Frederick Engels in Manchester

Posted on 12/08/2017 by Michael

Karl Marx and Frederick Engels Collected Works

Frederick Engels – pamphlets, books and commentaries

The Great ‘Marxist-Leninist’ Theoreticians

Frederick Engels in Manchester

Frederick Engels – revolutionary fighter, philosopher, close comrade-in-arms of Karl Marx – has returned to Manchester. Almost 150 years since he worked in the city (and thereby being able to support Marx in his development of the theory of the working class that later became known as Marxism) and almost 125 years since his death in 1895 a statue now stands in a pedestrianised square in the city which is considered to be one of the ‘cradles of the industrial revolution’.

Life and work

Engels first went to Manchester in 1842 – and stayed for two years. During that time he produced the unique and seminal work The Condition of the Working Class in England which was published in 1844 – but only in German. It was not available in an English translation until the end of the 19th century in 1885.

But Engels was not an armchair revolutionary – something that is very often forgotten when his role in revolutionary Socialism is discussed. To confine Engels’ role in the development of Marxism to that of someone who; bank-rolled Marx during his (many) times of penury; was able to write penetrating and interesting studies on a diverse range of subjects such as the living conditions of the poor and the role of dialectics of nature; and the only person who could have brought Marx’s most important work (Capital – in all its four volumes) through to publication is to deny what made him able to do all that. Engels was first and foremost a revolutionary fighter, prepared to place his life on the line with other revolutionaries on the barricades of Europe when the workers rose up against oppression and exploitation in 1848.

That revolution ended in failure but Engels and Marx were two of the few who considered what had happened and attempted to work out the lessons of that failure to avoid them in the future. What was later to become the book Germany: Revolution and Counter-revolution first appeared as a series of articles in 1851. Mainly written by Engels (in Manchester), but in close collaboration with Marx (in London) this was an analysis of the failed German revolution which is a companion piece to Marx’s The 18th Brumaire of Napoleon Bonaparte about that situation in France, which was published at around the same time. And in the 1860’s he refined some of his military ideas and tactics in a series of articles that were published in the Manchester Guardian – something which wouldn’t happen now in such a ‘liberal’ newspaper.

It was after the defeat of the revolutions in Europe – Britain had seen some scuffles but never on the scale that ran through many European countries in 1848 – that Engels returned to London and then, the following year, to Manchester where he spent the best part of the next 20 years, working in a family owned textile mill. The monies from this work, and the proceeds of the eventual selling of his part in the partnership in 1869, helped pay for Marx’s living expenses as well as supporting various proto-revolutionary organisations existing in Britain at the time.

After Marx’s death in March 1883 it was Engels who ensured that the culmination of all of Marx’s life and study was to see the light of day, with Engels organising Marx’s notes into a coherent structure and then publishing them as the various volumes of Capital. No one but Engels could have done that work.

By this time Engels had moved to London and he died there in August 1895.

The Statue

The statue was originally erected in the town of Mala Pereshchepyna, in the Poltava region of Eastern Ukraine, in the 1970’s. Sometime in the 1990s it became a victim of the nationalistic counter-revolution and after being vandalised (by being daubed in blue and yellow paint – the colours of the Ukrainian nationalists) it was taken from its plinth, in a central location, and eventually found itself, in two parts, laying in a farmer’s field on the outskirts of the town.

There it lay for a couple of decades before being ‘discovered’ by British artist Phil Collins who was looking for a piece of Socialist Realist sculpture to be placed in Manchester, at the end of the city’s International Festival in August 2017, to stand as a celebration of the city and its people’s radical past – and future? A statue of Frederick Engels was ideal for this due to the time he spent in the city in the 19th century and the input he was able to make towards Marxist ideology through the knowledge he gained from studying the struggle and conditions of the industrial working class in the north-west of England.

