Death to Fascism Mural in the National Historical Museum, Tirana

The complete mural

The complete mural

More on Albania ……

Death to Fascism Mural in the National Historical Museum, Tirana

The mural that covers the whole of one wall in the room of the National Historical Museum in Tirana that’s devoted to the War of Liberation against the invading fascists of 1939 to 1944 is one of the few which can still be appreciated at leisure by any visitor. There’s another which can be seen, but not fully understood, as it’s in a room which is undergoing renovation at the moment. Whether it will be covered in some way as part of this renovation is unknown – but hopefully not.

Since the end of the 1990s, when relative stability was regained in the country, various Albanian governments of various colours have sought to slowly but surely eradicate the period of the construction of Socialism, from 1944 to 1990, as if it had never existed. Those of the neo-fascist right (some of whom were even members of the Party of Labour of Albania for many years but changed their allegiance once the opportunity presented itself – therefore justifying the idea of Joseph Stalin that the Party constantly needs to purge itself of opportunist elements) want the past eradicated so that their names cannot be associated with those actions and tactics which they now deny.

Those of the opportunist now social-democratic ‘left’ don’t want to show themselves in their true colours, offering ‘easy’ options to difficult problems and denying that the efforts to construct a wholly new world order had any value whatsoever. They look for comfort in the ‘tinkering’ of the system as they are totally inadequate in the task of substantially changing society forever. Efforts by those who have tried to do so in the past – whatever the failings and the mistakes that might have been made – only show them up for the weak and cowardly opportunists that they are.

Capitalism has, in the last hundred years, constantly criticised Socialist states of ‘re-writing history’. This is not the place to argue the truth of such accusations but what is certain is that this ‘holier than thou’ approach is mainly used as a smokescreen for the oppressive and exploitative system to justify the way it has, still does and will until the days it is destroyed forever, interpreted history in a manner which portrays capitalism and imperialism as the only possible system that can exist throughout the world – despite the innumerable crimes it has, still does and will commit in the future.

But back to the mural.

This one depicts images from the war against German Nazism. It does not pretend to be a view of a particular battle at a particular time and place. It’s more of a montage with images that attempt to record, in a visual manner, the struggle of the Communist-led Albanian Partisans against the Nazi invader.

It seeks to portray the Partisans as fearless and determined fighters who will do any and everything to rid their country of the invaders. In doing so the painter (and this has been repeated in an number of other places, both in paintings and in the sculptures of the Albanian lapidars) effectively has dehumanised the German soldiers.

This ‘dehumanisation’ is necessary to stress the difference between the moral authority of the Partisan fighters in resisting the invaders and the lack of such authority of the German forces who sought to dominate and enslave the Albanian population.

The depiction of the Nazis as no more than unprincipled and vicious animals also seeks to remind the Albanian people of the atrocities that were perpetrated by the invaders during their time in the country. In their frustration against their inability to defeat the Partisans (who carried out for the first part of the organised armed struggle after the formation of the National Liberation Front in Peze in 1942 a guerrilla war against first the Italian and then the German armies) the Germans carried out a total war which, among other things, involved such actions as the massacre and annihilation of the village and people of Borove after a particularly successful and stinging ambush carried out near-by.

The painting seeks to remind the viewer, in one relatively small space, of all of that and to value the sacrifice of those Partisans who gave their lives for the freedom of their country.

The fact that now, seemingly, the majority of the population of Albania don’t give a toss about that sacrifice is neither hear nor there. The reality of the struggle in Albania is that it was the Communist Partisans who liberated their country from the invaders without the assistance (other than material) of any external major ‘power’.

The mural tells that story by the use of images which can be seen in various lapidars throughout the country.

The armed, fighting, fearless, female, Communist Partisan

The armed, fighting, fearless, female, Communist Partisan

The principal and central character is a female Partisan. It is around her that all the action takes place. She’s physically the largest representation and in her image she tells a lot about the history of the success of the Albanians against the fascist invaders.

What I consider the most important aspect of the manner in which she has been portrayed is that she is armed, heavily. This is an aspect I have seen in visiting all those lapidars (monuments) and other art works produced during the Socialist period (from 1944-1990) – such as bas reliefs and mosaics – in that if a woman is represented in a military context she is always armed.

This can be seen in the wonderful mosaic (The Albanians) at the front of the very same building as well as in the Martyr’s Cemeteries in Lushnje and Fier, to name just a few.

Not only is this depiction of the female Partisan as an active armed fighter for the liberation of her country a recognition of the role that women played in the victory in Albania it also stresses what Mao Tse-tung expressed so succinctly ‘Political power grows out of the barrel of a gun’. True ‘female liberation’ will not be achieved until workers have freed themselves from oppression and exploitation and the system of patriarchy that has been strengthened and perpetuated under the economic system of capitalism. It won’t come naturally even then but will never happen unless this pre-requisite is achieved.

We don’t know if she’s the leader of this Partisan group but she’s in the vanguard of the attack and although she is moving forward she looks back to those behind and with her left arm she is signalling for others to hurry as the battle is being waged. The speed of her onward rush is captured by her cape, her long, black hair and her scarf which fly out behind her.

In her right hand she holds a light machine gun, she has a couple of stick grenades (captured from the enemy in a previous attack) tucked under the belt that holds ammunition pouches and there’s another ammunition belt across her chest. She’s also the only one of the Partisan fighters who wears what resembles a uniform.

The Communist calls for the attack

The Communist calls for the attack

We know she’s a Communist as she proudly displays the red star on her cap and the red scarf around her neck reinforces that declaration of political allegiance.

