The Unidentified (a BIRN documentary which reveals the truth about the commanders behind some of the most brutal attacks of the Kosovo war)

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The Unidentified (a BIRN documentary which reveals the truth about the commanders behind some of the most brutal attacks of the Kosovo war)
Zoran Raskovic, a former member of the military unit known as the "Jackal", told the Belgrade Special Court that troops have executed more than 60 men in the village of Ljubenic, Kosovo, April 1, 1999.
The Unidentified is a feature-length documentary which reveals who were the commanders responsible for some of the most brutal attacks of the Kosovo war.
The result of a two-year-long investigation, the documentary names the officers who ordered attacks on villages in the area around the town of Pec during the 1999 war and those who were involved in the removal of victims’ bodies to mass graves at the Batajnica police centre near Belgrade in Serbia.
Sixteen years after they committed the crimes, they live peacefully in the Serbian capital, and despite the evidence that exists, they have not been prosecuted. Zoran Raskovic, a former member of the military unit known as the “Jackal”, told the Belgrade Special Court that troops have executed more than 60 men in the village of Ljubenic, Kosovo, April 1, 1999.
Fryjti era e maleve dhe rrezoi hien e lisit. Gjaku im te Lumi i Vodhit. Hapeni shatoren, o ushtare, qe te shoh Shkodren edhe time moter te dritareja kundruall. Atje nuk do zgjohem me luleve qe i tund era si suvale e pasosur. Mblidhen shoket mbremanet ne katund, ne vateret.- I lashe si enderrez.
Këngët e Milosaos - Girolamo De Rada
Oh, our mother calls us, our life calls us The children pray in the cradle Oh, a woman with a black scarf makes her voice heard She does not want to see any more murders Oh, do not leave my lap dry [without children] Don’t kill them before the women give birth Oh, don’t leave my fields infertile, don’t leave the children orphaned and the house door closed forever Oh, the voice of a mother gives a war cry, No more killings, only reconciliations Albanian song about the Kanun of Lekë Dukagjini
Thellë në veten teme flejnë kangët e pakëndueme të cilat ende vuejtja as gëzimi s'i nxori, të cilat flejnë e presin një ditë ma të lumnueme me shpërthye, m'u këndue pa frigë e pa zori. Thelltë në veten teme kangët e miajesin… e unë jam vullkani që fle i fashitun, por kur t'i vijë dita të gjitha ka me i qitun në një mijë ngjyra të bukra që nuk vdesin. Por a do të vijë dita kangët me u zgjue? Apo ndoshta shekujt me ne prap po tallen? Jo! Jo! Se liria filloi me lulzue dhe e ndjej nga Dielli (alegorik) valën. O kangët që fleni reliktet e mia q'ende s'keni prekun as një zemër të huej, vetëm unë me ju po kënaqem si fëmia unë- djepi juej; ndoshta vorri juej.
Migjeni, Kangët e Pakëndueme (via yesyes)
Constantin and Doruntine (Albanian: Kostandini dhe Doruntina), or Constantin’s Besa (Albanian: Besa e Kostandinit), is an Albanian ballad and legend. It is also narrated in a prose version.
Doruntine is the only daughter in a family with 13 children including herself. When Doruntine is asked in marriage by a foreign prince, everyone in the family disagrees to let her go so far away. Only Constantin, the youngest of Doruntine’s twelve brothers, wants to make her happy and promises his mother that he’ll bring Doruntine back to see mother as soon as mother wants to. Eventually mother agrees to the marriage because of Constantin’s promise. At this point all twelve brothers agree to the marriage, but soon they all die in a war, Constantin included. Mother cannot bear the loss of all of her children and not having even her daughter close to her at an old age, her mourning too heavy to bear. Her monologue is full of pathos and anger. During her rage she curses her own dead son, Constantin, who made her a promise he couldn’t keep. At the curse, Constantin wakes up from death and brings Doruntine back, because a mother’s curse even after death, is worse than anything else. He finds Doruntine dancing during Easter time. Doruntine knew absolutely nothing about all 12 brothers being dead. Constantin tells her to come immediately with him and brings Doruntine back overnight on the back of his horse. She observes that he looks tired and that he is full of dust, but he tells her that it’s because of the long trip. She cannot know that he is already dead. When they arrive back home, he leaves her at the door and tells her that he has to go to Church, but instead goes back to his grave. Doruntine doesn’t realize that she has travelled on his brother’s horse when he was already dead, until she is told so by her mother. The finale is breathtaking because of the shock of the two women who realize that Constantin has risen from the dead. The moral of the legend is that the Albanians will get up from their graves to keep a promises and to maintain their Besa. This is the reason why several times the legend is called Constantin’s Besa.
“Epirus & Albania” - a book with illustrations by I. Laurenbergio Epiri & Shqipnia
14 vjeç dhëndër: Përrallë nga e kaluara
Probably the most famous Albanian movie, 14 vjeç dhëndër (14 year old groom) was maked in 1987, but it’s based on the theatrical novel of Andon Zako Çajupi, published in 1902 published in his literary collection, Baba Tomorri.
The movie is actually a “must see” for what concerns Albanian culture. Little Gjino, just 14 years old, marries the beautiful and hardworking, but poor, Marrigo, 20 years old. But shethe’s in love with Trim, and after the wedding she decide to take vengeance from Gjino’s family, which wanted the marriage, hers and the entire village.
The comedy is full of pearls of popular wisdom, and and it offers a glimpse on the culture of southern Albanian villages of the beginning of the twentieth century.
