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The dordolec, the ‘evil eye’ and superstition in Albania

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Kukull to ward off the 'evil eye'

Kukull to ward off the ‘evil eye’

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The dordolec, the ‘evil eye’ and superstition in Albania

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.

No one who travels around Albania, especially in the part of the country south of Tirana but to a lesser extent all over the country, can avoid noticing scarecrows in places you don’t normally see them, e.g., on the top floor of an unfinished building. Or soft toys hanging from balconies, fences, fruit trees and vines.

This is all related to the ancient superstition of the ‘evil eye’ and the attempt by the superstitious to retain what they have. And the instrument that is used to provide protection is the dordolec, whose meaning in Albanian covers scarecrow, doll, or guy (as in Guy Fawkes). Traditionally this would have been a figure, in the shape of a human, made out of old clothes stuffed with straw, and many of these can be seen in your travels.

Dordolec in Delvine

Dordolec in Delvine

But there has been a reduction in what is necessary and anything that looks, sometimes only vaguely, like a human figure will suffice. This minimalist approach even goes down to just a shirt, arms outstretched and tied to a fence. However, new consumerism has been recruited into the 21st century version of this old superstition and you will often see soft toys (teddy bears, Smurfs, monkeys, etc.,) as well as blow up plastic toys of animals, Tele Tubbies or even Spiderman – one of the most surprising to me (on my first visit and before knowing what they symbolised) was a life-size version of Spiderman attached to the outside of an unfinished building. In Albanian kukull is the word for a store-bought soft toy and might be one of the words you hear if you ask the locals.

Kukull Smurf in Polican

Kukull Smurf in Polican

It’s on buildings, either in the process of construction or perhaps not occupied as they are up for sale, that you are most likely to see the dordolec. But not exclusively. When travelling by road this is the impression you get but once you walk around Albanian towns and villages you begin to understand that they’re more ubiquitous. A small soft toy might be hanging from a grape-vine or from a fruit tree, a citrus or perhaps an olive, or just near the entrance to a family home.

The idea of the dordolec is not to frighten away people as the scarecrow ‘frightens’ birds, it’s more complex than that. The idea is the passer-by ‘fixates’ on the dordolec and in that way doesn’t covet the property on which it’s attached, it’s there to prevent envy which might lead to someone taking action to acquire that particular piece of wealth. It’s there to help reinforce one of the strictures of the Ten Commandments, the one about coveting your neighbour’s house, wife, servants or ox.

However, there is no direct correlation between this superstition and religious beliefs. In Albania such beliefs can be found in all religious communities, Muslim, Orthodox or Catholic – in fact I encountered less examples of the dordolec in the north, in the area around Skhodër, where the Catholic Church is particularly strong. And knowing the intolerance of the Catholics I’m sure that they would have come down on such superstitions with an iron fist in Albania’s feudal past and would be very wary if signs of it were to return with the end of socialism and the openly atheistic state authority.

There are a couple of theories as to why this tradition has again become prevalent. One is the stratification that has developed since the early 1990s between the rich and the poor means that people have a greater fear of losing what they have. This was not an issue under Socialism when land was the property of all the people but this all changed when land was privatised. And now that the population is caught up in the mire of consumerism they might have more to ‘lose’. This is a bit like the way homes in Britain are increasingly becoming like fortresses whilst at the beginning of the 20th century many houses didn’t even have locks, merely a latchkey. In the UK people install expensive locks and security systems, in Albania a soft toy suffices, so I suppose they are using a cheaper option.

Another theory is that this ‘tradition’ has been imported from Greece, where many Albanians have been forced to go to in order to find work after the wholesale destruction of industry in their own country in the last 20 years or so. Greece is not a country I personally know very well so can’t compare the situation between the two countries. This theory has some credence when you consider that the scarecrows and toys are more in evidence in the southern part of the country, especially around the town of Saranda.

Ram's Horns and Garlic, Saranda

Ram’s Horns and Garlic, Saranda

Whatever the exact reason for such an upsurge it seems to fit into a society that is looking for something to protect itself from the hostile world outside. In the same way that there has been an explosion in the construction of religious buildings (although I never experienced hoards of people going into those buildings in the way I would have expected if there was a true religious revival – I seemed to be entering more churches that the general population) perhaps the dordolec is a belt and braces approach to (divine or pagan) protection.

The positioning of such effigies on property goes along with other manifestations of superstition. Travelling around the country you’ll see a number of people, surprising to me especially older men, who walk around with worry beads in their hand. As well as that garlic, animal skulls/horns and horseshoes will adorn working businesses, especially shops or restaurants. Bunches of garlic sit on the dashboard of cars and other vehicles and once I even noticed a dordolec with a string hanging from it which had both a horseshoe and a rope of garlic, so they were definitely bringing out the big guns at that place.

