Consequence of the declaration of Albania as an ‘atheist state’ in 1967

Anti-Orthodox Church

Anti-Orthodox Church

More on Albania …..

View of the world

Ukraine – what you’re not told

Consequence of the declaration of Albania as an ‘atheist state’ in 1967

A photograph of a painting in the Gjirokaster Castle Museum gave rise to some thoughts about religion.

The painting (above) was created in 1975 by M Jorgji. Unfortunately, to date, I have no more information on the artist. Neither do I know whether the painting still exists and if it does where it might be – I’ve only seen a photograph of it.

In 1967 the Peoples’ Socialist Republic of Albania declared itself an ‘atheist state’ and what followed was an anti-religion campaign – and this painting is all part of that propaganda war.

So before going any further it will be important to put the images and message in this painting in context.

The words on the red banner at the top state, in Albanian;

Gjithe Partia dhe vendi duhet te ngrihen ne kembe, te djegin mezjarr e t’i kepusin koken cilido qe merr neper kembe kighin e shenjte te Partise per mbrojten e te detyrave te grave dhe vajzave

this translates, into English, as;

The whole Party and the country must rise to their feet, burn fiercely and behead anyone who tramples on the sacred law of the Party for the protection of the rights of women and girls

Although the banner doesn’t state specifically this is particularly directed against the Orthodox Church – although it could just as well as have been directed against the Catholics or the Muslims, the other two religions/versions of the mystical ‘faiths’ that existed in Albania at the time.

We know it’s the Orthodox Church on trial as, slightly separated and alone, in the centre of the painting is an old, partially bald, bearded priest dressed in a black cassock. He’s lacking his hat which such priests are normally seen wearing whilst in public – all religions have their crazy dress quirks. His lack of a hat indicates a lack of status in the community in which he sits and who all look at him in destain.

Because this attack on the ‘church’ is directed against the Orthodox Church we can assume that we are probably in the south of the country – the Catholics were more dominant in the north, centred around Shkodra (and were more friendly to the Nazi invaders in the 1940s). As I’ve seen this image in Gjirokaster it’s possible that the event is depicted as taking place there or at least in the southern part of the country, although kapart from the stone arch (typical of Gjirokaster) I can’t see any direct references to the city.

Although there are not only women surrounding the disgraced priest they are dominant in the image, which fits in with the slogan on the banner. The abusive priest is being faced by the women he (or his homologues) have abused in the past. In 21st century parlance this priest is facing his ‘#MeToo’ moment.

So how are we supposed to react to this image. Do we side with the ‘vulnerable’, dejected old man who sits head-bowed, alone and separate from the rest of the people? Or do we side with the mass of women who obviously have a grievance with what he has done in the past? Obviously, the message on the banner and the overwhelming presence of women and girls suggest that the priest is not the victim but the perpetrator who has, finally, been brought to book.

And that shouldn’t be a surprise. For centuries, no millennia, those who hold religious office have used the so-called uniqueness and privilege of their position to abuse those who are powerless for their own selfish and puerile ends under the guise of exceptionality. It was happening all over the world in all those ancient societies which weren’t even aware that other cultures, doing the same, even existed.

Theocratic societies followed the same path of the abuse of power wherever they sprouted – and they sprouted everywhere. And everywhere they existed girls and young women would have been their principal (but not only) target.

In European societies we only have to look at the activities of the various brands of Christianity and their abuse of power with the likes of their witch-hunts and Inquisitions. The two main streams of the so-called ‘Christian’ faith – the Catholics and Protestants – ‘threw stones’ at each other but, in reality, they were both as vile as each other.

We don’t have to look too deeply to see that this situation has been going on, continuously, for centuries. The abuse scandals which single out those in the religious community, of whatever colour, appear on an even daily basis. And those are not just historical abuses that had been hidden by the various hierarchies but are continuing to this day. With Islam as we are presented with their abuses on a daily basis, whether it be in countries where they are the dominant religion (e.g., Afghanistan) or in western European countries where ‘Christianity’ might be dominant (so-called ‘honour’ killings).

Many religions argue the ‘bad apple’ gambit – it’s not the faith itself, it’s bad practitioners of that faith. But that doesn’t accept that all religions are a power structure that seeks to maintain the status quo. For all the cosmetic changes that might have been made in recent years that structure has not, is not now and will not, in the future, change substantially. That’s the same for all the Abrahamic faiths but it’s not so different in those more ‘esoteric’ religions of the east. It’s all about power.

Whereas capitalist societies are quite harpy to live with even the ‘bad apples’ – after all, capitalism is all about abuse of the poor by the wealthy and powerful – the socialist society that the Albanian Party of Labour sought to create between 1944 and 1990 decided that such stupidity, ignorance and backward thinking needed to be, had to be, challenged. Hence the atheism campaigns and the likes of this painting.

