Resistance – Monument to the struggle against Fascist invasion in Durres

Posted on 14/09/2017 by Michael

Resistance – Durres

Resistance – Monument to the struggle against Fascist invasion in Durres

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.

But in 2017 the population of Durrës doesn’t have much respect for Resistance to any foreign invasion. In fact the more foreign goods, foreign fast food and foreign culture they can access the better. In some senses more of a necessity than a wish as they have overseen the wholesale destruction of any industry which might provide them with the basic necessities of life. And, of course, how can anyone possibly survive without the internationally recognised destroyer of teeth and promoter of obesity, the obnoxious fluid sold under the name of Coca Cola?

But back to a time when Albanians had dignity, knew what true independence was and embodied the principles of resistance in their daily lives.

When a monument ceases to have relevance then it no longer gets treated with respect and that has been the fate of this lapidar – as well as with many others throughout the country. Apart from physical damage to some of the elements of the structure it is a constant victim of graffiti attack, the mindless, illiterate scribblings of those with nothing meaningful to say but say it anyway. At least political graffiti would demonstrate some form of human thought.

‘Resistance’ has architectural elements as well as sculptural.

You approach the monument via a few very low, but very wide steps. You are then in a circular space with a series of eleven columns on your right which rise to a height of about 3 metres and on that highest column stands the personification of ‘Resistance’ in the form of a Partisan fighter. Radiating out at 90 degrees to these columns, gradually coming down to ground level even as each of the columns gets higher is a feathering effect. This effect is also produced on the left hand side as you look at the statue but here the feathering is much lower to start with and much wider as well.

If you can imagine the furled wing of a bird you might understand the impression the architect is attempting to re-create. For this is a symbolic reference to the eagle, the double-headed version of which is, and has been for a few centuries now, the national emblem of Albania. This device has been used in the most recent development of the Martyrs’ Cemetery in Borove, just to the south of Ersekë, and for the construction of (the now derelict) mausoleum and museum to Enver Hoxha in Tirana.

The problem with this idea is that it is very difficult to appreciate the idea from ground level. It might well be more evident from an aerial view but that is not possible for the vast majority of onlookers. So in Durrës (as in Borove and Tirana) you have to use a little bit of imagination.

On the facade of four of theses columns, facing the inner circle, are images which tell a little bit of the history of Durrës and Albanian Resistance.

Resistance to the Romans

On the 7th from the right we have the ancient, Greco-Romano history of the town. Carved into the stone is a circular, Roman shield and surrounding it the weapons that would have been used at the time: a short sword, an axe and a number of different types of spears, together with a helmet with a crest.

Resistance to the Ottomans

On the 8th one in we are brought a little closer up to date. This is the time of the nationalist ‘hero’ Skenderbeu. We know that as the large shield towards the right has a double-headed eagle design (it was from the time of Skenderbeu that this symbol was adopted as a sign of Resistance to any foreign invader). This was in the 15th century. Here we have the weapons in use in warfare from that period: a long, broadsword, possibly arrows, spears and the curved blade, long poled axe that was used to hack away at the enemy. Examples of these can be seen in the National Historical Museum in Tirana.

The third lesson in history is on the next column, the ninth and this brings us up to the 20th century. At the bottom there’s a symbolic reference to the waves on the sea. This references Durrës as this image is part of the town’s coat of arms. Curving from the top left to the centre is an ammunition belt – eight clips with five bullets apiece. On the right hand side, taking up the whole height of the panel, is a rifle.

Resistance to Italian Fascism

The top end of the barrels of a couple of rifles peek out from behind the ammunition belt on the left hand side. This modern weaponry frames an axe, a pickaxe and a couple of pitchforks. This, to me covers a couple of inter-related periods. It makes reference to the war for National Liberation (which took place between 1939 and 1944) and also to the construction of Socialism where the use of arms would be necessary to defend the revolution from attack, both from within and without.

The final symbol, which is on the facade of the column upon which the Partisan statue stands, is a large, black metal plaque of a double-headed eagle. Unlike the one on the shield of the Skenderbeu era this one has a star above the two heads. This is the star of Communism which was added to the national symbol from 1944 to 1990. This star, whether it was red originally or not I don’t know, is missing, whether as a result of political vandalism, opportunist souvenir hunting or by someone to care for it so that it can be returned in a future Socialist Albania.