In fact the use of red in this painting is quite interesting. In general the palette used is quite mute but the bright red appears only from the dress and symbols of the Partisans – apart from a flash of flame from the machine gun being fired by the Partisan on the extreme right and the flames from the burning Nazi tank on the extreme left. Even the blood of the dead and dying Nazis is a dull, lacklustre red.

Traditional footwear in a modern war

Traditional footwear in a modern war

We also know she’s from the countryside, as most Partisans would have been at the time, by her footwear – sandals and the colourful woollen socks. This is in contrast to the heavy boots being worn by the Germans and even those of two of her male comrades.

Forward always

Forward always

To the right of the female Partisan is a young male. In his right hand, stretched out in front of him giving the impression of his rushing forward to join in the attack, is a rifle. His stance is of one who is fighting in mountainous terrain, with his right leg bent and his left stretched out behind him to give his forward movement more force. This is a stance that is very reminiscent of that of the Partisan statue on the Durres seafront.

But his role in the picture is not as a fighter but as a bearer of the symbol of the Albanian Partisans. He is the flag bearer and in his left hand flutters the rallying point of the Communists.

The Albanian Communist Banner

The Albanian Communist Banner

This is the red flag on which is the black, double-headed eagle with a gold, five pointed star embroidered above the two heads. This was to become the national flag of Albania after the declaration of Independence on 29th November 1944.

This would normally be of a brighter red – as the red stars on the caps and the red scarves – but I assume that the artist didn’t want to detract from their flashes of colour which a large expanse of red in the middle of the picture. So he has chosen more of a purple colour for the flag.

He knows where he's going

He knows where he’s going

Apart from him being responsible for the flag we also know his political allegiance, again, by the red scarf that’s around his neck.

Her red scarf, her sacrifice blood

Her red scarf, her sacrifice blood

Behind him, and slightly in the background, we are reminded that victory in anything, especially war, comes at a cost. And here we see the cost being paid by a young female Partisan who is shown at the time of death, her back arched as she is about to fall. We don’t see her face but we sense the pain as the bullet that kills her enters her body. She has no weapon but there is spare ammunition in her belt and her red scarf singles her out as a Communist.

Shooting down from the mountains

Shooting down from the mountains

The Partisan in the extreme right corner shows the extent of the population that joined the National Front against the fascist invaders. He is older, also from the countryside but here almost certainly from one of the mountainous regions of Albania.

He is also a Communist, with a red star on his fez, but in place of a scarf around his neck he has it wrapped around his hat. Typically at the time men from the mountains had moustaches and he sports a dark, black one.

A Communist peasant from the mountains

A Communist peasant from the mountains

He shows his physical strength by firing a moderately heavy machine gun but without the need of the normal tripod. His proximity to the dying woman also gives the impression of him taking revenge for the loss of a comrade. His machine gun spits fire and the bullets fall in a shower down by his feet.

The British contribution

The British contribution

It’s true that the British did supply the Communists Partisans with war material during the War of Liberation. They would rather have given the supplies to the Nationalist forces but 1) British representatives on the ground realised, and advised, that the Communist forces were the more effective and 2) the Nationalists eventually tried to pull the German Nazis out of the mire they had dug themselves into by attending a Quisling Assembly in 1944. The answer of the Communist Partisans was to drag a canon up the hills above Tirana and deliver a response to this traitorous act in the shape of a shell. It was exactly the same type of cannon that is seen, slightly in the background, in the centre of this painting.

A number of British died in Albania during the war and there’s now a small cemetery in Tirana Park – bizarrely using the old grave stone which was denied Enver Hoxha (when his remains were removed from the National Martyrs’ Cemetery and re-interred in the city cemetery at Kombinat) when the counter-revolutionaries gained control in the 1990s.

For some reason the British thought (whether it be the government of Churchill during the war or the government of Atlee after it) that because they had provided a few weapons they had the right to determine the future of the country. This led to Britain, in concert with the Americans, attempting to achieve ‘regime change’ before the term became popular. This included the aggression that was later referred to as the ‘Corfu Incident’.

They also constantly winged about their assistance not being recognised by the ‘ungrateful’ Communists. However, there are any number of paintings and sculptures where the Mills bomb (grenade) is depicted – to the best of my knowledge only, in that particular style, being produced by the British.

Bullets and sandals

Bullets and sandals

It’s strange when I think of it but as I’ve tried to understand the stories told by Albanian Socialist Realist paintings and sculpture I’ve learnt that the detail the artists have placed in their work when it comes to what people wear (or sometimes don’t wear – as in the great arch at Drashovice) can tell a great deal about the politics of the time. Here we have another example where the Partisan wears what he had worn from his youth – hand made shoes of his area and not the industrial production of western capitalist states. Probably made the fighting more comfortable.

Spitting fire and death

Spitting fire and death

Once you get to know Albania as a country you get to understand how hard it must have been – for both sides – to fight in such terrain. An incredibly beautiful country with its mountains and ravines are a different kettle of fish in a war situation. Now, obviously, war isn’t easy at any time but when you enter mountainous terrain into the equation it becomes even more difficult. Especially for the invader.

What the Americans, and the French before them, discovered later in Vietnam, the Italian and German Fascists discovered in Albania during then Second World War. Whatever material advantage you might have on paper it’s as nothing if you can’t dominate the terrain. The Albanian Partisans did in their country, the Vietminh did so in theirs.

And that fact of mountain fighting is represented in many works of Socialist Realist Art in Albania. As here the Partisan is firing down – into a valley, into a road during an ambush from a high point. The Partisans always controlled the high ground and that was one of the aspects of the Liberation War that ensured them success.