Ultimately that particular campaign wasn’t a success. Why is something that needs to be studied in order to learn the lessons for the future.

In present day (2020s) Albania there are more religious buildings being constructed than you can shake a stick at. Whether there’s the population to ‘justify’ such a vast number of places is debatable. I’ve yet to see, anywhere in Albania of whatever variety of metaphysical thinking, that the masses are flocking to the various ceremonies that take place on a daily/weekly basis.

Yes, you’ll go into a catholic church and see someone praying for some higher being to come up with a miracle and to provide the wherewithal to pay the bills that the present capitalist society in Albania fails to produce. But do they really believe? Or is it just being used as a crutch for the weak?

Historically religion has been crucial for colonialist and imperialist expansion. In Central and South America it was said that ‘When the Europeans came we had the land and they had the cross. Now we have the cross and they have the land’. The Catholic Church followed an explicit policy of the ‘extirpation of idolatry’ in South America which meant the forced conversion (or death) of the ‘heathens’ and the physical destruction and annihilation/suppression of anything that was sacred to the indigenous peoples. As had been done with Roman structures in Europe the religious centres/locations in a country such as Peru had churches constructed on them (a clear show of who was in control and who held the power) or they were destroyed – such as particular rock formations or fountains, for example, which were the sacred places of a non-monotheist culture such as that of the Inca.

And this wasn’t just something that occurred in the early days of colonialism in Peru. Prior to the visit of the fascist pope Karol Woytyla, in 1985, a large cross was constructed in the area of Sacsayhuaman in the hills above Cusco. Here was a modern day example of ‘extirpation’ with the sinking of a Christian symbol into the heart of a pre-Columbian site.

But it wasn’t just the Catholics who carried out this cultural vandalism and destruction of anything that was considered ‘uncivilised’ in the pre-colonial world. Although known about for centuries the forced assimilation of indigenous children through their ‘education’ in religious schools – which sought to inculcate European values into the conquered peoples – also included the murder and secret burial of countless indigenous babies and children. This genocidal approach to the original population of the colonial countries is now being unearthed (literally) in countries as diverse as Ireland, Canada and Australia.

So really, when we consider the anti-clerical campaign in Albania from 1967 to 1990 the question we should be asking is not ‘why did it happen?’ but ‘why didn’t it happen elsewhere?’

More on Albania …..

View of the world

Ukraine – what you’re not told

Remnants of religious thinking in Albanian Socialist Art

Bule Naipi's blouse

Bule Naipi’s blouse

More on Albania …..

View of the world

Ukraine – what you’re not told

Remnants of religious thinking in Albanian Socialist Art

The contents of a small display case in the Gjirokaster Prison Museum pose a question of significance for an understanding of Socialist Realist Art in Albania in the past and the challenges facing those who want to create an art that is free from the superstitions and negative influence of capitalism (as well as that from previous repressive social systems) in the future.

One of the problems that all societies that have tried to build Socialism have had to face is the problem of the old ideas preventing the development and growth of the new. However fervent a revolutionary might be the influence of the old repressive system will always be there, in the way we act, speak and think. That, in itself, isn’t a problem. Just as we can’t control the way we look we can’t totally control the influence that the traditions and the culture under which we grew up have upon us, even though we might not like it. Those old ideas and traditions only become a problem if they prevent us from looking at the world in a different light under a system that seeks to end oppression and exploitation forever.

The revolution can change the structure and direction of society it is for us to change ourselves.

This is the reason for the ‘cultural revolutions’ that have taken place, to a greater or lesser extent, in all societies that considered themselves Socialist. That in China, between 1966 and 1976, described as the Great Proletarian Cultural Revolution, is the most well known due to the dominance it had in society in the final years of Chairman Mao‘s life but they also took place in other countries seeking to build Socialism.

In Albania the cultural revolution manifested itself in a number of ways. The construction of the lapidars which commemorated those who died in the struggle for Liberation against Italian and then German fascism, together with those that sought to celebrate some of the achievements of the revolution were all part of that. As were the paintings that were produced, a great number of examples of which were on display in the National Art Gallery in Tirana in 2021. Many others can be seen in various locations, museums and art galleries throughout the country but many are also being allowed to fall into a sad state of repair.

That’s unfortunate for those who like and appreciate such works of art but at the same time their demise is all part of the class war and at the moment, in Albania, it is capitalism which is the ascendant. The lack of care of the lapidars, sometimes to the extent of wanton political vandalism, is also a reflection of society as it is and not as we would like it to be.