The statue itself embodies many of the attributes seen on a number of lapidars throughout the country. The figure itself is rushing forward, weapon at the ready, but he is also looking backwards calling upon others, out of sight to come and join the fight. This is depicted elsewhere on Albanian lapidars such as the monumental Arch of Drashovicë and the statue of Mujo Ulqinaku in Durrës itself – but exact location unknown at this moment.

But there’s much more dynamism, more urgency here. He cannot stretch his legs any further, he gives the impression of needing to rush to the front, to engage the enemy. When there’s an invasion there’s no time to consider the options. Only those who are prepared to live under a foreign yoke, the future collaborators, the sycophants and cowards, will hesitate, ‘weigh up the options’ and then capitulate. This fighter, this Communist, this patriot does not hesitate.

He doesn’t wear a uniform as such as at the time of the Italian invasion in 1939 the so-called Royal Albanian Army was so much in a collaborative role with the Italians that official resistance melted away. It was up to a few individual soldiers, such as Mujo Ulqinaku, or armed civilians to resist the invasion. Although they were far too outnumbered in 1939 to succeed in preventing the country from being occupied the action of workers such as those at the tobacco factory and the growing number of those who joined the Partisans in the subsequent five years meant that the country was finally liberated at the end of November 1944.

He’s bare-chested and it looks like his shirt has been torn off his body and it hangs in shreds, flowing behind him as he rushes forwards. In general there’s nothing to distinguish him from any other national hero, racing to take on the enemy but there’s one little, unique indication that this is an Albanian patriot.

‘Opinga’ bag

Hanging from a thin leather strap, that goes around his neck and rests against his left thigh, is a small bag. It looks very much like an opinga (the traditional leather shoe) with decoration on its facing and edges. I’ve not seen this elsewhere and can only think that when modern dress became more common, especially in a city like Durrës where more people would have been involved in manufacturing industry or dock related activities, these reminders and remainders of the past would have taken on a secondary role.

The official name of the monument is:

“Monumenti i Rezistencës.”

Which translates as:

‘Resistance Monument.’

Which was ‘dedicated to the armed struggle of the Albanian people against the fascist occupation of Italy on April 7, 1939.’

This lapidar is the combined work of Hektor Dule and Fuat Dushku (1930-2002) but I don’t know which of them (if either) was the originator of the architectural aspect of the monument. Dule also created the Mushqete Monument at Berzhite and the bas-relief to Skenderbeu in Gjirokaster. Dushku was one of the sculptors who worked on the ‘Four Heroines of Mirdita’ that was created in 1971 and used to stand in Rrëshen. That was criminally destroyed by the local reactionary so-called ‘democrats’.

Signatures

This is quite a late lapidar as, according to the inscription under the right foot of the fighter, the statue was created in 1989. This inscription is also quite unusual. It has the names of the two sculptors, H[ector] Dule and F[uat] Dushku and then the letters QRVA followed by the number 89 (for the year 1989). QVRA stands for Qendra e Realizimit te Veprave te Artit, translating to Art Work Realization Centre. This is the name of the (State) foundry in Tirana where virtually all the lapidars in the country, from the late 60s to the end of the 80s, were forged. It’s also the place where many of those that were torn down in the 90s were melted down to construct some of the monstrosities that is contemporary, capitalist Albanian sculpture. This foundry at one time employed 40 people, more or less, full time. That went down to just 5 a few years ago and then was torn down to make way for expensive, luxury flats.

This is the first time I’ve seen these initials on a lapidar (but not the last, the large statue of the Partisan and child in Lushnjë Martyrs’ Cemetery and the bas relief outside the vandalised museum in Bajram Curri being two other, late Socialist period examples). In the post on Liri Gero and the 68 Girls of Fier I made a bit of a digression discussing the idea of the artists NOT putting their names on their work. This did not mean that their work was not appreciated or respected but the artist was only one cog in the machine. The finished work of art was the culmination of the work of many and if one name should be on it why not all the others?

It was only when that principle was being challenged, especially after the death of Enver Hoxha in 1985, that the sculptors’ names started to appear on the finished work. And here, in addition, we have the place it was made. This no more or less than branding. If they had been able to continue making such statues they would have been stamping the © (copyright) sign on the base.