The battle continues in the background

The battle continues in the background

There are only a handful of ‘actors’ in the foreground to tell the story of the struggle but obviously there were many more involved and here they are depicted almost as ‘ghosts’ in the background – as can be seen in the previous couple of pictures.

The mountains are a protagonist

The mountains are a protagonist

Because the mountains of Albania played such a crucial role in the battle between the Partisans and the Fascists they are also often represented in works of art that tell the story of the struggle. Often, if it is of a particular battle it will be the mountains that would have been near-by and recognisable by the locals. These seem to be ‘generic’ mountains but they might have meant something to the artist.

Death to Nazism!

Death to Nazism!

Not all fighting in a war is at a distance and from time to time it comes to a hand to hand struggle. This is where we find the final, identifiable Partisan in the painting. Just to the left of the female Partisan we see a life and death struggle between another Communist Partisan and a Nazi soldier. We don’t see the face of the Partisan, just a glimpse of the side of his face, but we do see the Nazi. His eyes are wide open in horror as the Partisan has his left hand grasping his throat and in his right hand he has a dagger which is about to end the horror for the German soldier. This soldier is depicted almost as a demon, the human characteristics being erased from his features. This approach can also be seen on the lapidar at Berzhite.

Dead Nazis and dead Fascist Panzer Tank

Dead Nazis and dead Fascist Panzer Tank

Apart from a few ghostly and shadowy figures in the background the invader is confined to the extreme left of the painting and along the bottom, where their dead litter the ground.

The Nazi red is either flames or blood

The Nazi red is either flames or blood

Their tank is of no help, the flames leaping from the turret and the clouds of smoke indicating the crew are probably dead and unable to use the superior fire power. And anyway, in the terrain where the fighting took place in Albania tanks wouldn’t have been much use, the uneven ground and lack of any clear shots would have meant they did more damage to the mountain than the Partisans.

Those who are about to die ....

Those who are about to die ….

Those that are still alive and prepared to continue the fight are depicted as featureless, only the shapes of their faces in profile being seen. Here again the artist has stripped them of their humanity. They are killing machines so don’t merit individuality.

Faceless Nazis fighting for their lives

Faceless Nazis fighting for their lives

And in the case of one of them he is shown as no more than a shadow, a dark shape in the background.

The Nazi banner and the Nazi dead

The Nazi banner and the Nazi dead

Whereas the Communist banner flies high and proud the banner of the fascist invaders with its swastika symbol lies in the dirt, tattered and torn, the hand of a dead Nazi touching it reinforcing it as a symbol of death but one that itself is in the process of dying.

(The fact that this symbol is seeing a resurgence at the moment is down to a number of factors – amongst them being the betrayal of the Revisionists in those countries that had achieved the Socialist Revolution (including in Albania) and the failure of the working class in the industrialised countries to take power into their own hands. They might, some day, rue the consequences of their cowardice and pusillanimity as they suffer the death and destruction that accompanies fascism when it gains momentum.)

Arrogance pays its price

Arrogance pays its price

The remaining images of the invader are all of death. Fittingly the soldier that was so surprised of death knocking at his door that he has his mouth open is lying on the ground directly beneath the foot of the principal female Partisan.

The Iron Cross is no saviour against a Communist

The Iron Cross is no saviour against a Communist

And even the holder of an Iron Cross is no match for the onslaught of the Communist Partisans.

The Artist

Unfortunately I can’t say who is the artist of this mural. There’s no signature and I can’t definitively identify the artist by comparing his (there seem to have been few female artists whose work was displayed in museums and art galleries throughout Albania – I don’t know why that was the case) style with other paintings I might have seen.

However, I assume that it was created for the opening of the Museum in 1982.

More on Albania ……

Lushnjë Martyrs’ Cemetery

Lushnjë Martyrs' Cemetery

Lushnjë Martyrs’ Cemetery

More on Albania …..

Lushnjë Martyrs’ Cemetery

Many of the Martyrs’ Cemeteries throughout Albania have a statue of one or more Partisans to stress that those commemorated were those who died in the National Liberation War of 1939-44. Sometimes there’s just one male Partisan, as in Korcë or Ersekë, sometimes there will be both a male and a female, as in Librazhd, sometimes (though rarely) there’s a group of three, as in Pogradec but there are also times when the symbol of sacrifice is in the form of a single female, as in Saranda and Fier. There’s a certain commonality between many of these statues, having been constructed at a similar time, but the statue of the female Partisan at the Lushnjë Martyrs’ Cemetery is quite unique in style and presentation.

The cemetery itself is built into the side of a small hill just a little way from the centre of town, on the northern edge of the main building concentration. The buildings close by are relatively new and when originally planned it would have been more or less in the countryside, but only a short distance from the main population centre.

There is a line of gates and fences at the bottom which guard two flights of steps, a narrow one on the left and a much wider one on the right. These sets of steps are separated by a line of six concrete containers in which a palm tree has been planted. Those on the left of the main steps are mirrored by smaller containers on the right hand side. This planting of palm trees in the martyrs’ cemeteries was quite common in those towns at lower elevations and would have created an avenue of trees for those visiting the cemetery. However, palm trees have to be trained to grow healthily and as some of the containers now only contain flowers I assume that the older trees have died off and haven’t been replaced.

Lushnjë Martyrs' Cemetery - tombs

Lushnjë Martyrs’ Cemetery – tombs

The tombs of the fallen are on four levels, going off to the left of the steps, following the curve of the hill. All these are in a good condition and the majority have a red star alongside the name of the partisan commemorated.