The statue is made of a sandy coloured limestone and stands about 3 metres tall. There’s evidence of a join just about waist height. This is so precise it would seem to indicate that the original statue was made in two parts and then cemented together on installation in Mala Pereshchepyna. (It’s too precise a join to have happened when the statue was dismantled by the counter-revolution – there would have been no care used at that time.) Engels stands on a base about 10 cms thick of the same coloured stone.

Ф ЭНГЕЛЬС

The statue is raised above the ground by a plinth about 1.5 metres high which is faced with grey limestone and on one face, that in the direction where Engels is looking, is his name in Cyrillic, Ф ЭНГЕЛЬС = F Engels. Whether the name came from the original location is unlikely – finding the statue was one thing also finding a large piece of worked stone which would have other uses at the same location seems to stretch credibility somewhat. But it doesn’t look new so I assume from another deposed statue of Frederick.

Generally the stone is in a good condition. There are some indications of lichen but considering how it was ‘stored’ nothing serious. Apart from signs of blue and yellow paint around the lower legs, and on the lower edge of his coat on the left, there doesn’t appear to be any other structural damage. Once taken down from its original site it just seems to have been ignored.

Frederick Engels – vandalism

Engels is depicted when he was in his mid to late 50s – he has a full beard and moustache and a full head of hair. He’s dressed in the typical dress of someone with a certain amount of affluence in the late 19th century – formal trousers and a waistcoat over which is a knee-length frock coat with a high collar.

He stands upright, feet slightly apart and is looking straight ahead. His arms are folded across his chest (right arm under the left) and in his left hand he holds a small book, with the forefinger inside the closed book which rests against his right upper arm.

Frederick Engels

Here we get the impression that he has just read something that had caused him to pause, to think of what it might mean, of how important it might be to the project he is currently pursuing. This is reinforced by the pensive look on his face. The finger in the book is to ensure that he doesn’t lose his place when he returns to reading.

The present location is somewhat incongruous. All the buildings around the square are glass and steel monstrosities and something made out of ancient stone does clash with its surroundings. But better here than nowhere.

Frederick Engels – location

It will be interesting to see how the statue is accepted as it spends more time in its new location. Some will know of Engels’ relationship with the city, others will walk by and not even notice any statue there. Matters aren’t made any easier as there is no explanation (not that I think there should be) and for those who don’t understand the Cyrillic alphabet the letters on the plinth don’t offer any help.

(For those who might have been following the posts on Albanian lapidars they might be interested to know that there were never any open air public statues to either Marx or Engels in Socialist Albania. Capitalist Britain now has one of each – Engels in Manchester and the bust of Marx over his grave in Highgate cemetery in London.)

Other Works of Frederick Engels

Here are links to versions of some other of the works produced by Engels over his life time – but it’s important to remember that this list is not definitive.

Principles of Communism – the precursor to the Manifesto.

Communist Manifesto – the general principles of Marxism published in 1848

The Housing Question – the impossibility of the lack of adequate housing for workers being resolved under capitalism

The Part Played by Labour in the Transition from Ape to Man – Engels’ contribution to evolutionary theory with an emphasis on the part that labour played in that evolution

Anti-Duhring – an attack on early revisionism of Marxist theory

Socialism: Utopian and Scientific – a re-statement of the revolutionary aspect of Marxism

The Origin of the Family, Private Property and the State – a look at how society arrived from tribalism to capitalism

Ludwig Feuerbach and the end of Classical German Philosophy – an account of how Marxism found inspiration in Hegelian philosophy, but then left it behind

Location:

Tony Wilson Square, (outside the main entrance to the Home Arts Centre), Manchester, M15 4FN.

