People’s Socialist Republic of Albania
Everything you want – or need – to know about Albania ….
…. or almost. If not already it is hoped in the not too distant future to be able to answer many questions people might have about the small Balkan country that has been the centre of conflict for centuries.
What follows are links to pages or posts that try to fill in the gaps of peoples’ knowledge of a country that was vilified for trying to maintain a real independence in the face of severe difficulties caught up, as it was, in the ideological struggle within the International Communist Movement which saw breaks first with the Union of Soviet Socialist Republics (USSR) in 1961 and the People’s Republic of China (PRC) in 1978.
The great Marxist-Leninist leader who led the Party and the country after liberation in November 1944 until his death in April 1985;
Nexhmije Xhuglini (Hoxha)
The overwhelming emphasis is upon the period from the beginning of the National Liberation War against fascism in 1942 to the success of the counter-revolution in 1990. Here you will find links to material that tells you about the;
Albanian history – publications from the Socialist Period of Albanian History (1944-90) providing details of the economy and society in the time of socialism.
History of the Party of Labour of Albania (the Marxist-Leninist Communist Party that led the Albanian people in the fight against the fascist invaders and then towards the construction of Socialism from 1944-1990)
Documents produced by the Party of Labour of Albania which give an idea of how the party saw the construction of socialism in an Albanian context as well as comments on the developments within the International Communist Movement
The Party of Labour of Albania against Russian, Yugoslav and Chinese Revisionism, a collection of articles taken from Albanian magazines from the 1970s and 1980s.
many (still unfortunately not all) of the issues of the monthly political and informative review Albania Today, from 1971 to 1990
various issues of the bi-monthly, large format, political, social and cultural illustrated periodical New Albania
views of Albania and its efforts to construct socialism whilst under great threat from the encircling capitalist, revisionist and imperialist countries from fraternal parties and friendship organisations in countries throughout the world
articles and speeches of (the later to be disgraced) Mehmet Shehu
and some of the writings of the last leader of the People’s Socialist Republic of Albania, Ramiz Alia.
The Party of Labour of Albania (Partia e Punës e Shqipërisë, PPSH)
The Party of Labour of Albania was the name chosen, in 1948, as the Revolutionary Communist, Marxist-Leninist Party to lead the country and its people in the construction of Socialism. The Party was founded as the Communist Party of Albania on 8th November 1941 and under that name led the country to victory in the National Liberation War against the invading Fascists, first the Italian and then the German Nazis.
… was a political and informative review produced bi-monthly from the first issue that appeared in November/December at the end of 1971 until everything hit the fan in 1990.
… was a political, social and cultural illustrated periodical appearing bi-monthly in Albanian, Chinese, Russian, French, English and Arabic. It started its publication in the early days of the Socialist Republic, in 1947, and was published until everything fell apart in Albania in 1991.
Documents related to the history of Albanian as well as those relating to issues of women, the trade unions, youth and culture, amongst others.
The Albanian Cultural Revolution
Theses drafted for discussion at the meeting of the Bureau of the Party Committee for the city of Tirana which, on March 21, 1958, was to take up with the consideration of the report ‘On the work for the education of intellectuals’.
The creation of a new culture, the spreading of it among the broad masses, the revolutionary ideological formation of the working people, is one of the most fundamental tasks of the construction of socialism and, at the same time, one of the greatest achievements following the people’s revolution.
The section below entitled ‘The further deepening of the ideological and cultural revolution’ comes from the Report of the Central Committee of the Party of Labour of Albania presented by Enver Hoxha at the Fifth Congress of the Party, held at the beginning of November 1966.
This article first appeared in New Albania, No 6 1977. It is being reproduced here in an effort to counter the false claim that Albania, during it’s period of Socialist construction, was a state that was purposely isolating itself from the rest of the world, as well as putting the concept into a contemporary context.
This speech of Enver Hoxha from 1965 is reproduced here as part of the collection of material from Albania that relates to the concept of a ‘cultural revolution’ – the struggle of ideas in the construction of Socialism.
Art as a means of promoting Socialism
All those countries that achieved a socialist revolution – and were led by parties that followed the Marxist-Leninist ideology (and for me there are only really four; the Union of Soviet Socialist Republics (USSR), the People’s Republic of China (PRC), the People’s Socialist Republic of Albania (PSRA) and the Socialist Republic of Vietnam (SRV)) – realised the importance of art as a propaganda tool to promote socialist ideals and to counter the propaganda of capitalism. Each country produced that art with their own national characteristics and that produced in Albania was particularly unique and extensive, covering many aspects of the plastic arts.
When I first visited Albania in November 2011 I hadn’t been there too long before I realised a number of things about the monuments that had been constructed during the socialist period (1944-1990). The first was that there were a lot of them – at that time I didn’t realise just how many. Secondly, that some of them were quite remarkable, and unique, examples of Socialist Realist Art and, thirdly, they were all in danger, whether it be through ignorance, simple neglect or vandalism – be it ‘official’ (as an expression of political hatred, as has already happened in a number of cases, such as the Five Heroes of Vig in Shkoder and more recently The Four Heroines in Mirdita) or ‘unofficial’ – some people destroy because they are themselves unable to create.