The Museum

Half way up the steps, on the right hand side, and a few metres from them, is a one story building which was the museum. This is a smart, one storey building which is in a good physical condition – I’ve seen some that have been allowed to decay (especially the one at the Krujë Martyrs’ Cemetery). The building is faced in marble tiles and on the side facing the approach road are the words:

Lavdi Dëshmorëve

which translates as:

Glory to the Martyrs

These words appear at virtually all martyrs’ cemeteries in the country.

The words are in black, painted metal and look in a very good condition – too good a condition to have been the originals. This cemetery must have had a major clean up in recent times and it now has the aspect of a cemetery where the people respect those who died in the war. On my visit there were a couple of women tending to the gardens and this is something that has become more common over the last few years – after decades of neglect. On the top left hand corner of this facade, to the left of the letters the concrete has been designed so that a large star has been cut out of the mould and the recess painted red. Here the paint looks very bright and new so obviously part of the renovation. There are a number of such stars throughout the area, including one at the very top of the steps and a some on the levels beside the tombs.

The word ‘Muzeu – Museum’ is in similar, though smaller, metal letters to the right of the entrance door. Inside there’s no longer a museum as such. Virtually all of these small, one room museums were looted in the early 1990s, or at least the artefacts taken and protected somewhere awaiting a time when they can be returned for display. This is also clean and there’s a new banner which has a picture of the cemetery’s statue, together with a series of six red stars that appear to rush out of the background. Under those images are the words:

Lavdi Dëshmorëve të Lushnjës

meaning

Glory to Lushnje’s Martyrs

taking the national slogan and applying it to the locality.

The only other exhibits in the room are four display boards which contain the photographs and details of 216 partisans. From information gained from the town’s Historical Museum only 184 of these died during the National Liberation War. I assume that the remaining 32 were Partisans who survived the war but were added to the list when they eventually died. I must admit I didn’t realise this at the time of my visit so don’t know if any of those have been interred in the Martyrs’ Cemetery.

The Cemetery

As I’ve said the area looks clean, bright and cared for. The very nature of the stone used, light coloured sandstone (I think) and marble facing means that, on a sunny day, the cemetery takes on the character of a respectful place to remember the dead.

However, there’s a problem when studying Albanian lapidars. There was a constant changing, improvement, introduction of new concepts throughout the 1970s and 80s. That was OK as all the documentation was kept in different archives. However, after 1990 one of the most important locations for storing this information was in the locale of the Albanian League of Writers and Artists. This archive was just destroyed. This means trying to get information about the past is very difficult.

(I always think that the destruction of this building and all it contained to have been an instructive education on the aims of the reactionary forces whose hatred was directed then, and subsequently – either through mindless vandalism or sheer neglect – at the public representations of the Socialist system. If they, or even the rest of the population in general, would use such venom against the present system of corruption then the country might start to go forward in a meaningful manner.)

Lushnjë Martyrs' Cemetery

Lushnjë Martyrs’ Cemetery

Looking at the present monument there’s a number of things that don’t look right. Behind the present statue there’s a huge concrete wall, faced with marble tiles, separating the cemetery from the surrounding countryside with its evergreen oaks on the hillside. This wall curves around, in a protective manner, the rest of the area. It was constructed for a purpose. Yet nowadays there’s nothing there, it’s just a blank space. Well, not quite.

On the left there’s a large area which is indented slightly from the general plane. At the moment this is painted a bright red, almost certainly from the same can which have been used to highlight the stars. But this just goes to indicate that something is not quite right. A close look at the area shows that under the paint there’s a rough concrete facing. The paint is not obscuring anything it just accentuates the fact that something is missing. Was it a mosaic? That would make sense. This part looks like a cinema screen and such an image would be logical in this position. If not, what?

On the right hand side everything is flat but there are indications that some sort of slogan, statement, call to arms would have been there originally. There are the holes that are the result of fixing metal letters to the wall. There’s also the shadow of letters, whether from the removed metal – which always leaves some sort of stain as the metal weathers – or a later addition to fill a spot with of an image no longer considered ‘politically correct’. The fact that the palm trees, still in existence, in front of this wall indicates that this area was also an important part of the whole monumental arrangement, now lost to posterity.

So, now to the unique statue that, fortunately, does still exist. The statue is dated 1984 and is made of bronze.

The Statue

This female Partisan fighter is a link with past ideas of presenting the Liberation fighters (from the late 1960s and early 70s) but also introduces concepts that take a qualitative leap to something new and more progressive and is one of the latest to have been installed. The death of Enver Hoxha in April 1985 seems, to all intents and purposes, to have signalled the end of Albania’s ‘Cultural Revolution’. This change in direction had serious consequences just over five years later.

Lushnjë Martyrs' Cemetery - statue

Lushnjë Martyrs’ Cemetery – statue

She is about twice life-size, on a low plinth in the centre of the plateau at the top of the cemetery so that she looks down on the tombs below. As she’s on a low plinth it’s possible to appreciate the detail of the figure.

The links with the past are in the fact that she is in a full Partisan uniform, from head to toe, and she also displays all the aspects of a member of the Communist Party of Albania (later called the Party of Labour). On her head she wears a soft cap with her substantial head of hair spilling out at the sides and the back, over her neck. There’s a very obvious star fixed at the front. There’s a scarf tied around her neck and she’s dressed as if it were summer during the conflict, wearing a shirt that has the sleeves rolled up so that they end at her elbows. She is wearing the baggy, loose trousers of the Partisan, the bottoms of the legs tucked into long, woollen socks and on her feet a contemporary walking shoe.