The declaration of Albania as an atheist state in 1968 was also part of Albania’s ‘cultural revolution’. Although, so far, I have come across few examples of the art produced that were part of that anti-religion campaign the painting by M Jorgji, created in 1975, is a good example of how the campaign was carried out.

Anti-Orthodox Church

Anti-Orthodox Church

An Orthodox priest is surrounded by villagers and he is being forced to face his crimes, and the abuses of power, he had inflicted upon, in this case, the rights of women and girls. The somewhat long slogan written on the red banner at the top says it all;

The whole Party and the country must rise to their feet, burn fiercely and behead anyone who tramples on the sacred law of the Party for the protection of the rights of women and girls.

This was a direct attack upon the church that had been using, and abusing, its power for centuries and was an important, not to say crucial, aspect of the struggle against superstition and metaphysical ideas. However, that shouldn’t have been the be all and end all of the campaign.

Such a cultural revolution has to change the thinking of the population as a whole – and that includes those artists whose task it was to promote a new view of the world.

However, some of those artists, either consciously or unconsciously, carried their old, out-dated ideas into their work in the new society. And, to the best of my knowledge, such ‘transgressions’ (if I might use that loaded term) were either not recognised or certainly not openly criticised and publicly exposed.

Here we will look at an example of where this ‘old thinking’ manifested itself in few examples related to the murder of two Partisan women by the the German Nazis in the town of Gjirokaster in 1944.

Bule’s blouse

I don’t know if I’ve missed it in the past but on my most recent visit to the Gjirokaster Prison Museum there was a small glass case which contained a colourful woman’s blouse.

This is displayed with the label which says in Albanian;

Me keto rroba fshataret e Lazaratit e maskuan Bule Naipin ne fshat me 1944 per to mbrojtur nga Nazistet Gjermane

in English;

With these clothes the Lazarat villagers disguised Bule Naipi in the village in 1944 to protect her from the German Nazis

I’m assuming that this display case, with its arrangement and label were produced during the period of Socialist construction in Albania, to label seems to indicate so.

This blouse is displayed just under the sculpture, made by Odhise Paskali, of a twin bust of the two murdered women. In the case, towards the top, is a short piece of knotted rope.

And its the rope that introduces an interesting aspect of Albanian Socialist Realist sculpture (less so in the paintings) which demonstrates the task that a future Socialist society has to deal with when it comes to matters of culture.

By including the rope – in the glass case with the blouse, around the necks of the two young women in the sculpture above the case, as well as the statue that used to stand (and should be returned once the work is completed) in Sheshi Çerçiz Topulli – there is a very clear reference to (Catholic) religious art going back centuries.

In countless Catholic churches, throughout the world, you will encounter images of the saints together with the instruments of their torture and eventual death. The prime, and ubiquitous, example of this is, of course, Christ on the cross.

And this ‘tradition’ seeped into the work of some of the painters and sculptors when they came to produce works of art which I have included in the blog under the heading ‘Socialist Realism’.

A number of the works of Odhise Paskali contain such religious imagery – the most notable example being his sculpture in the Përmet Martyrs’ Cemetery. Here we have a group of three Partisans, one mortally wounded and a male and a female Partisan tending to and comforting him. This is an EXACT replica of countless images of the Deposition of Christ from the Cross as seen in many churches, especially in Spain and Italy – those being the most Catholic of the European states.

Now it can be said, and it was probably why he got away with it, that Paskali was already a mature, experienced and renowned sculptor before the Liberation of Albania in 1944. He was born in 1903 and even before the establishment of Socialism his work was on display in various locations in Albania.

His major works (many of which are included in the Albanian Lapidar Survey) are;

ALS 123 – Nationalist Fighter – Korça (1937)

ALS 244 – Comrades – Martyrs’ Cemetery – Përmet (1964)

ALS 246 – Monument dedicated to the creation of peoples’ power – Përmet (1964)

ALS 276 – Monument to the Martyrs of Kolonje – Ersekë (1938)

ALS 590 – Monument dedicated to the Assembly of Lezha – Lezha (1968)

Bust to Vojo Kushi in Tirana

The statue of Cerciz Topulli (1932, bronze) which stands in the square that bears his name in Gjirokaster Old Town.

The large ‘Skenderberg’ statue (bronze), 1968, in Tirana main square, in collaboration with Janaq Paço and Andrea Mano.

He also created ‘The Triumphant Partisan’ (1968). This depicts a Nazi soldier being forced to the ground by an Albanian Communist Partisan. The original is at the Mauthausan Concentration Camp in Austria – where many Albanians were taken if captured. There’s a copy in the Castle Museum in Gjirokaster.

As well as the bust of ‘The Two Heroines‘ – Bule Naipi and Persefoni Kokëdhima.