At present (September 2021) the ‘exhibition’ at the National Art Gallery in Tirana seems to be virtually everything that has been in storage over the last 30 years. But calling it an exhibition is a bit of a misnomer. The word exhibition gives the impression that a bit of thought and consideration had been put into the mounting and display of a collection of art. That is supposed to be the art of a curator – although that has been neglected in this case.
This was the most comprehensive survey ever carried out which documented as many as possible of the lapidars (monuments) that were still in existence at the time of the survey in March 2014. The survey recorded the physical state of the monuments (some badly damaged and neglected) and added any other pertinent information available – such as artists involved, date of inauguration, exact location using GPS technology, etc. – as well as creating an extensive photographic record of their condition at the time.
Following the survey three volumes were published, both in physical form as well as a downloadable pdf. Volume 1 contains a number of articles introducing the concept of the lapidars and their role within Albanian Socialist society. These articles appear in both Albanian and English. This volume also contains the information of the 659 lapidars that were recorded at the time. (A number of others have since been added.)
The lapidars here are listed in the order they appeared in the list of the ALS.
Located in central Tirana, commemorating the liberation of the city on 17th November 1944, the work of the sculptor Andrea Mano. The first of the sculptural lapidars, being installed in 1949.
As is described in Evolution of lapidars in Albania – part of the struggle of ideas along the road to Socialism the concept had a very humble beginning, often the simple marking of a grave of a fallen Partisan/s and as time, and prosperity, developed the grave taking on a focal point to celebrate important dates and the lapidar being made more elaborate over time. This story of the lapidars is shown in the short film ‘Lapidari’.
The representation of the last military action of Vojo Kushi, Sadik Stavaleci and Xhorxhi Martini in Albanian Socialist realism is an interesting one as it has been depicted in a number of formats so offers a (possibly) unique opportunity to compare how the event has been presented to the Albanian people, history and posterity. Although the sacrifice of the three is commemorated it is Vojo Kushi who is in the forefront of these representations, his last action of storming an Italian tank being an act of bravery that has transcended even the counter-revolution of the 1990s.
The National Martyrs’ Cemetery, Tirana, is the most important monument to those who fell in the struggle against Italian and German Fascism between 1939 and 1944. It’s also the location of one of the largest examples of Socialist Realist sculpture in the country – Mother Albania.
Located in Tirana Park, not far from the post-Socialist monuments that celebrate the German Fascist dead as well as those of the British imperialists.
A statue of a young male Partisan and a vilklage woman who is providing him with refreshment. It is the work of the sculptor Hektor Dule and is located in Tirana Park.
Although the plan is to attempt to record all the monuments from the socialist period in Albania’s history there are, and will be, occasions when I will have arrived too late. Either the ‘democrats’ (a mixture of monarchists and neo-fascists) have got there first and destroyed the works of Socialist Realist art as it represents all that they despise and fear – such as any of the statues of Enver Hoxha – or those lumpen elements who see only scrap value in a piece of metal – that has led to the damage to the statue of the Five Heroes of Vig in the northern city of Shkodër. Destruction and vandalism has been the fate of the Monument to the Artillery in the hills to the south of Tirana, close to the town of Sauk.
Looking like a cross between a pistol and a huge road sign, the Monument to Heroic Peze sits at the junction to the village of Peze, along the old road between Tirana and Durres. This huge block of concrete, in its imagery and words, tells the story of the important role that this small village played in the war against fascist occupation (both Italian and German), the formation of the National Liberation Front and the concept of People’s Power.
The Conference of Peze, which took place in September 1942, was only possible as the Peze Çeta (Partisan Guerrilla Group) was so feared by the fascist invaders that they could provide a safe environment to enable the discussions on the formation of a National Liberation Front to take place. This was in a location only 20 kilometres from the capital of Albania, Tirana. As the war developed the organisational structure of the People’s Army changed and became more organised. After final liberation the efforts of these men and women started to be recognised throughout the country and hence the Monument to the 22nd ‘Shock’ Brigade.
The third major monument in the Peze Conference Memorial Park is the cemetery to those from Peze who fell during the anti-Fascist war of Independence. The Peze War Memorial is a short distance from the main area of the park and you could be excused for not knowing it’s there.
The Peze Conference on 16th September 1942 was important in establishing the organisational structure for the forthcoming struggle for liberation against the Fascist invaders, first the Italian and then, when Italy fell to the Allies, the Germans. This important meeting took place in the home of Myslym Peza who had a large house and land on the edge of the small village of Peze, about 20 kilometres south-west from Tirana and this is now the location of the Peze Memorial Park.
All the major towns in Albania will have a Martyrs’ Cemetery and the one for Elbasan is towards the east of the town centre. When it was constructed it probably would have been very much in the countryside, the built-up area around it now seems to be relatively recent, within the the last 20 years or so.
I must admit I have a little bit of a difficulty in working out exactly what the shape of this monument is supposed to represent. It’s like a huge belt or a ribbon.