This wearing of trousers must have caused a stir at the time. Before the invasion of the Italian Fascist forces in April 1939 the vast majority of women would have been wearing the clothing that Albanian women had been wearing for generations. This would have been challenged by the growing industrialisation, in such places as Durrës , where, for example, the Tobacco Factory would have provided employment for women, but would still not have been normal, especially in the countryside. The example of the 68 Girls from Fier leaving secretly at night to join the Partisans and the murder of young Liri Gero would, initially, have been a shock to many in such a traditional society, even in times of war.

As in virtually all such depictions she is armed, quite heavily. She has a bandolier diagonally across her chest, running down from her left shoulder, with eight ammunition pouches, each containing six bullets. Around her waist she wears seven such pouches. These are all to provide ready ammunition to her bolt-action rifle which is hanging behind her by way of a thick leather strap that rests on her left shoulder, close to the bandolier. She grips the end of the butt in her left hand, a pose not seen before.

It’s impossible to over-state the importance and relevance of such imagery. Having been born in a society where all women, but especially the young, were treated as second class citizens (or not even citizens at all) this young woman is making a statement that goes far beyond that of the feminist movement in the west from the 1960s onwards (with all its difficult and contentious history). By leaving home and actually fighting in a vicious war against a vicious enemy, by taking up arms and risking her life, by living and fighting amongst men unknown by her family, many of them ‘strangers’, she was challenging long-standing taboos, by wearing ‘men’s clothing’ and therefore being indistinguishable from her male comrades, by assuming positions of command and responsibility, by fighting for a cause that was greater than her own parochial and familial concerns but for all those who were poor and oppressed, she was, as were all the other women, literally ‘turning the world upside-down’.

It has to be remembered that by the time of victory at the end of November 1944 the women in the Albanian Partisan army had constituted around 16% of the total armed forces – and the majority of them were in combat roles and not just in ancillary and support roles. They were not given liberation they had fought for it, had suffered as much and had worked as hard as their male comrades. This accounts for their appearance in so many Albanian lapidars.

Compare this with war memorials in the west. On the monument I consider to be one of the finest in Britain, the Cenotaph on St George’s Plateau in the centre of Liverpool, ALL the fighters are male and the only depictions of a woman is as a sad, weak mourner, really a victim of war, without any ability to have a direct effect on the outcome of the conflict. This is a representation of the situation after the First World War but in the capitalist west this situation wasn’t significantly different twenty plus years later when the world went to war against Fascism.

But the Lushnjë Partisan says much more. Her stance is very different. Normally the Partisans are shown standing to attention or with a raised fist in the revolutionary salute. Here she is half kneeling with her left knee on the ground whilst her right foot is on the ground. This is to provide a platform for the other unique aspect of this statue. I said that she is a lone, female partisan, but she is not alone. Her bent right leg provides a space upon which a very young boy is standing.

This idea appears nowhere else, to the best of my knowledge. Here the Partisan takes on the role of ‘Mother Albania’. Not just a symbolic role as is the huge statue in the National Martyrs’ Cemetery in Tirana. This ‘Mother Albania’ has given birth to the opportunity of a new future. By her actions and self-sacrifice the independent country has a chance it never had before. But that future is not guaranteed, the outcome not certain and the road a difficult one to follow.

It is the young boy, really little more than a toddler, who is taking that road. She is there to support him, as she is in the statue with her strong right hand gripping the boy just under his right armpit, as he takes his first, tentative steps. The fact that she is also dressed as a soldier and is fully armed indicates that this Mother Albania is prepared to fight to support this construction of a new society. I also believe that the connection between her weapon and the child provides another indication of this willingness, and necessity, to use force to create something new. This idea is also present in the statue of the Partisan and Child in Borovë as well as in the monumental mosaic in Bestrovë.

He is dressed in toddlers clothes, a light t-shirt, with an open shirt above that, and flimsy shorts. His right foot is firmly placed on the Partisan’s thigh but he is in the act of attempting to step forward with his left leg. His foot is a few inches above the thigh and his left arm is slightly outstretched as if getting his balance. His whole demeanour is tentative, lacking certainty, unsure whether to go ahead or not. He’s focused, looking straight ahead (as is the Partisan) so he knows where he wants to go, the uncertainty comes from not knowing how exactly to get there. Already he knows that the road towards Socialism has its twists and turns.

Bouquet of poppies and grain

Bouquet of poppies and grain

He is Albania, a young socialist nation, even though that socialism was 40 years old at the time of the casting of the bronze. We know he’s Albania because in his fully raised hand he holds a bouquet of poppies – the national flower of the country. He’s also Lushnjë as together with the flowers he holds two ears of grain. At the time of Socialism the town was in the centre of one of the grain-growing regions of the country. The first collective farm was established in Krutja, only a few kilometres to the south, and the whole area is criss-crossed with irrigation systems, allowing the fertile grounds of the coast to be used productively by the construction of huge systems of irrigation bringing water from the mountains – many parts of which have just been allowed to decay and rot as well as the collective land of all the people being privatised and divided into almost feudal strips. You can also appreciate the importance of agriculture in the area by the imagery on the huge monument, ‘Toke Jonë – Our Land’, in the centre of town.

Within six years of this statue being created the people of Albania decided that they no longer wanted to take that difficult road.

The statue is generally in a good condition. However there appears to be a quick and ready repair on the right hip, just below the ammunition belt, and something that looks like a small calibre bullet hole on her right thigh.

The Sculptor

We know the sculptor as he placed his name on the bronze plinth before casting. His name was Maksim S Bushi. He was born in 1948 and trained at the Academy of Fine Arts in Tirana, where he now works as an instructor as well as being a teacher in his home town of Lushnjë. He made a bust of Abraham Lincoln in 2004 and it now sits in the Abraham Lincoln Presidential Library in Springfield, Illinois in the United States. He has also supposed to have created other busts and sculptures throughout the country but I haven’t come across them myself. However, he surely hasn’t created anything as masterful as his allegory in the Lushnjë Martyrs’s Cemetery.