GPS:

53.473403

-2.246982

Karl Marx and Frederick Engels Collected Works

Frederick Engels – pamphlets, books and commentaries

The Great ‘Marxist-Leninist’ Theoreticians

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

The bas reliefs of the Vlora Palace of Sport

Posted on 08/04/2017 by Michael

Façade of Vlora Palace of Sport

The bas reliefs of the Vlora Palace of Sport

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 façade 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 Palace of Sport (now the home of the town’s basket ball team, Flamurtari – the same name as the football team whose home ground is in the long-established stadium less than a hundred meters from the hall) is located at the bottom end of Rruga Sadiki Zotaj, the main street running from north to south through the town, at Sheshi Pavarësia (Independence Square). Although the façade, and the square in front of it, has had some cosmetic work done in recent years the money seems to have run out for any further modernisation of the interior of the main entrance. For this reason, to the casual visitor, the building looks abandoned – like so many public buildings dating from the 1970s and 80s – with graffiti scaring the white paint work and entrance to the court is now at the back of the building.

Flamurtari signifies ‘flag bearer’, not in the personal sense but in the figurative sense. Vlora ‘prides’ itself as being the town where formal independence was declared in 1912, hence the very large monument to the event at the northern end of the main street. So it’s the town that is the standard-bearer. This was emphasised during the time of Socialism but now gets formal acceptance by most of the so-called ‘democratic’ political parties whilst they preside over the very real giving away of that very independence so hard-fought for. For the workers and peasants the day of true independence was achieved on 29th November, 1944, when the Fascists were defeated throughout the country. That celebration is now side-lined and ignored by the bourgeois parties as it would mean a recognition of the role of the Communist Partisans in the National Liberation War.

Southern Bas Relief

Of the two the bas-relief in the best condition is the on the southern face of the building, on the right as you look at the main entrance. This is probably solely down to the fact that it looks down upon one of the expensive bars attached to one of the hotels that are mushrooming throughout the country. The bas-relief is high up and as with all such of the Socialist period it tells a story.

Starting from the bottom we have a number of athletes taking part in various sports, both representing sport in general as well as some of the activities that would have taken place in the building. On the extreme left is a male in the act of about to throw a discus. Next are two males wrestling. These images represent those sports that were practised in classical antiquity to date.

Matters are brought up to date with the next images of two females. One is in the act of leaping to throw the ball, clasped in both her hands, into an unseen netball ring. Her opponent is also leaping, her right arm high above her head, in an attempt to prevent the goal.

Next in line is a return to antiquity with a male with his back to us. His right arm is stretched behind him and in his right hand the he holds the shaft of a javelin. He is running forward and the tension can be seen in his body as he is just about to put everything into his throw. Finally, amongst this group, we have another female facing towards the back of the building. She has her arms outstretched, her right leg raised and bent at the knee whilst she stands on her toes on her left. The element of grace in this image indicates that she is a gymnast, following a floor exercise.

There is a suggestion of gender difference here as the males are involved in trials of strength whilst the women are following those sports which in the past were considered more appropriate for females.

This traditional idea is challenged somewhat in the image above the first group. Here we have a group of ten runners, seven male and three female. The fact that the two genders are introduced in the same race seems to indicate that here is represented something akin to the modern-day marathons where gender plays no role in the entry qualifications. It also represents athletics in its purest and most basic, running needing no special equipment – despite what the sports manufacturing companies spend a fortune in promoting.

The three women are at the back of the group and for some reason one of them is actually looking backwards. As they are all running at full pace this is difficult to explain. The only time an athlete would be looking backwards would be at the time of changeover in a relay race but this doesn’t make sense here.

The idea of any gender difference gets blown out of the water in the final panel on the left hand side of this bas-relief. Here we have a group of five standing males (with their left legs forward) and four kneeling females (their right knees on the ground, the foot being bent, whilst the left leg is bent at the knee and the foot firmly place on the ground for stability) all in the act of firing, or about to fire, their weapons. The rifles are pressed against their shoulders, their left hands on the barrel and their right fingers on the trigger.

Rifle Practice

The figures are presented in a row, the one behind slightly in front of the one before, the symmetry of their stance being demonstrated by the left legs of the males stepping forward and the left, bent, leg of the females. This all gives an impression of depth on a flat plane.