They didn’t realise that the more they adopted capitalist methods the shorter would be their future. Such foundries, workshops only exist in the capitalist countries with the patronage of the rich – just as it was in the Renaissance. There aren’t many of those in Albania and so the foundry died. I don’t have much sympathy for those with such myopia – whether they be foundry workers or sculptors.

Condition:

As can be seen from the pictures the plinth and the surrounds are uncared for and there’s various graffiti on the columns. The columns provide steps for children to climb and they often do. However, the statue itself seems to be untouched by the vandalism and is in a good condition.

Location:

In the park beside the water, in the older part of town, beside Rruga Taulantia, and a hundred metres or so west of the Venetian Tower (and the original location of the monument to Mujo Qlqinaku).

GPS:

N41.30936204

E19.44467501

DMS:

N41º 18′ 33.70”

E19º 26′ 40.83”

Altitude:

1.7m

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Five Heroes of Vig – Skhodër

Posted on 08/06/2013 by Michael

5 Heroes of Vig – Dobraç,

Five Heroes of Vig – Skhodër

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.

The statue commemorates events that took place in the small village of Vig in 1944, just before the victory of the Partisans over the Germany Fascists, their hangers-on, collaborators and lackeys.

On August 21, 1944, at Vig in the Mirdita highlands, 5 long time partisans went to talk to the peasants who were under the thumb of the feudal chief, Gjon Markagjoni, ‘a tool of the fascist occupiers’.

5 heroes of vig

From left to right: Ndoc Dedo (Teli), Ndoc Mazi (Minuku), Naim Gjylbegu (Besniku), Hidajet Lezha (Hida), Ahmet Haxhia (Tigri).

Informers let the fascists know of their whereabouts and 200 Nazi troops were sent to capture or kill the five. The fight went on for 6 hours, the Communists fighting to the last bullet, and all of them being killed.

5 Heroes of Vig – Pandi Mele

The incident was depicted in an Albanian film of 1982 called Besa e Kuqe (Red Faith), directed by Pirro Milkani.

Ahmet Haxhia 1926-1944

Nom de guerre Tigri (Tiger). From a lower middle class family from Skhodër. Joined the Albanian Communist Party at the beginning of 1943 and worked in the town as part of the organising resistance amongst young people. In December of that year joined the Partisan unit based in the Miradita region. The youngest of the five.

Hydajet Lezha 1920-1944

Nom de guerre Hida. Born in the town of Lezha. Joined the Albanian Communist Party in early 1943 and, as an orphan, it was here where he found his true family.

Naim Gjylbegu 1920-1944

Nom de guerre Besniku (Faithful). Was involved in the Skhodër Communist Group, the forerunner of the Albanian Communist Party, when still in his teens. In October 1942 became a member of the regional Committee of Communist Youth. Soon after arrested and tortured for his activities but once released became commander of the local CETA – guerrilla organisation.

Ndoc Deda 1918-1944

Nom de guerre Teli (Wire). Born in a village in the Milot region into a peasant family. Organised revolutionary activity in the ranks of the old army later leaving to join the Partisans in the middle of 1943 and in October of that year joined the Albanian Communist Party.

Ndoc Mazi 1920-1944

Nom de guerre Minuku. Was born into a poor working class family in Skhodër. Was a member of the Skhodër Communist Group before it morphed into the Albanian Communist Party, Suffered from tuberculosis but still worked underground in, first, Durrës and later in Skhodër before joining the Partisan army in the Mirdita region.

The statue, whose name in Albanian is ‘Monumenti i Heronjve të Vigut’, is the work of Shaban Hadëri (28^th March 1928 – 14^th January 2010) who created the statue of Isa Boletini – also in Shkodër – and collaborated on two of the most important existing monumental statues in Albania – Mother Albania, in the National Martyrs’ Cemetery in Tirana, and the Independence Memorial in the city of Vlorë.

Hadëri joined the Partisan resistance to the Fascist invasion at the age of sixteen in 1944 and was able to follow his artistic education following the success of that war of liberation and the opportunities the Communists provided in terms of education.

This statue has gone through good times and bad. It originally started out as a concrete statue, of a little more than life-size, and was installed in the square beside the Rozafa Hotel in the centre of Shkodër in 1969.