Location:

The cemetery can be found at the far end of Shetitorja e Palmave, about 1 kilometre from the centre, on the northern edge of the town.

GPS:

40.948445

19.69575802

DMS:

40° 56′ 54.4020” N

19° 41′ 44.7289” E

Altitude:

34.5 m

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A War (Krigen), 2015, Dir: Tobias Lindholm

Murdered children in Afghanistan

Murdered children in Afghanistan

WARNING: This review contains spoilers.

Even though the invasion and subsequent war in Afghanistan has been a total strategic disaster, now turning into a seemingly never-ending conflict, there hasn’t been a shortage of films, both fictional and documentary, about this foreign involvement. The situation was very different following the US invasion of Vietnam where Hollywood took years to be able to address the shameful defeat of the most powerful nation on Earth. (The trouble is that this preparedness to look at the open wounds doesn’t seem to have led to any significant reluctance to get involved in foreign wars, either on the side of the politicians or the public of the respective countries.) The most recent in this series of films is A War – Krigen, directed by Tobias Lindholm.

One of the possible reasons for this spate of soul-searching is the advance in photographic technology. In the 1970s and 80s it wasn’t easy to make a film without a huge amount of resources. Today films can be, and have been, made on smart phones and light weight, yet high quality digital video cameras. It is from this standpoint that has made ‘A War’, a reasonably low-budget film produced from a relatively small country, possible.

This is a film from the Danish perspective. Previous films have looked at the situation from the viewpoint of the two major players in the debacle, the Americans and the British, so it’s slightly refreshing to see how another, junior partner, in this coalition of hypocrisy and double-talk sees as its role on the world stage.

(Here it should be mentioned that the Afghans themselves are still either the ‘enemy’ or the victims. No one has sought to look at the almost 15-year-old war from the perspective of those who have been on the receiving end of all the billions of pounds worth of bullets, air strikes and missiles. But then we still haven’t seen a film that concentrates on the plight of the Vietnamese in their struggle against American Imperialism.)

Although the invasion of Afghanistan in 2001, under the name of ‘Operation Enduring Freedom’, was supposed to bring a better life to the inhabitants there’s no indication at all that there have been any real positive gains for the local populace. The Taliban haven’t been defeated, far from it. Recent information indicates they seem to be getting more powerful day by day as the ordinary Afghan peasant lives under the oppression and corruption of the ‘democratically elected’ government and its US/UK trained puppet army. So-called ‘collateral damage’ means that innocent people are daily at risk of being killed following their normal routine in order to survive. The cultivation of the heroine poppy has resumed with a vengeance resulting in the reappearance of drug lords, together with the inevitable violence and mayhem following such a trade (which had been virtually eliminated under the Taliban, as recognised by the United Nations only a matter of weeks before the invasion of the country in 2001) and tribal War Lords control huge swathes of the country.

‘A War – Krigen’ takes place in 2003 when it could be argued (at least by the occupying forces, not by me) that there was a chance of changing things for the better, that the armed forces from so many countries, a grand coalition – so as to spread the blame if not the glory – could still say, without a hint of irony, that they were there for the people of Afghanistan. But they were only there if it meant that casualties on the invading forces’ side were at an absolute minimum.

These Danish soldiers whoop and holler at the death of a ‘terrorist’ but go into mental melt down when one of their own is injured – similar scenarios having also been depicted in previous fictional or documentary films about the war. Behind this is the mindset and thinking of the invading powers that because they have ‘right’ on their side they are, or, at least, should be, invincible. They have the technology, the weapons, the protection, the back up (both in terms of military intelligence and medical resources), that they are the ‘good guys’ – so how can they lose?

This has been the thinking of the imperialist countries in all the wars, ‘insurgencies’, ’emergencies’ and uprisings they have been involved in since the end of the Second World War. They have the God-given right to do what they so chose in whatever part of the world they chose to do it and if anyone in those countries opposes their invasion they are immediately branded as being insurgents and terrorists (and other descriptions with negative and racist connotations) so therefore their lives are of no value and expendable. This way of looking at the local population resulted in the countless massacres committed by these forces of ‘democracy and freedom’ that was epitomised by the murderous attack on the Vietnamese villages around My Lai in March 1967.

My Lai Massacre

My Lai Massacre

Although, I suppose, ever since warfare (even before anyone could enunciate the term, in whatever language) began the aim was to inflict the heaviest casualties on the enemy with the least to yourselves. However, in any conflict it would be ludicrous to expect that you can go up against an enemy and not sustain casualties. Granted the British have not been that good at the useless throwing away of young lives, witness the infamous ‘Charge of the Light Brigade’ in October 1854 during the Crimean War and the countless examples of huge casualties, with little or no territorial gain, on the Western Front in the War of 1914-19.

But following on from the imperialist arrogance is an idea that war is in some manner ‘safe’. If we are fighting ‘evil’ when right is on our side, together with God, less body bags will be needed. Politicians who start these wars want to perpetuate such a fallacy as it allows them to convince the majority of unthinking people that the costs of war are not that great, that the days of high casualties are a thing of the past.

This led to the crazy and bizarre situation that developed around the returning bodies from recent wars in the Middle East which arrived at the Royal Air Force base at Lyneham in Wiltshire in the South West of the UK. The parading of the coffins through the near-by town of Wootton Bassett, which at first was seen as a ‘proud’ nation honouring those who had died ‘to keep us safe’ became a political and military embarrassment. Making a big show on a few occasions was politically advantageous to the State but when it was a regular event it only went to show that the war wasn’t going the way the aggressors thought it would. One senior military officer even stated that such public displays of ‘grief’ were counter-productive as war will invariably mean death and it was dangerous to the State if death was fetishised.