Not all of these are loaded with religious imagery but it was certainly a not uncommon aspect of his work.

And this religious influence can be seen in other, much later lapidars created by younger artists who had been brought up and educated under the Socialist system. One clear example of this is the statue at the Lushnjë Martyrs’ Cemetery, created by Maksim Bushi in 1984. Bushi wasn’t born until 4 years after Liberation but take away the gun and change the uniform to a blue cloak and you have the Madonna and Child – again very common in Catholic churches.

So this just goes to illustrate the struggle that is necessary (and the time required) for the working class to develop a body of art that truly represents their interests, clear of any metaphysical content. A new type of art, with its own symbolism and establishing its own traditions.

More on Albania …..

View of the world

Ukraine – what you’re not told

Monument to Communists murdered by Italian Fascists – Tepelene

Italian Fascist Barbarity - Tepelene - 02

Italian Fascist Barbarity – Tepelene – 02

More on Albania

View of the world

Ukraine – what you’re not told

Monument to Communists murdered by Italian Fascists – Tepelene

Apart from what it commemorates, that is the torture and murder of four communists from the from the area by the Italian Fascists in 1943, the lapidar – just below the castle walls on the main road between Gjirokaster and then heading north towards Tirana – isn’t exceptional and doesn’t have any real architectural value, but it encompasses a number of aspects which make it slightly unique.

The first is its very location. It sits quite high up above the river and looking south you can see where the the two rivers meet. The Drino comes from Gjirokaster and the Vjosë comes from Pëmet and as the now much larger river passes beneath Tepelene (and the lapidar) it is now takes the name Vjosë and continues north west until it joins the Adriatic close to the town of Fier.

So the view from its location is quite spectacular, not only of the rivers but also the high mountain range which separate Pëmet from Gjirokaster. As the crow flies they’re quite close to each other but you have a mountain range, which is over 2000 metres high, in between.

The other thing that makes this lapidar quite interesting is the fact it has been totally reconstructed. When the Albany Lapidar Survey was done in 2014 the layout was basically the same but it was dirty and there was some damage. (A couple of photos of the original can be seen in Volume 3 of the results of the Survey.) The present lapidar has maintained the original design but is now clean and there was obviously an effort to restore it but with respect for what had been there originally.

The marble was cracked and dirty on the original but that’s now being cleaned up. The wording of the reason for the monument is exactly the same (even following the same font), including a repition of the names. The only significant difference between the two versions is that on the original a (superfluous) addition of the year ‘1943’ appeared below the names of the four Communists who were murdered by the Italian fascists.

Italian Fascist Barbarity - Tepelene - 04

Italian Fascist Barbarity – Tepelene – 04

So what we have here is a simple, two part lapidar. On the left is a straightforward square, concrete pillar, faced with marble and on the top of which, in a circular stone plaque, is a star that hss been painted red.

Italian Fascist Barbarity - Tepelene - 01

Italian Fascist Barbarity – Tepelene – 01

To the right you have the the rectangle of the the lapidar itself, with the legend, in Albanian;

Ketu me 2 korrick 1943 fashistet italian pasi I torturuan barbarisht vrane sekretarin e qarkorit te partise te beratit Kristaq Capo dhe te rinjte komunist Qemal Mysliu, Vildan Lurasi dhe Andrea Vrusho

which translates into English as;

Here, on July 2nd 1943, the Italian Fascits brutally tortured to death the Berat District Party Secretary Kristaq Capo and the Young Communists Qemal Mysliu, Vildan Lurasi and Andrea Vrusho

Italian Fascist Barbarity - Tepelene - 03

Italian Fascist Barbarity – Tepelene – 03

One other thing that might be of interest is that the location of the image in the painting of Enver Hoxha, which ‘reappeared’ in the Tepelene Historical Museum a few years ago, is, more or less, on this very spot.

Enver Hoxha with the people of Tepelene

Enver Hoxha with the people of Tepelene

In Tepelene there seems to be an approach towards the socialist past which is a lot more positive than in some of the other towns in Albania. The museum is looked after, it’s staffed, clean and it’s open to the public. Some parts which had been closed in the past are being opened up and some exhibits being brought out of storage and placed on display – such as the magnificent maquette of the proposed (but never completed) lapidar at the Tepelene Martyrs’ Cemetery.

Also within the town itself there are a number of busts of Peoples Heroes, again cared for and in good condition.

So it would seem that in Tepelene we have a local government which has a respect for the past, especially the Anti-Fascist National Liberation War, and is prepared to spend time and money to maintain that past.

Italian Fascist Barbarity - Tepelene - 05

Italian Fascist Barbarity – Tepelene – 05

More on Albania

View of the world

Ukraine – what you’re not told