5 Heroes of Vig in concrete

This original was replaced by a much larger, 5 metres high, statue of bronze. This new statue was similar, with the same idea as the original, but with a few differences. This was mainly in the form of dress and the way they carried their armaments. It remained there until 31^st January 2009. On that date it was transported to a site beside the Martyrs’ Cemetery on the banks of the River Kir.

5 Heroes of Vig – Shkoder

When this cemetery was established the location would have been enviable – outside of the city, close to a river and with the mountains of the Dukagjin highlands behind it. However, since the arrival of ‘democracy’ in the 1990s many things have changed. The river, which only has significant water just after the snow melts in the spring, is now a tragic site.

The town’s rubbish dump has been created beside the river, very close to the Martyrs’ Cemetery. One of the results of the greater availability of consumer goods has been a massive explosion in the number of plastic bags. Once they are just dumped in the open air (there’s no attempt at a landfill in Shkodër) all it takes is a light breeze and the bags are everywhere. OK if you like your river beds multicoloured but generally disastrous for the environment.

Rubbish in Kir River

Another legacy of the re-introduction of capitalism is the job of sifting through rubbish dumps, a trade that now spans the globe where, on some of the huge dumps, people both live and work on the detritus of others. At the Shkodër dump there are small groups bagging up whatever there might be of value and now they are really the only ones who visit the area in any frequency.

I’m assuming it must have been someone amongst this group that decided, at the end of 2012, that there was monetary value in the bronze statue of the 5 heroes and have been helping themselves to bits of it. There were certain amongst the politicians of Shkodër city council who, I’m sure, were glad of this news, that being part of their plan in the first place. In the centre of town any vandalism would be obvious but outside in a totally unpopulated area anything could, and did, happen.

This is what you would expect from a council that has changed the name of the road to the railway station to ‘Hungarian Anti-Communist Revolution Road’ as well as pandering to the US with celebrating nationals of that country who have had nothing to do with Albania apart from trying to make it a vassal to a greater imperialist power either in the distant or recent past. It’s in such a fundamentalist Catholic environment that Mother Teresa appears everywhere and the anti-Communist paintings have been commissioned in the Franciscan Church.

The present day ‘so-called’ Socialist Party made noises about the destruction of national heritage and that this showed a total lack of respect for those who had fought for the country’s liberation from Fascism. Despite their silence in the past – when such desecration has occurred and their almost non-existent opposition to the return of Ahmed Zogu’s remains to Tirana in November 2012 – their efforts have resulted in the re-siting of the (cleaned up if not renovated statue) on the northern perimeter of the city.

The Statue

In its simple composition the statue epitomises the ideas of Socialist Realist sculpture. They form a tight circle so they are supporting, defending and depend upon each other and the direction in which they are looking gives the impression that they are covering the whole 360 degrees. It’s a defensive, rather than an attacking stance and in that way represents the way they dies – surrounded by an overwhelmingly superior force. But at the same time they wouldn’t have just been waiting for the enemy and the (imagined) depictions above try to give a more realistic representation of their ‘last stand’. What we have here is a symbolic representation of unity, solidarity and comradeship.

They are dressed in various clothing styles with one of them appearing to be dressed in a Partisan uniform but whether that would have been the case is unlikely due to the very nature of their mission – the elimination of a locally known tyrant and collaborator.

There’s a look of determination on all their faces together with a tranquillity as if they understand the circumstances and the inevitable acceptance of their lot, their fate. In the sort of war they were fighting any Partisan had to realise that once they had taken up arms they had to accept that all might not go well. This was total war and the Nazis would give no quarter – but then neither would the Partisans. Anyone who didn’t accept this should stay at home, let others do the fighting. Victory necessitated sacrifices – aim should be to make those as small as possible.

It’s very difficult with any degree of certainty to say exactly which of the five figures represents the real person and as they are in a circle there’s no real starting point so I’ll start with the figure that most clearly seems to be in uniform.

The uniform is typical of that seen on other lapidars throughout the country. He’s wearing a heavy jacket under which is a thick woollen jumper. He has a wide belt tied, not buckled, around his waist and into this is tucked a pistol. This pistol has a huge grip (similar to that carried by Bajram Curri in the statue to him in the town that bears his name). The pistol is attached to a twisted leather lanyard which goes around his neck, under the collar of the jacket. On his head he wears the typical Partisan cap, with the red star at the front. He is wearing sandals – with thick woollen socks – the strap and buckle on the left foot visible and cords crisscross the trousers of both legs, on the shins.