The movie can be found on YouTube: Movie
“Ato që njeriu s’i bën dot në jet i vë në përalla.”
“That things man can’t do in life he puts in fairy tales”
“The high lonesome sound of Albania”
Burrat nga shqipëria veriore përshëndesin njëri-tjetrin, 1940 Dy vajza në Mirditë, 1940 Photos : Giuseppe Massani
Kostum femre nga rrethi i Shkodrës, 1940 Nusja dhe shoqëruesit e saj në një vargan dasme pranë Tepelenës, 1940 Photo : Giuseppe Massani
Theth, 1940 Photographer : Giuseppe Massani
Tiranë, 1940 Photographer : Giuseppe Massani
Gjeneral gramafoni (1978)
Ded Gjon Luli & Palok Traboini Leaders of the Hoti tribe against Ottoman forces and Montenegrin forces of Krajl Nikolla
L’Albanais
Les Albanais sont de beaux hommes, nobles, courageux, mais ayant une propension au suicide qui ferait frémir pour leur race si leurs qualités génésiques ne contrebalançaient leur ennui de vivre.
*
Un Albanais que j’appris à connaître pendant un séjour à Bruxelles m’a laissé d’inoubliables et de précises impressions sur une nation qui, avec les Écossais, peut-être, est la plus ancienne de l’Europe.
Cet Albanais avait pour amie une Anglaise qui le faisait souffrir comme peuvent pâtir d’amour ceux-là seuls qui appartiennent à l’élite de l’humanité.
Cette fille, dont la beauté était insolente à un point qu’il n’y a point d’homme qui ne l’eût aimée à la folie, trompait mon ami avec ceux qui le voulaient bien, et moi-même, je délibérai longtemps entre l’amitié et le désir.
Impudique, d’une façon que ne peuvent manquer d’admirer ceux que la vie a assez malmenés pour qu’ils soient devenus bigles de l’âme et borgnes du cœur, Maud passait sa vie, dévêtue, dans l’appartement de mon ami. Et quand il était sorti, la débauche entrait dans sa demeure.
Et cette fille, cette Maud, faisait-elle partie de l’humanité ?
Elle n’en parlait aucun langage, mais un dialecte hybride, un mélange d’anglais, de français, de tournures belges et germaniques.
Un philologue l’eût adorée, un grammairien n’eût pu que la détester malgré sa beauté.
Anglaise, elle l’était par son père, officier cruel, condamné à mort dans l’Inde pour sévices contre les indigènes. Mais sa mère était Maltaise.
*
Un jour, mon ami me dit :
« Il faut que je me délivre. Je me tuerai demain. »
Je connaissais assez les mœurs albanaises pour savoir qu’il ne s’agissait point là de vaines paroles.
Il se tuerait, puisqu’il l’avait dit.
Je ne le quittai plus, et le lendemain, grâce à ma présence, à mon amitié, l’Albanais ne se tua pas.
*
Il trouva lui-même un remède à son mal.
« Cette femme, me dit-il, n’est point ma femme. Je l’aime, c’est vrai, mais d’un amour qu’une épouse détruirait en moi.
— Je ne comprends pas, m’écriai-je. Expliquez-vous ? »
Il sourit et continua :
« Les races des Balkans et des monts qui sont aux bords de l’Adriatique pratiquaient autrefois le rapt, et cette coutume survit dans diverses localités.
« Ne nous appartient réellement que la femme que l’on a prise, celle que l’on a domptée.
« Et sans rapt, point de mariage heureux.
« J’ai fait la cour à Maud.
« C’est elle qui m’a pris.
« Elle est libre et je veux reconquérir ma liberté.
— Et comment cela ? lui demandai-je étonné.
— Le rapt ! » dit-il avec un calme et une noblesse qui m’en imposèrent.
Les jours suivants, nous voyageâmes l’Albanais et moi.
Il m’emmena en Allemagne et, très longtemps, parut soucieux.
Je respectais sa douleur, et sans plus songer au rapt le louais silencieusement d’essayer par l’absence d’oublier cette Maud, qui l’enfiévrait jusqu’au désir de la mort.
*
Un matin, dans Cologne, au milieu de la Hohestrasse, l’Albanais me montra une jeune fille qui, un rouleau de musique à la main, marchait à côté de sa gouvernante.
Un laquais vêtu d’une livrée de bon goût marchait à dix pas derrière les deux femmes.
La jeune fille pouvait avoir dix-sept ans. Deux nattes lui tombaient dans le dos.
Fille de patricien colonais, elle semblait gaie comme on ne l’est en Prusse que dans la ville des Rois mages.
« Suivez-moi », me dit tout à coup l’Albanais.
Il se mit à courir, dépassa le laquais, et, arrivé près de la jeune fille, lui jetant un bras autour de la taille, il la souleva en courant plus fort.
Je courais plein d’inquiétude sur les traces de mon ami.
Je ne regardais point derrière moi, mais certainement le laquais et la gouvernante, interdits, avaient perdu la tête, car ils ne criaient même pas à la garde !
*
Nous passâmes devant le Dôme, gagnâmes la gare.
La jeune fille, fascinée par la prestance mâle de son ravisseur, souriait, ravie dans tous les sens du terme, et quand nous fûmes dans le wagon d’un train en marche vers Erbestal, vers la frontière, l’Albanais embrassait à en perdre l’âme la plus soumise des fiancées. Guillaume Apollinaire, L’Albanais (Messidor, 1907)