Like many of its kind in Albania the Librazhd Martyrs’ Cemetery sits on a high location over the town. This is both to give due reverence to those who gave their lives in the National Liberation War as well as to reflect that the war itself was very much one that was won and (for the Fascists) lost in the mountains.
There are some of the lapidars in Albania that can truly be called monumental in all meanings of the word. One of these is the massive and impressive Arch of Drashovice and another is the Qukës-Pishkash Star, to the side of the road from Librazhd to Përrenjas, just opposite one of the impressive viaducts of the, now, sadly neglected Albanian railway system. The sheer scale of the star can be appreciated when you look at the picture above which includes the team who catalogued the Albanian lapidars in the summer of 2014.
A statue of three Partisans, two men and a woman, who stand shoulder to shoulder in front of the recently re-opened Martyrs’ Museum.
As is the case in many towns and villages in the UK (and also in Western Europe) where it’s common to come across a war memorial (originally for the war of 1914-18/9, the ‘War to end all wars’ but which became only Part 1) this is also the case in Albania. At the time of the National Liberation War from 1939-44 the population of the country was a little more than a million and so it’s no surprise that the ‘Martyrs’ (as they are known in Albania) came from even the smallest places. Progër is no different in that case. What makes the village different is the substantial lapidar commemorating the First Communist Party Cells. This small village, off the main road, also has a Monument to the First School and a Martyrs’ Lapidar.
The majority of the lapidars throughout Albania celebrate the events of the National War of Liberation and those who fought and died in that struggle. Others celebrate and commemorate events in the period of the construction of Socialism but there are few (probably a surprise to many) that are specifically devoted to the Communist Party of Albania (later the Party of Labour of Albania). One such – I only know of one other and that’s on the facade of the museum in Ersekë – is to the First Party Cell of the PKSH in the small village of Progër, close to Billisht and Korçë, not far from the border with Greece in the south-east of the country.
This lapidar consists of a bronze statue, half body, starting just below the waist, around about twice life size. The statue stands on a plinth, which is about one and half metres high. This plinth and statue are part of a general structure, the background of which is a huge, stylised flag – the dimensions of the backdrop are (very roughly) 4 metres high, 3 metres wide and ¾ metre deep. All the stonework will have a base of concrete and is faced with slabs of white-ish marble.
Many of the martyrs’ cemeteries in Albania are situated on hills above the towns and villages and this is certainly the case with the Martyrs’ Cemetery, Korçë, where the highest point is a fair hike from the centre of the town below. However, it’s worth the effort as, on a clear day, you have a fine view of the town, the fertile valley below and the mountains to the west as well as a fine example of Socialist Realist Art.
Being the main port of invasion by the Italian Fascists on 7th April 1939 it’s not a surprise that in commemoration of that event, and especially the resistance that was shown by a significant proportion of the population (but not the self-proclaimed ‘King’ Zog who ran away as soon as the Italian ships came into sight) that there are a few monuments to this, constructed in the Socialist period. One is to the individual sacrifice of Mujo Ulqinaku (that used to stand close by the Venetian tower at the bottom end of town) and the other is to the general principle of ‘Resistance’ in Durrës, which is located right next to the waterfront and very likely one of the places the Italian fascists would have landed.
The first shots in Albania’s National Liberation War (although it wasn’t called that at the time) were fired on 7th April 1939 when the Italian Fascist forces invaded the port city of Durrës (as well as other locations along the coast). For years the country, ruled by the self-proclaimed ‘King’ Zog I (even before he was dead he was planning a dynasty!) had been a puppet state of the Italian Fascists and when the invasion did take place no official structure was in existence to defy the invaders. It was therefore left to brave individuals, such as Mujo Ulqinaku, to take up the banner of resistance. His sacrifice is commemorated by a monument close to the coast where the invasion took place.
The overwhelming number of Socialist Realist monuments in Albania are constructed from either concrete or bronze. However, there are occasional variations from this norm and there are a few mosaics (though not on the massive scale of ‘The Albanians’ on the National History Museum in Tirana) including those in Bestrove, Llogara National Park and at the Durrës War Memorial.
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.
Shoket – Comrades – was one of the early sculptures to be placed in the Martyrs’ Cemeteries throughout Albania, a simple monolith (lapidar) being the most common form of monument. It is the work of Odhise Paskali and was inaugurated in 1964, the same time as the monument to the Permet Congress was unveiled in the main square of the town.
The statue of a Partisan and Child, just beside the main road passing through the small village of Borove in the south-east of the country, is one of the most charming of Albanian monuments but its charm obscures a much darker story. That story is less obvious now than it was in 1968 when it was created, in a different location and part of a bigger tableau.
Time hasn’t been too kind to the lapidar to the Seventh Assault Brigade which is situated beside the main road between Fier and Berat in an place called Sqepur. It’s at the top of a hill and is relatively exposed to the elements and this has taken it’s toll on the plaster work.
Many of the Martyrs’ Cemeteries throughout Albania are situated on hills, sometimes quite high hills, in the vicinity of the cities and towns. This is the case with the Fier Martyrs’ Cemetery which, when it was constructed, would have been clearly seen from the centre of the town, the area around Sheshi Pavarësia (Independence Square) and the Bashkia (Town Hall). Up to the 1990s the buildings weren’t that tall but subsequent construction of high-rise flats has meant that you don’t really see the cemetery until you’re almost upon it.