He is holding what looks like a Beretta Model 38 sub-machine gun with the forefinger of his right hand on trigger and his left hand supporting barrel in front of magazine, the bottom end of the magazine resting against his left knee.. Here is one of the examples of mindless vandalism which this monument has had to suffer and the end of barrel has been sawn off – this must have provided the thief with enough to buy a raki, not much else.

He stands with his legs slightly apart, standing steady, giving an impression of solidity, determination, of not going to move. He is looking slightly to his left.

5 Heroes of Vig – Solidarity

One interesting, human touch is that the left hand of the fifth in the group is placed protectively, supportively, on his right shoulder. This again emphasises the idea that these are Comrades united in a common cause – whatever might be the consequences.

5 Heroes of Vig – Haderi 1984

Carved into the rock against which he is standing, close to his feet be can see the name of the sculptor, Shaban Halil Hadëri, and the date 1984. As I have stated elsewhere, for example the Martyrs Cemetery in Lushnjë, it wasn’t until the mid-1980s that the name of the artist started to appear on Albanian lapidars, demonstrating a softening of the approach towards the idea of individuality in art. As I’ve stated above this particular statue (apart from moving around a lot more than most) existed in an earlier, plaster version which was created in 1969. Although it’s impossible for me to say given that that version was almost certainly destroyed when the new one was installed, I would very much doubt whether Hadëri’s name appeared on the original.

Hadëri also was responsible for the monument to 1920 in Qafe e Kociut (close to Vlora) and also worked with Mumtaz Dhrami and Kristaq Rama on the Vlora Independence Monument.

I must stress, again, that here I’m in no way denigrating the art, skill and imagination of the artist. But, in the end, he was only one of a number of skilled individuals who produced this fine example of Socialist Realism – where are the names of the others?

5 Heroes of Vig – Peasant Partisan

The next in the circle is not in uniform but is wearing the comfortable, winter clothing of a peasant. On his head he has a qeleshe (the felt skull-cap) on his head with a long headscarf wrapped around his forehead with the scarf trailing behind him. He wears a tight-fitting shirt and an open xhamadan (the traditional tight, short waistcoat) which has decorated trimming on the edges. He wears the traditional tight-fitting peasant trousers (tirc) which have the V shape at the front at the bottom, as they go either side the opinga (shoes) but these are without the sheepskin pompom. There are signs of decoration on the opinga. It looks as if there is a great coat hanging from his left shoulder, almost falling to the ground – the bottom edge of the coat can be seen hanging down behind his legs.

Around his waist is an ammunition belt with 4 pouches visible and 5 bullets in each. In holds a bolt-action rifle, his right arm fully extended and gripping the weapon at the trigger mechanism, his forefinger pushed through the trigger guard. His left arm is bent at right angles with his hand holding the gun at the point where the barrel departs from the rest of the mechanism – so the rifle is across his body from bottom right to left by his elbow. This weapon is not in a firing position but we know he is prepared to do so at any moment. Another small detail is the broken ring to which a strap would be attached which can be seen on the butt of the rifle. The end of barrel has also been stolen by the short-sighted, ignorant, rubbish rats.

His head is turned almost fully to the left and sports a moustache – almost always the differentiation that demonstrates a background of the country rather than the town (as is the sort of clothing depicted).

The third is basically in civilian dress, in the clothes of the urban working class. There’s a woollen jumper (with vertical stitching) under his jacket and he wears normal, contemporary trousers. On his feet are closed toe sandals – the straps and buckles of both feet visible. Around his neck is a large scarf, tied with large knot – this is not for warmth as this is the red scarf of a Communist. He is bare-headed.

A narrow, leather strap comes over his left shoulder, across his chest, to an unseen bag/pouch on his right hip. There’s an empty holster on a waist belt, seen under the left hand edge of open jacket, rucking up his jumper. In his right hand he holds an automatic pistol – possibly a luger taken from the enemy (this has also been vandalised and the end, just a few centimetres are missing). This gun, yet again, is not in a firing position but gives the impression that he ready to do so. There’s a sense of dynamism, movement, in his stillness. His arm is away from his body, the wrist bent in towards his leg and the gun pointing down it but could come up at any time – a coiled spring?