It is by putting this idea of the welfare of the injured to the fore that leads the Danish officer (who, in normal circumstances, shouldn’t have been on the front line at all anyway) to call in air support to attack and destroy a compound from where he ‘thinks’ the Taliban might be firing. The consequence of this is that a number of civilians, including children, end up being killed or wounded. For this he is recalled to Denmark to face a legal inquiry.

This might be considered a genuine approach to dealing with the reasons for civilian casualties, especially when the issue is seen through the ‘liberal’ eyes of a Scandinavian country – although that liberalism is becoming somewhat tarnished with some of the more draconian laws that have been passed as a response to the increase in the number of migrants arriving in Europe in the last year or so. But by placing the incident in ‘the heat of war’ the commander has a get out, whether he is telling the truth or not.

In the fifteen years of the foreign occupation the majority of the casualties have been civilians and most of them were killed by the occupying forces. The obscene term ‘collateral damage’ (coined by the Americans around 1968, in relation to possible outcomes of a nuclear conflict but then used in their war of aggression against the Vietnamese people) is now so commonly used that people in general don’t seem to baulk at the seriousness of the consequences of military action on the local populace. We can also see the hypocrisy of the US and other ‘western’ countries when a similar situation is indeed a crime when committed by others, e.g., the Russians in Syria in 2016, but is OK if committed by them in any theatre of war. We should also remember that the US refuses to allow any of their personnel to be committed for any sort of war crimes, even when one of their soldiers leaves a base, at night, twice, and goes on a killing spree, randomly murdering people in their beds.

Cinema has rarely dealt with the issue of civilian deaths in the many wars since 1945, after which year civilians were no longer the ‘rear’ but the forefront of any conflict. This was even more so in those situations where the fighters were guerillas who lived amongst and came from the people. Taking Chairman Mao’s dictum that the guerillas should be ‘like fish swimming in water’ of the populace the reactionary forces sought to drain the rivers and lakes. Whereas ‘A War’ fudges this issue of civilian deaths (and gets publicity owing to it being nominated for an Academy Award) a film that addressed the use of drones in Afghanistan and Pakistan, ‘Good Kill’ (2014), was almost totally ignored.

Being a ‘liberal’ country the case of the civilian deaths is investigated by the Danish military authorities and the commander called back home to face a court of inquiry. An interesting aspect of this inquiry was the depiction of the Danish court process itself, not just for this fictional case but for anyone who has to face ‘justice’ in that country. The informality makes the process much less intimidating than it is in a British or American setting and gives the impression, at least, that the person on trial is innocent until proven guilty. This was even down to using the given name rather than the surname of the accused.

Although the viewer knows that the commander is guilty we have to wait to see if this guilt will be proven in an ‘impartial’ inquiry. Witness after witness gives evidence that seems to place another nail in the commander’s coffin until one witness states, categorically, that he ‘knew’ there was concrete evidence for the commander to call in the air strike, the consequences of which were the civilian deaths. This evidence gets the officer off.

Now this particular development introduces interesting aspects of the military of capitalist and imperialist countries. If we can imagine that this situation is real and were to go into the future following this trial and ask ourselves who would be more trusted by his comrades, those who told the truth or the liar, we would have to say the liar. That’s because the very structure of capitalist armed forces is based upon a small group of people having absolute faith in the idea that those around each individual will be supported, in many ways unquestioningly, by the others in his group.

In the situation presented to us in this film how could anyone have such trust in a person who was prepared to see the conviction of one of their own, albeit a senior officer? The countless cases of those soldiers accused of crimes in the invasions of Middle Eastern countries in the 21st century, with none of them ending up being ‘proven’, is testimony to the closed nature of such groups of killers. It’s exactly the same situation amongst the police where there’s an unwritten code of practice in which the truth is just far too inconvenient.

There is another consequence of these constant invasions and wars and this is the effect that the killing process has on those very well supported, very well supplied and very well armed soldiers. This is demonstrated in a scene early in the film.

A situation arises where one of the members of the patrol is so traumatised by one of his comrades stepping on an IED (Improvised Explosive Device) that he virtually breaks down and refuses to go on patrol. Being a ‘liberal’ country the Danish commander (who establishes his credentials as caring and concerned about those under his command) allows him to be reassigned to base duties until he can get his act together. Here we are presented with the issue of PTSD (Post Traumatic Stress Disorder).

Now in 2003 it could have been possible to say that those who were in the armies of the imperialist invaders weren’t aware of the consequences of what they were doing. I say ‘could’ rather than ‘would’ as I would have thought that anyone who is prepared to be taught how to use instruments whose only purpose is to kill should understand that death was going to be the consequence of those instruments being used. The hope is that the deaths would be ‘theirs’ but, from time to time, it could be ‘ours’. So why the surprise? Despite how they might be presented at times in the past armies are killing machines, they are not an arm of the social services.

It’s also important to remember that all the armies from all the countries that have been part of a US led ‘coalition’ are composed of volunteers. They are not conscripts as they were in the wars in Korea or Vietnam. These men and women had, and still do, make a conscious decision to enlist. I don’t know why they are surprised when they are confronted with the realities of war. Are they so stupid that they think the real thing is like the computer games that might have convinced them to join up in the first place? That once someone is killed all they have to do is reboot and they will come alive again?