Religion in Albania

If you are interested in how beliefs in Albania currently manifest themselves you might like to click on these links for some other observations and comments:

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Sacred Heart Catholic Church in Tirana

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Tirana Catholic Church - The Last Supper

Tirana Catholic Church – The Last Supper

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Sacred Heart Catholic Church in Tirana

Sacred Heart Catholic Church in Tirana displays new and interesting murals to replace the frescoes of the past.

Part of Albania’s ‘Cultural Revolution’ in the late 1960s took the form of a concerted attack upon organised religion, whether it be Islam, Orthodox or Catholic Christian. Apart from declaring Albania to be the world’s first atheist state both the infrastructure and the personnel of the different religions underwent radical changes.

Many of the previous religious buildings were converted to general use becoming cinemas, gymnasiums or places that could be utilised by the population as a whole. A significant number of the priesthood were subject to arrest and imprisonment for conspiring against the Socialist state and even though these accusations were denied at the time, both within and without the country, the manner in which some of these individuals have been rehabilitated and lionised by the present reactionary government proves the justified claims of the People’s Republic of Albania.

Since the decision of the Albanian people in the 1990s to destroy everything that had been constructed since the defeat of Fascism in 1944 after they had; finished being robbed by con men with their ‘get rich quick’ pyramid schemes; stopped killing each other for no apparent reason; emigrated from their country in their millions; they turned their attention (for some inexplicable reason) to what appeared to be the most pressing need of the time, i.e., the building or restoration of hundreds of religious buildings.

Any visitor who travels even a short distance in Albania cannot avoid noticing the number of new churches and mosques in virtually every village, town and city. The total destruction of the economy during the madness of the 1990s meant that the resources to pay for this could not have come from within the country itself, even less from the so-called ‘faithful’ who barely had enough to feed themselves.

The resources for all this building programme came from the oil rich feudal monarchies of the middle east (for the mosques), the gangsters of the erstwhile Soviet Union (for the Orthodox churches) and that centuries old bastion of reaction in Rome (for the Catholic churches).

Much of this money has been put into ‘prestige’ projects. The Catholic Cathedral of St Paul and the very recently opened Orthodox Resurrection of Christ Cathedral (Katedralja Ngjallja e Krishti), both in Tirana, are cases in point. Not a lot of this wealth has filtered down to maintain some of the, older, much smaller and more modest, historically important buildings that were placed on a list of structures that were part of the country’s heritage. Even at the height of the atheist campaign more and more of these buildings were being identified and protected yet the present day religious state is ignoring these as they have a very low profile, for example, the two ancient Orthodox churches in Old Himara or the Panagia Monastery Church, Dhermi in the south of the country.

The mosques follow very much a formula in their construction, both inside and out, and the decoration avoids any depiction of people or animals. The Orthodox churches are also formulaic, but in different way, with the icons of the saints that dominate the interior. It is in the Catholic churches, which are in the minority, that you encounter interesting, post-Communist paintings that tell (at least for me) a much more interesting story, a story which cannot be separated from the socialist period.

I’ve already written about the paintings in the Franciscan Church in Skhoder, in the north of the country, here I want to write about a Catholic church in Tirana.

This is the Sacred Heart church (Kisha Zemra e Krishtit), run by the Jesuits, in Rruga Kavajës, less than a kilometre from Skënderbeg Square in the centre of the city. This is the road that you would go along if you were to take the public bus to Kombinat, where you find the city’s main cemetery and the present location of Enver Hoxha’s grave (he’s not been allowed a lot of peace since his death).

Previous frescoes were removed when the church was converted to a cinema in the late 1960s and new ones were completed in 1999 and the painter was Shpend Bengu (born 1962 in Tirana). The murals, although based upon traditional images seen in many Catholic churches throughout the world, have elements that are both interesting and slightly strange, if not to say unique, in Christian iconography. These murals are on either side of the altar.

On the left is a depiction of The Last Supper. This follows the ‘standard’ representations of this mythical event. Christ sits at the middle of the table and is the centre of attention. In front of him is a wine goblet and a chunk of bread – the origin of the Eucharist. The closest one to him, on his right, will be Peter. He has the typical short, curly (greying) hair and is the angry one – you can see he has his right fist tightly clenched. Fast asleep (has he drunk too much of the wine or is this a misreading of the event in the Gospels?) is John. The youngest, because he doesn’t have a beard, will be Philip or Thomas. The others could also possibly be recognised due to the tradition that has grown up over this image.

However, there are a couple of differences in this painting. Whilst all the others are concentrating on Christ one is looking into the distance, seemingly over our heads. Why? I don’t know and can’t even guess. We see the faces of 12 but there is one with his back to us – that is Judas. Traditionally he is depicted in a number of ways at the table. He is nearly always separate in some way, often looking away as if ashamed of what he has already done and is about to do. I’ve even see pictures where he has already left the table to carry out his dastardly deed of betrayal. Here he has his back to us.

