00ebsht\u00eb larg s\u00eb p\u00ebrfunduari. Nj\u00eb dit\u00eb, shpresoj, ky projekt do t\u00eb marr\u00eb form\u00ebn e nj\u00eb libri ose t\u00eb nj\u00eb filmi dokumentar. N\u00eb vitet e ardhshme, synoj t\u00eb vazhdoj t\u00eb ndjek gjurm\u00ebt e v\u00ebllez\u00ebrve Manakia, duke k\u00ebrkuar histori bashk\u00ebkohore t\u00eb jet\u00ebs q\u00eb zbulojn\u00eb vazhdim\u00ebsin\u00eb ose k\u00ebputjen e koh\u00ebs, duke ndjekur shekullin q\u00eb ka kaluar mes atyre \u00e7asteve, por dhe t\u00eb sotmes. P\u00ebr t\u00eb kuptuar, p\u00ebrmes rr\u00ebfimeve personale, rrjedh\u00ebn e historis\u00eb son\u00eb t\u00eb p\u00ebrbashk\u00ebt. N\u00eb sht\u00ebpi, n\u00eb Ballkan!<\/p>\n\n\n\n

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\"\"<\/figure>\n<\/figure>\n","protected":false},"excerpt":{"rendered":"

Nj\u00eb udh\u00ebtim antropologjik n\u00eb gjurm\u00ebt e V\u00ebllez\u00ebrve Manakia n\u00eb fillim t\u00eb shekullit t\u00eb XX Nj\u00eb projekt i antropologjis\u00eb vizuale  nga […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-47","page","type-page","status-publish","hentry"],"translation":{"provider":"WPGlobus","version":"3.0.2","language":"sq","enabled_languages":["en","ro","el","sq","mk","tr","bg","ka"],"languages":{"en":{"title":true,"content":true,"excerpt":false},"ro":{"title":true,"content":true,"excerpt":false},"el":{"title":true,"content":true,"excerpt":false},"sq":{"title":true,"content":true,"excerpt":false},"mk":{"title":true,"content":true,"excerpt":false},"tr":{"title":true,"content":true,"excerpt":false},"bg":{"title":true,"content":true,"excerpt":false},"ka":{"title":false,"content":false,"excerpt":false}}},"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/beyondyesterday.org\/sq\/wp-json\/wp\/v2\/pages\/47","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/beyondyesterday.org\/sq\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/beyondyesterday.org\/sq\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/beyondyesterday.org\/sq\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/beyondyesterday.org\/sq\/wp-json\/wp\/v2\/comments?post=47"}],"version-history":[{"count":39,"href":"https:\/\/beyondyesterday.org\/sq\/wp-json\/wp\/v2\/pages\/47\/revisions"}],"predecessor-version":[{"id":801,"href":"https:\/\/beyondyesterday.org\/sq\/wp-json\/wp\/v2\/pages\/47\/revisions\/801"}],"wp:attachment":[{"href":"https:\/\/beyondyesterday.org\/sq\/wp-json\/wp\/v2\/media?parent=47"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}