If that’s valid for 2003 how much more valid is it for 2016? Those who are joining these armies now were only toddlers when these 21st century wars of aggression started and since the ‘war of terrorism without end’ began. If they watch the news and think they want to be like John Wayne (who never fired a bullet against a real enemy and, therefore, never had to face danger himself, unlike many in Hollywood, either the actors or scriptwriters he was party to ostracising at the time of (HUAC) the House Un-American Activities Committee – see the film ‘Trumbo’ for a good take on Wayne’s ‘patriotism’) don’t they also know that PTSD is a part of these wars? So now that issue is becoming a drain of health services, a problem to the societies to which they return yet still not an issue that makes people address the validity of such wars in the first place. And, most importantly of all in this, the mental welfare of the men, women and children who are on the receiving end of all these billions of pounds worth of munitions is not considered at all. The wars nominally being fought for their well-being and future don’t take their well-being and future into account.

Finally, other films addressing the war in Afghanistan have almost exclusively concentrated on the soldiers in the country itself, their home lives only considered as an aside, being part of banter amongst the soldiers, referenced by telephone/Skype conversations with family members or by images of the ‘life they left behind’ on the walls of their barracks. In ‘A War’ not only do we get the court room scenes back in Denmark we also get an indication of the problems that can occur within the family as a consequence of the father being away for such a long time.

But here we have another contradiction. We are talking about 2003, a couple of years after the ‘war on terror’ began. Presumably the wife of the commander married, and had children, with a man who was in the military but then he was only playing at being a soldier, not killing other people and not being put in danger. Things start to fall apart when he is doing the job he signed up for many years before and for which he is being paid. So why this shock when matters develop so that he actually does what he was trained to do? Why are so many parents and families proud of their sons and daughters dressed in their smart uniforms at their coming out parades not aware what they could face in the future? Why is it always someone else’s fault if they should get killed or injured in a foreign country? Why do so many people want to claim victim status? If you make a conscious decision to go to another country and kill its people live (or die) with the consequences.

If Denmark is not exactly an imperialist nation at present it is certainly there to support the interests of the most aggressive and powerful imperialist nation at the moment, that is the USA. NATO (the North Atlantic Treaty Alliance) exists to dance to the tune that the US decides to play. Huge resources, from all the countries in the organisation, are directed towards this end. As the grip of capitalism and imperialism weakens the necessity for these national forces to get involved in international conflicts has increased – and this will be even more so in the foreseeable future.

Imperialism appears to be strong because it seems to have the ability to respond in any part of the world with massive amounts of force. But can this really be seen as a success for imperialism? In Afghanistan the US has been involved in the longest war in the country’s history – and it’s not fully disengaged yet. In 2001 GW Bush declared the ‘war on terror’ would go on as long as it takes and in the middle of February 2016 the French Prime Minister said that ‘hyper-terrorism (whatever that might be) is here to stay’. So the imperialist powers have already admitted that all the invasions of the 21st century have not achieved, in any sense whatsoever, the goals they set themselves 15 years ago.

So, as far as imperialism is concerned, we are in a more dangerous situation than the world was at even the height of the ‘Cold War’. The threat of nuclear extinction from the Soviet Union has been replaced by an enemy that hates what the west represents in a way never seen before. In the past those people who had suffered at the hands of rapacious and murderous imperialism, from the Americas through to Africa and on to Asia have, in some ways, ‘forgiven’ the oppressors or, at least, pushed the events of the past to the back of their minds. Not now. Those groups whose foundation goes back to the times of anti-Communism in Afghanistan are not thanking their progenitor. Just the opposite. The child hates the father in a way not before seen in modern times. The chickens have truly come home to roost.

The so-called ‘Arab Spring’ of 2010/11 has changed the situation in the countries were it took place not one iota. Whatever the optimism and enthusiasm that existed over that period of time some of the faces at the top might have changed but substantially the situation for the vast majority of the population remains the same. Worse than that, some of those countries which underwent a popular uprising are even more aggressive, both nationally and internationally, as they were prior to 2010, Turkey being a case in point.

It’s true that imperialism has succeeded in destroying those functioning societies that were a potential threat to its interests in the region, in the case of Iraq, Libya and Syria, but at what cost to the people? Those once strong militarily countries whose leaders were from time to time courted by the ‘west’ when it suited, are now in chaos with the consequences beginning to have an effect on Europe as more and more refugees seek sanctuary in a part of the world that caused the problem in the first place.

But the populations of the countries who have gave birth to, then incubated this hatred so that it has grown into a myriad of western value hating groups in an increasing number of countries throughout the world, don’t seem to realise that they are part of the problem themselves. Their acquiescence in the face of the jingoism and sabre rattling of their ‘democratically’ elected governments is forgotten. The ones who are fundamentally the cause of the problem claim victim status. Those killed in acts by these ‘fundamentalist’ groups are described as ‘innocents’ yet those civilians killed in drone attacks, air raids or just because they were in the wrong place at the time of a military operation are dismissed as being merely ‘collateral damage’ and all the resources of the invading forces is put into sanitising and excusing those responsible. The lives of an Afghani or an Iraqi is considered of lower value to that of a European. Is it any wonder that people are angry?

‘A War’ is not, by any means, the best film about the invasion of Afghanistan or any other wars that are taking place at the moment (or even of those to come) but it does offer the opportunity for people to look at their own complicity and hypocrisy if they care to do so. I fear, as has been the case in all the other imperialist attempts to maintain or increase their influence in the past, most people will just hope that the problem will go away. It might have quietened down in the past but the result is unlikely to be the same in the present or the future. One day people are going to have to make a decision to challenge the status quo otherwise this war really will go on forever.