Tirana Catholic Church - Judas

Tirana Catholic Church – Judas

That’s not uncommon and might come from the Byzantine tradition of not having an ‘evil’ person looking out of a painting as they could, possibly, corrupt the viewer. This would very much feed into the local Albanian idea of the ‘evil eye’ that I write about in the post about the ‘dordolec’ and superstition in general in present day Albania. What is also interesting about this Judas is that whilst the others are dressed in fine, brightly coloured robes, he wears what looks like an animal fur, something rough, yet again separating him from the rest of the Saints. And, of course, he doesn’t have a halo.

All the faces also appear as if they are of real people. Many Last Supper images are idealised yet in this painting you could very likely meet these people in a present day Albanian bar or cafe, a realism that is rare, Caravaggio being the model for this type of representation. And notice the noses, they are long and straight, just like Albanians today, especially in the north of the country – that becomes relevant a bit later

Tirana Catholic Church - Mary at the Crucifixion

Tirana Catholic Church – Mary at the Crucifixion

To the left of this painting there’s an image of the Crucifixion. This is very strange. Crouching at the base of the cross is Mary Magdalene. She is very often depicted with long flowing hair (often a redhead) and is also dressed in red. This encompasses the legend that she was a prostitute and the colour encourages thoughts of the ‘scarlet woman’ and it is also argued that this shows her love for Christ. But I’ve never seen a Mary wearing such a diaphanous cloak that she appears almost naked. Yes for nymphs of the forest – but not normally in a church. After all she’s supposed to be a ‘reformed’ prostitute.

Tirana Catholic Church - Mary Magdalene - detail

Tirana Catholic Church – Mary Magdalene – detail

On the other side of the altar is a painting of The Annunciation, when the Archangel Gabriel appeared before Mary to tell her she was to bare the son of God. This again follows the normal, traditional format, but not completely. Mary has been reading a book (how such a poor woman would have got the resources to possess such a valuable commodity 2,000 years ago and one produced on a printing press that wasn’t invented for another 1,450 or so years is never explained); Gabriel carries a lily – this represents both Mary’s virginity as well as the idea that this all happened in the Spring – yet I’m not sure if the lily is a native plant of Palestine; and flying above is the Holy Spirit, represented by a dove, this one with a surprisingly bright red beak and feet.

Tirana Catholic Church - The Annunciation

Tirana Catholic Church – The Annunciation

But this painting is different from the norm in one particular way – the Archangel Gabriel here is obviously a very young woman, almost a contemporary of Mary. Often Gabriel can appear androgynous, especially in Renaissance paintings, but here her long flowing hair and facial features are unmistakeably female. For me that’s definitely a first.

And as in The Last Supper these are real people, you could imagine passing such women in the street, there’s no separateness, nothing special about them that identifies them as different from mere mortals. Mary definitely looks surprised, as anyone would be if they were told they were to be having a child without having known any sexual relationship, let alone it being the son of God.

Again look at the noses. These are typical Albanian noses. Whereas, especially in the north, many Albanians have a classic Roman nose, long and straight, also reasonably common is the small, turned up nose that you see in this mural.

For a religious painting I find it quite charming.

More on Albania …..

War Memorial, Saranda, Albania

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Saranda War Memorial

Saranda War Memorial

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War Memorial, Saranda, Albania

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.

And there are many examples to prove this hypothesis.

I remember reading a letter written by Vladimir Illyich Lenin asking, in no uncertain terms, why Tsarist memorials and street names still existed in Petrograd (as Leningrad was then known, and not the Germanic St Petersburg as it is now called) less than a year after the October revolution – see Lenin Collected Works, Vol. 44, p105.

I have also seen pictures of the statue of Carlos III being transported to storage on a horse and cart. Carlos Bourbon stood in the Plaza del Sol in the centre of Madrid but was taken down during the time of the short-lived Republic in the 1930s. He was reinstated by the Fascist Franco and still stands there to this day in the time of the so-called ‘democratic monarchy’.

The Plaze del Sol is the traditional meeting place for working class and left-wing Madrileños and the square has witnessed many demonstrations and sits-ins as the people protest the ever worsening economic situation in which an increasing proportion of the Spanish population are having to live. But this is not a problem for the present Bourbon family and Carlos sits on his horse looking down his not insubstantial nose at the hoi polio below with contempt. The situation of the Spanish people will not improve until he is again taken away in another horse-drawn cart, in pieces, to be melted down and the present day Bourbons are taken in a similar cart for an appointment with Madam Guillotine.