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.
There are a lot of mountains in Albania and they played a role in the success of the Communist led Partisan çeta (guerrilla groups) in defeating first Italian and then German Fascism. For that reason most of the Martyrs’ Cemeteries in Albania tend to be high above towns, in the surrounding hills, as is the case in Tirana. On my first visit to Gjirokaster I was, therefore, scanning the hills above the old town looking for the tell-tale signs of a white lapidar indicating the location of the cemetery.
Many of the lapidars in different parts of Albania have suffered from vandalism and neglect. This is sad as it is displays a lack of respect of the Albanians for their heritage. Those with a particular Socialist message have suffered the most, attacked by the monarcho-fascists when the country was going through a period of anarchy in the late 1990s. Caught up in this denial of the past are also some of the monuments dedicated to the country’s ancient ‘national hero’, Skenderbreu, and a bas-relief called ‘Skenderbeu’s Wars’ the ‘stone city’ of Gjirokaster has likewise being ignored and allowed to fall into decline.
There’s a unique lapidar in Gjirokaster, in southern Albania, which was erected to commemorate the struggle for education in the Albanian language when the country was occupied by the Ottoman Empire. This monument to education is an obelisk in the shape of a stylised scroll, or a certificate rolled up, upon which are carved images depicting the struggles of the past as well as the intentions for the future. Its official name is ‘Obelisku kushtuar pionierëve të arsimit shqip’ (‘Obelisk dedicated to the pioneers of education in [the] Albanian [language]’.)
This article was first published in New Albania, No 4, 1977. It addresses the somewhat complex issue of the origin of the Albanian people and the roots of the Albanian language – a language very different from all others in the surrounding area. It is included here to give some background to the obelisk to this topic in Gjirokastra, ALS 395 above.
Most of the monuments in Albania are not complex works of sculpture. Many are simple columns, with inscriptions, some of those being quite small. These are known as ‘Lapidars’ in Albania. (‘Lapidar’ doesn’t have a direct translation into English although ‘monolith’ is a possibility – and might even have a German root.) In between the monumental and the columns are stand alone statues and structures and the Partisan Memorial – Gjirokastra, is one of those.
Through its monuments and memorials you can tell a lot about a country, its history, its heroes, its respect for itself, the class relationships, the political balance of power, even the state of the economy.
The monument at Dema (Manastir), just outside of Saranda in southern Albania, to those who died in the war of liberation against Fascism returns to something close to its original condition.
A number of Martyrs’ Cemeteries have a single female partisan as the principal statue, Fier and Lushnje are two that immediately come to mind. This was also chosen as the case in Sarandë’s Martyrs’ Cemetery.
A journey along the valley of the Shushicë River is interesting under any circumstances, the road is rough in places (most places) but the view of the mountains and the countryside is astounding and makes the effort worth it. When you add the Arch of Drashovice 1920-1943 it’s almost an obligation.
The magnificent Arch of Drashovice is such an amazing structure with so much to tell us that I’m breaking the description up into three parts. This is the second and addresses the images relating to the battle in 1920 against the Italian invaders, a battle (and war) fought by an irregular army of peasants, workers and intellectuals against a heavily armed imperialist force.
If victory was only temporary in 1920 (due to the betrayal by the despot and usurper ‘King’ Zog) the success in 1943 led to a situation where, really for the first time in Albania, the people had the opportunity to build a life and a country for themselves, by themselves. With the expulsion of the Nazis at the end of November 1944 the country gained true independence and it was then for the people to take their own destiny into their hands. No longer could they put the blame on others. The battles that took place in September and October 1943, and which are depicted on the Arch of Drashovice, played a major role in that final victory.
Mosaics play a small part in the history of Albanian lapidars but when they do appear they do so in an impressive and memorable manner. Although not strictly a lapidar the most impressive is the huge the ‘Albanian’ mosaic on the facade of the National Historical Museum in Tirana. Also interesting and worth a visit is the mosaic in the Martyrs’ Cemetery of Durrës. Each of these have their distinctive aspects and the mosaic, near the village of Bestrovë close to Vlorë, is another unique monument in its own right.
In the last days of the fight for the National Liberation of Albania by the Communist led Partisan army a crucial battle took place along the road from Elbasan to Tirana, south-east of the capital. To commemorate this battle the Mushqete Monument was erected at Berzhite.
This article first appeared in New Albania, No 4, 1976. It is reproduced here to give more information about this crucial battle against Hitlerite Fascism in the final days of the National Liberation War – and only a matter of days before the liberation of Tirana and the effective end of hostilities in Albania.