As is almost always the case in Albanian Socialist Realist Art there is an indication that Socialism is something that represents all the people, from whatever part of the country they might come call their homeland, whether they be peasants or workers. The male closest to the viewer is dressed in the jacket and hat that is most associated with the mountains. He also seems to have a brez (a wide cloth belt) around his waist, as seen on the statue of Bajram Curri in the northern town which bears his name. We only really see the heads of the figures behind the first but all the faces are different and they all display different characteristics but it’s not easy to define ethnicity. What can be seen is that two of the others are wearing caps, the last two being bare-headed.

From the images of the women we can get no idea of their background, all of them being dressed in what, at the time, would have been, more or less, the uniform of the militia. This, for women, meant a step away from tradition as although it might be very attractive in its own right such clothing was not entirely practical for modern warfare – although there are images of fighting women in traditional clothing in lapidars such as the Arch of Drashovicë. All four of the women are wearing caps and we can see the long hair of the female closet to the viewer.

Here I don’t think that the rifle shooting is being introduced as a sport as it might be considered nowadays. However there is a link between sport and the armed militia. Physical activity would have been encouraged during Socialism and such Palaces of Sport built in all towns and villages to promote the well-being of the people. After centuries when the vast majority of the population would have been living a subsistence existence the last thing on the minds of the ruling class would have been the promotion of a strong and healthy working class or peasantry – especially one that knows how to use modern weapons. On the other hand a Workers’ State depends upon an armed and trained militia to defend itself against the many attacks made by the defeated capitalists.

(Witness the hysteria in capitalist countries about any weapon in the hands of ordinary people whilst at the same time the state spends billions on weapons which are accessible only to their puppet armed forces in times of conflict – which can just as easily be used against their own population if the workers ever decide to get up off their knees and oppose oppression and exploitation.)

When it comes to nutrition things haven’t changed a jot in the present day. The cheapest foods available in the vast majority of countries tends to be the most unhealthy in the short and long-term. Just consider the proliferation of fast food outlets throughout the world and in present day Albania the cheapest food is the fatty meat and ‘E’ numbers laden sauces that make up sufflaqe, or its local variants.

It has to be remembered that military service was obligatory for all young people in Albania during Socialism and there is no point in having weak and sickly soldiers (of whatever gender) to defend the homeland. The poor health of so many young men after a century and a half of the Industrial Revolution in capitalist Britain showed how badly the working class had fared in that time and was dramatically demonstrated when they were expected to go to the front in the murderous, imperialist war of 1914-19 (euphemistically called the ‘Great War’ by some).

Another aspect that should never be forgotten, and a matter I have constantly stressed when writing about Albanian Socialist Realist Art, is that in these images the women are armed. Armed with modern weapons but also with an ideology that uses that armed force for the benefit of women within the general society. So far, on this blog, when describing the lapidars, when weapons are an integral part of the image, the only one where the women have NOT been armed is on the bas-relief in Bajram Curri, a later piece of art which, in some ways, presaged the future.

Even though armed and provided with more equal rights than in any other country worldwide the Albanian women, just like the men, threw away those conditions in favour of short-term material gains and so-called bourgeois ‘freedoms’. This has led to the present situation where the country has lost any semblance of independence and with an economy that is totally at the whims and mercy of international financial interests and investment.

Although the primary focus of this bas-relief is towards the front of the building, looking from right to left, the firing men and women are directing their anger towards the back of the structure, otherwise they would be shooting their comrades in the back.

All of the images so far have been placed on a background in the shape of a lower case J. I have tried to work out the meaning of this but without success. Working on the basis that all aspects of such a work of art mean something this one has got me beat.

What is relatively clear, however, is the grouping of the flags at the top of the image, above the sporting and military figures. There are an uncountable number of them, at the top of flag poles whose serried ranks again give an impression of depth. However they are fluttering in both directions. This is obviously impossible. As I’ve stated elsewhere Socialist Realism doesn’t mean realistic imagery, it’s allegorical and attempts to tell a story in a new and innovative manner.