His stance the same as the others, feet slightly apart and steady and he is looking partially to his left.

This statue is all about solidarity and comradeship and the connection between the third and fourth of the five heroes is something I’ve never seen before, not even in Albania where the lapidars celebrate unity in struggle and certainly never in any other country. Here we see the left hand of the Partisan being gripped by the right of his comrade.

5 Heroes of Vig – Solidarity, Comradeship and Unity

Their arms are touching from the elbow to the wrist and the hand of the fourth partisan is over that of his comrade hand, with his fingers in the palm and the thumb pressed against the fingers. This grip is returned in the same manner. There’s an impression that this has just happened, it has a vitality and feeling of immediacy. It seems to encompass the fate of the group as a whole. They know their fate, they are heavily outnumbered and the chances of survival are minimal – capture certainly would have led to an end in a Nazi torture chamber. They were not separated in life and wouldn’t be in death.

This is a slightly more intimate, but telling the same story, as the hand on the shoulder of the first Partisan described above.

It’s these little depictions of intimacy and the unexpected introduction of something that is so far from fighting and warfare that makes Albanian lapidars so unique in 20th century Socialist Realist sculpture and art in general. Another example of the unusual and unexpected is the small bunch of flowers in the left hand of the statue of Liri Gero, behind the National Art Gallery in Tirana.

The fourth hero is another who is more in civilian rather than military dress. He is wearing the clothes of the urban working class of the epoch. He has a tight-fitting shirt and his trousers have a turn ups which rest on top of sturdy boots. There’s a long, heavy overcoat but only his left arm is in the sleeve and the coat just hangs across his back. With his right hand grasping that of his comrade this stresses the closeness between them. He is also bare-headed and his stance is the same as the others, steady, rock solid, not going to give in. He looks to his right but not directly at his comrade as he is covering an area around them not necessarily covered by any of the others. An idea of continual vigilance, knowing what’s happening and what might happen next.

Around his neck, and under the collar of his shirt, is a lanyard and unites to become twisted just on his chest, beside a shirt button – many of the lapidars have these tiny details. This is attached to a ring on the butt of a pistol, in a holster, which is attached to his belt and rests on his left hip – most of the gun being obscured by the overcoat.

5 Heroes of Vig – pistol in holster

In his left hand he holds a Beretta Model 38 sub-machine gun, just behind the magazine. This is pointing up from right to left, with the barrel pointing into the air. This is not a firing position and he’s not ready, as some of the others are, to get into a firing position within seconds. He’s a fighter but in this image he is representing more the idea of comradeship and solidarity – which rests very much on the willingness and ability to use arms – rather than depicting the role of a Partisan. Although the end of the machine gun barrel is away from the main body of the sculpture this is still in place, not having suffered the attention of the petty thieves.

The stance of the fifth in the group is different from all the others. He stands side on so we only see the right hand side of his body. He has the look and wears the clothing of a peasant rather than someone from the city. He has short-cropped, curly hair (uncovered) and sports a moustache – often, though not always, an indication of a peasant background. Although his body is in profile he looks straight out at the viewer.

He seems to be dressed in similar clothing to the other peasant of the group already described, with a xhamadan over, this time a loose, short-sleeved shirt, the tirc but with sandals on his feet. Around his waist we can see a couple of ammunition pouches attached to his belt, a full one holding six cartridges and a partial one with two cartridges showing. In his right hand he holds a very long, bolt-action rifle which extends to just above his feet to the height of the shoulder of his comrade on the left. The machine gun of his comrade on his right is almost touching his knee.

5 Heroes of Vig – Weapons

As I’ve mentioned before his left hand is on the right shoulder of the comrade on his left thereby completing the circle and the show of unity.

Although this bronze version is relatively late in the history of Albanian lapidars it encompasses all those elements which had developed over the 40 years of socialist thinking about art. Even though it had its genesis in the 1969 version, where many of these elements were introduced, the present day statue, created 15 years later took those elements and made them much stronger, providing a vitality which was missing in the original and physically tightening the group so their unity is emphasised. In a sense the early version shows the group falling apart whereas the 1984 version shows us that nothing will ever break them apart – even death.