The early Albanian lapidars were relatively simple affairs, uncomplicated memorials to those who had died in the National Liberation War against Fascism and for Socialism. Come the Albanian ‘Cultural Revolution’ – starting in the late 1960s – the intention was to use such monuments in a much more educational manner as well as establishing a distinctive Albanian identity. This meant that artists who had been educated and trained under the Socialist regime were encouraged to depict events and memorials in a much more figurative manner. Examples of this approach are seen in the Musqheta monument in Berzhite and in the Peze War Memorial. As the Cultural Revolution moved into the 1980s a new approach developed. This was one where the monument told a story which had developed over time, showing a continuum of the struggle. This is seen, in a truly monumental manner on the Drashovice Arch (close to Vlora) and in the Albanians Mosaic on the façade of the National History Museum in Tirana but also on the more modest, at least in size, bas-relief and statue in the north-eastern town of Bajam Curri – although it also presents some new questions of the meaning of Socialist art.
Celebrating solidarity and the willingness towards self-sacrifice in the common cause the statue of the Five Heroes of Vig once stood in one of the central squares of Skhodër, in northern Albania. After a period ‘out in the wilderness’ – close to the city rubbish dump and subject to crass, petty thievery it has now found a new permanent home in the centre of a roundabout to the north of the city.
As time went by that search for, and recording of, the Albanian lapidars grew into a more general search and recording of other artistic works in the public domain. This included mosaics, bas-reliefs and group statues. On top of that were the works of art in the (few) remaining museums and art galleries.
Mosaics and bas reliefs
In order that the ALS didn’t become open ended many public works of art that had been created during the Socialist period (1944-1990) were not recorded. However, in my travels I have encountered many of these and have treated them in the same, hopefully, thorough manner as I have the ‘official’ lapidars.
‘The Albanians’ mosaic on National Historical Museum, Tirana, is one of the finest examples of late Albanian Socialist Realism still to be seen in the country.
The wonderful and impressive ‘The Albanians’ Mosaic, which has looked down on Skenderbeu Square, in the centre of Tirana, from above the entrance of the National Historical Museum since 1982, is starting to show it’s age. Less it’s age, in fact, but really the signs of intentional neglect which is tantamount to an act of political vandalism.
For the second time in less than a decade the facade of the National Historical Museum in Tirana is obscured by scaffolding and sheeting. As on the previous occasion (in 2012) the reason is, supposedly, for the renovation of the ‘The Albanians’, the huge mosaic that celebrates and commemorates the struggle for independence through the ages, the victory over Fascism and the construction of Socialism.
Although they are being neglected, and sometimes need dedication and determination to view them, there are still a number of artistic works from the Socialist period on many of what would have been public buildings. The most impressive (and becoming one of the most neglected) is the grand mosaic on the facade of the National Historical Museum in Tirana. Another example, which can easily be missed, is the bas-relief on both the north and south sides of the Palace of Sport in the town of Vlora. Even more easily missed are the two interior mosaics on either side of what would have been, in the past, the main entrance to this sports centre.
The more I see of them the more I like the mosaics that were created in the Socialist period of Albania’s history. In many ways they capture a feeling of optimism and hope for the future which other art forms just can’t achieve. Yes, paintings can do that but the very scale of mosaics, out in the public view all the time, just seems more immediate. Mosaics have been around for a long time but in the past representing non-existent, mythical goods or the ‘rich and famous’. Those created in Albania in the 1970s and 1980s put the working class and peasantry into the forefront, showing that their lives are important and, if they but know it and chose to take on the task, that a better future will be theirs. Such is the mosaic on the façade of the Bashkia (Town Hall) of Ura Vajguror, between Berat and Kucove, in the centre of the country.
Socialist Albania was a colourful place in its time. Banners would decorate cities on anniversaries of important occasions, such as the Day of Liberation from Fascism, and when conferences and congresses were taking place banners and posters would celebrate these events. Slogans, often quotes from Marxist-Leninist leaders, would call upon the people to work to build Socialism in opposition to a hostile world surrounding the small Balkan country. Many of these symbols of the building of a new society were temporary and would be replaced when another anniversary arose or a different meeting was taking place. However, there were a number of more permanent works of art transmitting this message and one of them is the bas-relief over the main entrance to the local Kukesi Radio Station in the eastern town of Kukes.
There are more than six hundred lapidars so far listed by the Albanian Lapidar Survey but they are not the only examples of Socialist Realist Art that tell the story of the country, especially after Independence in 1944. Although a considerable number of lapidars are in a sorry state, whether due to neglect or outright political vandalism, there seems to be a move, at present, to ‘preserve’ those which are still in existence. However, I’m not aware of a similar programme (whether nationally or locally organised) that pays attention to the many statues, mosaics and panels that celebrate the achievements of the people. The panel to the miners in the small village of Krrabë is one such example.
The work of the Albanian Lapidar Survey, in documenting and quantifying the monuments throughout the country, has produced an invaluable resource for those who have an interest in the Albanian version of Socialist Realism. However, due to time, resources and the difficulty of identifying the vast amount of examples of a new form of popular expression (made even more difficult with the criminal destruction of the archives of the Albanian League of Writers and Artists) many unique pieces of art were not part of the survey. The concrete bas-relief on the facade of the (former ‘Stamles’) Tobacco Factory, close to the seafront in Durrës, was, therefore, one of those not documented and now it has gone (unless someone with foresight was able to save it) forever.