One of the images that went around the world after the United States led invasion of Iraq was the toppling of Saddam Hussein’s statue in the centre of Baghdad. The Stars and Stripes flag that was originally covering Saddam’s face was quickly replaced by an Iraqi one (it wouldn’t do to give the impression that he was toppled by a foreign invasion force and not a ‘popular’ revolt) and the edited version is the only one that gets shown now. Imperialism has always re-written history.

In Britain the long-term sycophancy and obsequiousness of the British population is shown by the plethora of statues to different members of the monarchy and representatives of the ruling class that have oppressed and exploited the population over the centuries. To themselves and their struggles the working class have little to look to.

One of the finest is the monument to the ‘Heroes of the Engine Room’. This is on the Liverpool waterfront, just a few metres north of the Liver Building at the Pierhead. This was originally designed to commemorate the men who kept the lights working on the Titanic as it was sinking, having been sealed in to the engine room and with no possible chance of escape. It is still known locally as the ‘Titanic’ Monument, the name being changed to recognise that just over two years after the sinking of the Titanic hundreds of men died in the slaughter of the ‘Great War’ in similar circumstances. Britain is littered with statues and monuments to the incompetent and criminal generals who ‘master-minded’ that particular capitalist and imperialist enterprise but you’ll have to look far and wide to find any others to the ordinary workers turned warriors.

Monument to the Heroes of the Engine Room Liverpool

Monument to the Heroes of the Engine Room Liverpool

And following that conflict, again in Liverpool, there wasn’t enough money to pay for a permanent memorial to those who had died in the ‘war to end all wars’. They didn’t return to Britain to ‘homes fit for heroes’ and neither to a memorial to their dead comrades. Throughout the 1920s on Armistice Day (11th November) a rickety wooden construction was wheeled out on to St George’s Plateau in Lime Street, decked in red paper poppies for the short memorial ceremony. When there was a bit of money, collected in the main from ordinary working people, the city was provided with (to my mind) one of the finest – if not the finest – war memorial/cenotaph to found anywhere in Britain.

Liverpool Cenotaph Mourning Panel

Liverpool Cenotaph Mourning Panel

And that brings me to Albania.

During my visits to the country I have attempted to search out the monuments and memorials that were constructed in the period of socialism. Most have been neglected, many have been vandalised, some have been destroyed but many are still in existence and in their different ways tell the story of not only the past but the present in Albania. I will be illustrating and telling the story of those monuments in the future.

So the first one is the small, well maintained but almost hidden and not easy to find (if you don’t know where it is) war memorial in Saranda.

There were certainly memorials in the centre of the town but if they still exist I’ve yet to find them. The language problem (i.e., my inability to speak Albanian) means there are few people to ask and some that might know don’t necessarily pass on their knowledge. The construction that seeks to turn the place into a major tourist destination might have played a role, outright vandalism and reactionary elements would also have played their part.

When it comes to the war memorials I have difficulty in understanding why so many in Albania have been treated in the way they have. I believe the First World War to have been a disaster for the European working class but that doesn’t mean I advocate destruction of the war memorials that are in all but very few cities, towns and villages throughout the British Isles. I’d rather they had died fighting for themselves (as did the workers and peasants in what became known as the Soviet Union) but the lack of any anti-war, Communist leadership and the betrayal by the young Labour Party didn’t make any real and meaningful opposition to the war a viable proposition at the time.

So why have the Albanians allowed their history to be treated in such a shameful manner? More than 30,000 of their people died in the occupations by the Italian and German Fascists. The country’s economy was in pieces, thousands of homes had been destroyed and the isolation imposed upon the country by the victorious imperialist powers because they wanted their own independence meant that they had to build using mostly their own efforts – only the severely damaged Soviet Union coming to their aid.

I might find the answer on day, but I don’t have it yet.

But back to the Saranda memorial.

There are only two main routes out of Saranda (apart from the sea route to Corfu), the road to Butrint (the archaeological site dating back to the Greeks) and the Greek border or the road that leads to the rest of the country. It is by the side of this latter road you’ll find the memorial. The road rises steeply after leaving the coast heading up in the general direction of Lëkursi Castle. Once you get to the brow of the hill, with a view of the valley below and the mountains that you have to go over on the route to Gjirokastra to the north, the memorial is slightly above street level on the right, next to an ordinary house.

It’s a strange place for it to be and I’ve no idea if that is its original location or whether it’s been moved there in the last few years. The pillar looks as if it has been made of relatively modern materials, although the plaque with the names and the red star would be the originals.

This is the sort of modest war memorial can be seen all over the country, although some are difficult to find.

The inscription reads: Glory to the martyrs who fell in the liberation of Saranda on 9th October 1944.

‘Lavdi Deshmoreve’ (Glory to the martyrs) was the slogan that was ubiquitous during the time of Socialism, even being set in huge characters on top of the Palace of Culture (now the Opera House) in Skenderbeg Square in Tirana.

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