When the ‘Five Heroes of Vig’ had been exiled to beside the Shkodër Martyrs Cemetery – once a clean, quiet and pleasant location beside the river but now the site of the sprawling city rubbish dump – it had a feeling of dirt and neglect, and then it was vandalised. Before it was moved to its present location it obviously underwent a certain level of renovation and looks almost as good as it would have done in the centre of the town.

Apart from the damage done to the ends of the weapons there’s a small amount of written graffiti, more of the ‘I wus here’ kind but things are much better now than when I first saw the statue in 2011.

It’s location is not the best, it’s literally on the edge of town, on the last roundabout before the road leads to the border with Montenegro, but being placed on a circular, stone plinth it’s now in a place where more people can appreciate the story it tells.

Location:

From the roundabout next to the Rozafa Hotel (and the buses to Tirana) head north-east along Rruga Qemal Draçini which becomes the town’s market as stalls start to spill out on to the pavement. Continue north until arriving at Sheshi Ura e Maxharrit. This is coming to the end of the town proper and this is where you can find furgons to the towns to the north of Shkodër and the Montenegran border at Hani i Hotit as well as the early morning (07.30. more or less) departure to Thethi.

From the square continue along the SH1, passing the old, now very much overgrown, town cemetery and after about 10 minutes (walking) arrive at the roundabout with the lapidar in the centre.

GPS:

N 42.089302

E 19.507358

DMS:

42° 5′ 21.4872” N

19° 30′ 26.4888” E

More on Albania …..

Sarandë’s Martyrs’ Cemetery

Posted on 04/10/2016 by Michael

Saranda Martyrs’ Cemetery

More on Albania …..

Sarandë’s Martyrs’ Cemetery

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.

This has recently been repainted so there is, as on other occasions, some doubt of the original intention of the artists (here there are two attributed). In some ways it does turn the statue into a bit of a comic caricature but at least it shows an attitude of care for the monument, however badly executed. Whatever the pros and cons of such ‘restoration’ I prefer this to the total neglect that other lapidars throughout Albania have undergone.

The single female is standing in victorious celebration. Her arms are held high over her head as she waves the banner of victory. In her right hand she grips hold of her rifle by the firing mechanism. From this part of her weapon, until just before the end of the barrel, the sleeve for the pole of the national flag has been pulled over the barrel and she keeps it in place by her hand. A few inches of the top of the barrel can be seen just above the top left hand edge of the banner.

Painted rifle

Here is where there is some problem with (re)painting of the lapidars. It might be more acceptable if the work was done by professional artists or restorers rather than enthusiastic amateurs. Here the stock of the rifle has been painted brown – but so has the metal firing mechanism, the trigger guard and the trigger itself, and, unfortunately not with the greatest of care. It’s difficult to see if the protruding end of the barrel has been painted brown, or even red, but it’s certainly not the colour that a real rifle would have been. Here, I suppose, is a call that if the monuments are to be painted there is a commitment to accuracy.

The banner is the flag of the Communist led National Liberation Front and which became the national flag of Albania after Liberation (and the beginning of true independence for the country) on the 29th November, 1944.

This is a red flag with a black, double-headed eagle in the centre. Over the two heads there was a gold star. The eagle on a red background had been the symbol of independence in Albania since the time of Skenderbeu in the 15th century. With the success of the Socialist revolution the star was added, this being the emblem of the Communists in the war against fascism.

This flag is shown as if it is being blown in the wind and the partisan is holding the bottom left hand corner of the flag with her left hand. Where the flag billows in the wind is where the statue is first attached to the column in front of which it stands.

Vandalised flag

As is not unusual in those lapidars which have been ‘restored’ there has been a little bit of political censorship, a re-writing of history. If you look carefully you will see the outline of a star over the heads of the eagles but in the ‘restoration’ this has been filled in and in the repainting has just been coloured red and not picked out in gold as it should be if there was a respect for history. Not the first nor the last time we encounter such conscious political vandalism in present-day, ‘democratic’ Albania.

Now to the Partisan herself. She is standing in full partisan uniform. On her head she wears a cap which has been another victim of vandalism. When originally unveiled there would certainly have been the outline (of just plain plaster and almost certainly not painted) of a star at the front of the cap. There is very little sign of that here so I assume to avoid the possible thorny question of why re-write history it was just plastered over. To have been true to the original that star should have been picked out in red when the restoration/cleaning work was done.