This small relief, at the bottom of the stairs into a high school in the old part of Gjirokastra, commemorates an event in 1942 when the local students from the gymnasium (college), together with their teachers, demonstrated against, and clashed with, the occupying Italian fascist forces.
Paintings, murals and sculptures
As with the mosaics and bas reliefs there are still many other examples of Socialist Realist art which it is possible to appreciate throughout the country. Sometimes they are on permanent show as they are out in the open air, others are in museums and art galleries. Many of these public areas of exhibition were vandalised post 1990 but there seems to be a trend, slow and often partial, to renovate some of these old exhibition spaces and to show what had been shown in pride of place in the past.
There are also a few reprints of articles published during the Socialist period. These have been reproduced in an attempt to give a wider view of the role of art in a Socialist society.
This article first appeared in issue No 6, 1969 of the bi-monthly magazine New Albania which reported on the biennial exhibition of Figurative Art that was held in the National Art Gallery in Tirana earlier in the year.
The article below was first published in New Albania, No 6, 1971. It discusses the general idea of art in a socialist society, how the Albanians saw ‘Socialist Realism’ with mention of a handful of works (out of 180) that were displayed at the National Exhibition of Figurative Arts in Tirana in the autumn of 1971.
This article first appeared in New Albania, No 6, 1976. The bi-annual Figurative Arts Competition and Exhibition seemed to have been postponed from 1975 and instead took place in 1976 to coincide with the 35th Anniversary of the Founding of the Party of Labour of Albania.
There’s a perception by some (normally the ignorant and anti-socialist) that any work of art created during the construction of Socialism is necessarily ‘Socialist Realist’ art. They don’t understand, or refuse to accept, that the construction of Socialism is a long task. When it comes to art this involves asking the people to challenge their view of what is going around them and to look at artistic works in a critical and thoughtful manner and that this involves the unmasking of the hidden messages in a painting, sculpture, film or any other creative endeavour. One such work that needs to be seen in this light is the Wedding Mural which covers one of the walls of the Korabi restaurant in the hotel of that name in the town of Peshkopia.
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.
Each time I’ve been to Tirana I’ve made it a point to visit the impromptu ‘sculpture park’ that has been created behind the National Art Gallery, just down from the main Skanderbreu Square in the centre of Tirana.
No, Vladimir Ilyich and Uncle Joe, you shall not go to the ball seems to be the message given out by the pro-Western government in Albania. Vladimir Ilyich Lenin and Joseph Stalin are covered up by the Albanian reactionaries in an attempt to prevent them from spoiling their Independence party at the end of the month.
The ‘Sculpture Park’ behind the National Art Gallery in Tirana, has a new resident. Well, not so much a new resident but one who has been there for a few years but it is only recently that the authorities at the Art Gallery have decided to, literally, take off the wraps and reveal his presence to the world. The new resident is none other than Enver Hoxha, up to his death in 1985, First Secretary of the Party of Labour of Albania, Chairman of the Democratic Front of Albania and Commander-in-Chief of the Armed Forces.
This post will consist of images of the paintings (and a few sculptures) from the Socialist period of Albania’s past. The first floor of the National Art Gallery is almost now solely (with one notable exception, which I’ll come to later) devoted to the period before 1990 when things fell apart.
There are fine examples of Socialist Realism in the Armaments Museum in the Castle in Gjirokastra, but you might have to ask to go upstairs to enter this older part of the museum – especially out of the summer season. ‘Mother Albania Expelling The Priest and The Military’ is one such sculpture.
Originally my project to describe, in detail, the magnificent examples of Socialist Realist Art that are embodied in some of the lapidars throughout the country has now expanded as I’ve encountered other incidences of the unique manner used in Albania in its attempt to impart the message of Socialism. Whereas some of these are truly monumental in all senses of the word, such as the Drashovice Arch, many others are, if not actually hidden, difficult to find unless you are looking for them or, as in this case, are directed towards it by a knowledgeable local. The emblem over what used to be the Headquarters of the Party of Labour of Albania, in the mountain town of Peshkopia in the north-east of the country, is one such example.
Many monuments, statues and lapidars from Albania’s Socialist period have suffered over the years, through outright political vandalism or just neglect. However, there has been a bit of a sea change in recent years but this has not come without its own problems. Here I want to develop the ideas of Albanian Socialist Realist art by looking at two works produced to commemorate the life of a young partisan woman, Liri Gero, and also a work in commemoration of 68 young women who also left their home town of Fier to join the partisans fighting the Fascist invaders.
Tucked away at the top end of Sheshi Çerçiz Topulli (Square) in the old part of Gjirokastra is a small statue which you could easily miss. Next to the potted plants in front of the Tourist Information Office is a white stone statue, of the upper body, of two women. This is a representation of Bule Naipi and Persefoni Kokëdhima who were executed by the German Nazis in 1944. From that time they became known as the Hanged Women of Gjirokastra.
Although there are many monuments and statues that are overtly political, in that they commemorate events or people involved in national liberation struggles (whether that be against the Ottoman Empire or the Italian and German Fascists of World War Two) other aspects of Albanian life are also represented in various locations throughout the country. As Gjirokastra, in the Socialist period, had become the centre for periodic folklore festivals it’s not surprising to find a frieze depicting traditional musicians and dancers located there.