Her very long hair (totally impractical for a Partisan) is braided on either side of her head and the braids join together to form one even longer braid just behind her neck. She wears of tight vest over which she has a jacket with strangely wide, loose sleeves which, if real, would roll down her arms to her shoulders. The bottom of her jacket billows out behind her, mirroring that of the flag, and is the second point of contact between the statue and the column behind.

Around her waist she has five ammunition pouches, each containing five bullets. Her trousers are tucked in at the bottom to long socks that come to just below her knees and on her feet she wears a simple pair of sandals. (There’s a study in itself of the footwear depicted on Albanian Socialist lapidars.)

She stands on a block which has been painted brown on the top and black on the sides. Why not an irregular surface to represent the hills and mountains of Albania, where most of the fighting took place, is due, I believe, to the date that this lapidar was created.

Artists initials and date

On the left hand side of the column can be found the letters LL LZH and AL HH together with the number 88 or 89 (I think 89). This I assume to be the letters of the names of the sculptor/architect of the monument but, so far, have been unable to identify them. That being the case this must have been one of the very last, if not the last, lapidars to have been created in the Socialist era. There had been in existence a much more basic lapidar for many years but towards the end of the 1980s, with other towns improving their monuments (such as Lushnje) Sarandë, presumably, thought to do the same.

However, the later lapidars started to take a different approach to how the issues of the past were represented. In a sense they became less confrontational, more appeasing as the strength of Albania’s Cultural Revolution waned, especially after the death of Enver Hoxha in April 1985. This meant, among other things, the symbolism that had been established in the 1970s (such as irregular surfaces to reference the mountains) began to be ignored and, more importantly, as a political consideration when it came to the role of an artist in a Socialist society, the names (initials) of the artists started to appear on their work.

The column behind the Partisan flares out slightly at the base then narrows when behind her to gradually widen as it gets to its summit, about the same distance above the flag as it is below it. Towards the top of the column there’s an arrangement of six red stars, of slightly different sizes, which could represent the constellation of Ursa Major, The Plough (although one star short). On the very summit there’s a large red star, a typical crowning glory on lapidars (although also the target for vandalism in many cases) and there as a symbol of Communism.

The Plough?

To the right of the main lapidar is a white, concrete, fluted column which widens out half way up to provide the support for a large concrete bowl. It’s also worth noting the presence of the palm trees, often in Albanian cemeteries and for the same reasons as they were placed in Librazhd Martyrs’ Cemetery.

There is a flight of steps on either side of the statue and the tombs are on 3 or 4 different levels, on rows beneath. The space for the tombs fans out on both sides of the statue causing it to be much wider by the entrance lower down the hill than it is a the top. On one level there are nine marble slabs upon which are inscribed the names of almost 150 Partisans who would have died in the area (or who were originally from the area and died elsewhere in the country) who don’t have an individual tomb. The cemetery is reasonably well-kept and the tombs tended to on a semi-regular basis.

Commemorating 150 Partisans

The location at its inception would have been marvellous, outside and above the old town of Sarandë, looking down onto the Ionian Sea, with the island of Corfu in the distance (and the site of the notorious ‘Corfu Incident’) with citrus and olive groves all around.

Now the cemetery has been overtaken by the unplanned expansion of the town’s tourist infrastructure with apartment blocks or hotels (many incomplete) appearing on every conceivable plot of land, completely changing the atmosphere of the town – and not for the better.

At the very bottom, by the original entrance gates, is a one storey building which would have housed the local Liberation War museum – now abandoned and empty.

As with many of the Albanian lapidars what we see today has not always been the case. By 1971 there existed a tall, two-part monolith with a large panel at 90º to the column at the bottom. Although it’s not clear it looks as if on this panel the names of some of the Saranda Partisans were listed. This stood at the top of a long flight of steps. I assume it was in the same location but it would seem to indicate if that was indeed the case there was some major remodelling of the cemetery when the statue was added in 1988/9.

Martyrs’ Cemetery, Saranda, 1971

Location:

It’s a little bit difficult to find as the area is now full of new hotels and apartment blocks. As you go up the steep road that takes you in the direction of Gjirokaster the cemetery is on the right, just after the junction with Rruga Skenderbeu (on the left). Once you know what you are looking for it stands out quite clearly amongst the tower blocks when you look over from the ferry port.