…. although he probably never left, just ‘hiding’ for a while.
Almost thirty five years after his death and thirty years since the reaction was able to gain control in Albania it is very difficult to come across public images of Enver Hoxha, the leader of the country for just over forty years. In the 1990s the reactionaries needed to personalise any difficulties in the country and someone who had been dead for five years was an ideal candidate – even to the extent that Comrade Hoxha was considered responsible for events that had happened after his death. So he had to disappear from view.
Museums and Art Galleries
Most towns of any size (and a number of smaller villages) during Albania’s Socialist period would have had a small museum telling the story of the Anti-Fascist National Liberation War. Often, though not always, these could be found as part of the Martyrs’ Cemetery but at other times they would be closer to the town centre. The Tepelene Historical Museum is one of those which stands alone.
Albanian Socialist Literature
As of this time this is a very thin section. The hope is to include other examples in due course.
It wasn’t just in the plastic arts that Socialist Realism had a role to play in the construction of Socialism. Putting the role of the working class and peasantry in the forefront of all that happened in society, in the post, present and future, was also a task of writers of short stories and novels. For those interested in this aspect of Albania’s road to Socialism the various foreign language publications (especially the large format, monthly colour magazine, New Albania) provided translations from the Albanian language in English, Russian, French, Chinese and Arabic. The story below appeared in New Albania, 1971, No 6.
This particular short story also has a direct relevance to the sculptural lapidars of Albania. It’s a story about the events of July 6th 1943 when the Nazi invaders murdered all the inhabitants of the small village of Borova (in the south-east of the country) who weren’t able to escape and then burnt everything of use within the village. This short story was first published in New Albania No 5, 1976.
Albanian folklore – music and dance
This is also, presently, a thin section. More will be added as material becomes available.
The article below, written by R Sokoli, first appeared in issue No 5, 1971 of the magazine New Albania. It is reproduced here (slightly edited) to aid a greater understanding of some of the works of art that were produced during the Socialist period (1944-1990) of Albania’s past. Although folklore hasn’t been totally abandoned in the present-day capitalist Albania traditional dress and culture don’t hold the same important role in Albanian society as in the past.
Post Socialist Albania
The counter-revolution in the 1990s destroyed virtually all the industry and seriously damaged the rail infrastructure. What ‘modern-day’ capitalist Albania produces, in spades, is religious buildings of all denominations – Orthodox Christian, Roman Catholic and Islam. But what I find interesting in some of the paintings that line of the walls of these religious spaces, in particular the Roman Catholic variety, is the artistic link it has with the style of socialist realism.
A photograph of a painting in the Gjirokaster Castle Museum gave rise to some thoughts about religion.
Religion is interesting in Albania. Travelling around you can’t help but notice the new mosques and churches (both Catholic and Greek Orthodox) that are appearing everywhere. Whether there’s a real need for so many is debatable, I’ve hardly seen any evidence of what could be called a ‘religious revival’. However, the Catholic Church, in particular, is on the offensive and that can best be seen with the anti-Communist paintings in the Franciscan Church in Shkodër.
There doesn’t seem to be any money to improve the infrastructure in Albania but plenty for building churches and the new Resurrection of Christ Greek Orthodox Cathedral in Tirana has taken a big chunk of that budget.
Sacred Heart Catholic Church in Tirana displays new and interesting murals to replace the frescoes of the past.
The rear wall of the Panagia Monastery Church – Mother of Christ – in Dhërmi, Himara province, southern Albania, warns sinners of what’s in store for them if they don’t repent.
And if the obscurantism of the three religious denominations isn’t enough, the Albanians have good back to ancient superstitions as well – perhaps hedging their bets.
You think that when someone buys a soft toy or a blow up Tele Tubbie it’s destined for a baby or a young child. In Albania it could well be for another purpose. This is all part of the ‘tradition’ of the dordolec, the ‘evil eye’ and superstition in Albania.
Post-revolutionary points of interest
All post-Communist societies have a problem when it comes to history. The ruling capitalist and imperialist lackeys don’t want to remind the people of the time of Socialist construction – they might wonder why they ditched the socialist past in favour of the capitalist present which offers them little hope – unless you are one of those ‘lucky’ enough to have your snout in the corruption trough. That dilemma has resulted in a number of ‘interesting’ items about which I have written.
The ‘democratic’ government of Albania embraces the country’s reactionary, feudal and fascist past in a ceremony marking the return of the remains of Ahmet Zogu.
A German fascist memorial in a country where more than 30,000 died in the struggle to liberate themselves from the scourge that was devastating Europe.
On Sunday 11th November 2012 the British Embassy organised a Remembrance service at the English Cemetery in Tirana Park, behind the State University, in the centre of the city. There were few people in attendance, as the English community in Tirana is relatively small, but included the British Ambassador and the Prime Minister of Albania, Sali Berisha.
Some building developers rub someone in authority up the wrong way and they find their building plans didn’t go quite as they expected.
What does Independence mean in Albania today?
Any visitor to the country will soon become aware of the schizophrenic approach the people and government have towards the idea of ‘independence’. Images of the 15th century national hero Skenderberg are everywhere. November 28th is still a national holiday as it celebrates independence from the Ottoman Empire. November 29th – which is the day of the liberation of the country from the fascists in 1944 – is not. Yet NATO troops and vehicles are more evident than the national army and the government does nothing of note unless it gets the green light from external capitalist masters. And like many others throughout Europe who call for ‘independence’ – such as the Catalans, the Basques, the Scots, the Welsh and the Irish – Albania begs to become a member of the European Union. I find that a bit of a contradiction but these ‘nationalist’ groups don’t. For the ordinary Albanian they see membership as a lifeline and a means of getting an improved infrastructure, for those in real control it’s an opportunity to get their noses into the trough.
Today, the 28th November, Albania celebrates the 100th Anniversary of it independence from the Ottoman Empire in 1912. The streets and buildings throughout the country are festooned with red bunting and representations of the black, double-headed eagle but how independent is Albania really?
For such a small country, in terms of geographic size and population – yet big in the sense of having taken on the challenge of the building of revolutionary socialism – Albania has two days on which it celebrates its independence. The first was from the Ottoman Empire on 28th November 1912 but by far the most important and significant is that of the 29th November 1944 – the date of true independence for Albania.
Foreign interference in Albania’s internal affairs
I have also, briefly, looked at efforts of capitalist nations (principally the United Kingdom) to undermine the construction of Socialism in Albania after the ending of World War II (the National Liberation War for the Albanians).
After liberating their country from the fascists Albanians were under continual external pressure from hostile government forces. At this time Albanian-British Relationships were at an all-time low. In not bowing down to this the Albanians were criticised for being ‘isolationist’ and ‘xenophobic’ whereas their actions were more a matter of survival.
Politics and ideology within International Communist Movement
Although a small country in the ‘socialist camp’ – when such an entity existed – the Albanian Party of Labour, and its leader Enver Hoxha, played a major part in the struggle against revisionism within the International Communist Movement. How this was fought out can be seen in the writings of Comrade Hoxha himself and it the material produced by the Party throughout its existence.
In July 1978 the Party of Labour of Albania published (in an open and public forum, that is, as a supplement to the July/August, No 4, edition of Albania Today) a letter which the Party had sent to the Central Committee of the Communist Party of China. This letter was promoted by the sudden – though not totally unexpected – move of the Chinese to remove all support, materially, financially as well as personnel, from Albania, a country which, up to that time, had held the closest fraternal links with the much bigger Party, country and people.
Travelling in Albania
A number of posts provide some information for those travelling around various parts of the country. This includes information on transport as well as a number of specific locations.
Tirana International Airport is officially known as Nënë Tereza but is still referred to locally as Rinas, the name of the nearest village.
One of the best ways into Albania is via the ferry from Corfu to Saranda in southern Albania. What follows is the practical information of what you need to know to make that process easy and – hopefully – trouble free.
One of the joys of travelling is the unexpected. Well, I suppose, many people have come across a form of the unexpected they would rather not have experienced but those unpleasant situations can happen in your own country. The unexpected that I’m talking about is the experience when something happens, something changes, something develops in a manner that was totally unforeseen at the beginning, but all ends up well.
At one time a quiet port in the south of the country, the Albanian town of Saranda gets the Benidorm treatment.
Two attempts at the walk between Valbona and Thethi in north-eastern Albania and still don’t make it. The reasons why not and perhaps the reasons why the next time.
I’ve done the Amazon, the Yukon and the Zambesi but you have to go a long way to beat the beauty and splendour of the Lake Komani ferry journey from the hydro-electric dam at Koman to the port of Fierza, on the way to the town of Bajram Curri – and it lasts for less than three hours.
An archaeological site that goes back almost 2500 years, Butrint has the imprint of both the Greek and Roman civilisations. Important for its location to both those cultures it was also pivotal under Venetian rule, its decline only really beginning after it fell to Napoleon’s armies at the end of the 18th century.
Syri I Kaltër, the Blue Eye is one of the natural attractions in the Saranda area in southern Albania, especially if you are not interested in the beach or are looking for a change. A visit here can also be put together with a day trip to Gjirokastra from Saranda.
After his death on 11th April 1985 Enver Hoxha was buried next to the Mother Albania statue in the Martyr’s Cemetery overlooking Tirana. However, the counter-revolution that took place in 1990 allowed his political enemies to take their revenge by denying him a place of honour in the country’s history and he was reburied in the main public cemetery of the city.
However, there has been one significant change at the cemetery since my last visit. Nexhmije, Enver’s wife and comrade in arms, one of the first members of the Albanian Communist Party (later to be re-named as the Party of Labour of Albania), and Partisan fighter during the National Anti-Fascist Liberation War, died on the 26th February 2020 and she now lies next to Enver. The cemetery was full when Enver was moved there so someone must have been moved to allow for Nexhmije to lie alongside the great Albanian leader.
– with, hopefully, some practical information (including surviving the first couple of hours or so) and some observations.