Banners above the military

One interpretation of this image is that it’s a transitional stage to what we see as part of the main image to the left, that they are leaves of a book and, by extension education in general. Sporting expertise without education just provides society with such as the rich, mindless and illiterate footballers in the modern game, unable to string two words together in any known grammatical structure. Being able to kill people without an understanding of the political situation in which this killing takes place only produces mercenary killers and not liberation fighters.

The main subjects of this bas-relief are two athletes, a man and a woman, running flat out, their legs as wide apart as is possible when in a race. They are running on the bottom curve of the ‘J’ and their hands reach as high as the flags. There’s obviously a classical reference here, the only difference being that the two figures are clothed, the man with shorts but bare-chested whilst the female wears shorts and a T-shirt (female public nudity not being an element of Socialist Realism). On their feet it is easy to make out that they are wearing running shoes.

They are runners but not only runners. Within this image there are a number of ideas. We have the fact that they are healthy and fit, capable of strenuous activity that is not connected with work but for pleasure.

The woman is closest to us. She has her left arm fully outstretched behind her and her right arm is fully extended above her head. In that right hand she holds a rifle close to the end of the barrel, the rest of the weapon hidden by her arm and body. Her face is in semi-profile and her long hair flows out behind her by the force and speed of her forward movement.

Allegory of Socialism

The male is partially hidden by the female. His left arm is fully extended above his head, parallel and just behind the right arm of the woman. His hand grips the handle of a pickaxe just where the shaft meets the metal cross-piece. To all intents and purposes the rifle and the pickaxe are touching. This is in reference to the revolutionary slogan of the Party of Labour of Albania ‘advancing towards Socialism with the pickaxe in one hand and the rifle in the other’. This is interpreted as meaning that work alone will not achieve Socialism unless it is protected by the same level of force of those capitalist and imperialist forces who seek to deny working people the control over their own lives and the wealth of their country.

As if it is not enough to run with a heavy pickaxe held high he is also carrying a large book in his right hand, pressing it against his waist.

The whole combination of elements surrounding these two young people is an attempt to show how the society – at the time of its creation – was going forward towards Socialism. This relief was almost certainly inspired by the statue of the ‘Worker and Kolkhoz Woman’ (1937) by Vera Mukhina, presently situated at the Exhibition of Achievements of National Economy in Moscow.

This bas-relief is in a good condition and it looks like it has very recently been cleaned and repainted. As I’ve already stated it faces down on a fancy cafe attached to a new 4 star hotel. It’s good that this ‘public face’ has been respected – but as so few people actually look up higher than their own eye level I don’t know how many have actually noticed this unique and interesting piece of history.

Unfortunately fate has not been as kind to the mirror image that is in a similar location on the north side of the building. I say a ‘mirror image’ but that’s not quite the case.

Northern bas-relief

Most of the elements on the south facade are repeated but with a few minor differences. On the bottom panel where five different sports are represented, new ones have been inserted. From left to right we have; discus throwing, weight lifting, netball, wrestling and a female gymnast. Those which are repeats are the same as on the south side apart from the stance of the gymnast. She is still engaged in a floor exercise but here her left leg is on the ground, her right leg raised high behind her. Her right arm is raised high above her head and her left stretched out behind her with her head bent back.

The weight lifter, a male, looks like he has just achieved success in the jerk technique, his left leg bent and his right out behind his body, providing the balance.

The running group above is also slightly different. It’s still a mixed gender group, bunched up as in the early stages of a distance race but this time there are only seven runners.

At the front are two males running almost together, there being little seen of the runner behind apart from his legs. The runner fourth – as is the one in fifth, sixth and seventh – place is a female, we know this by their long hair, flowing behind them. It’s impossible to make out any of the facial features of the runner in fourth due to deterioration of the image.

Long hair for males wasn’t common in Socialist Albania and the press and governments of the capitalist west made a big issue of this in the 1970s when visiting young people were ‘obliged’ to have a haircut at the border if they wanted to get a visa. Whether this was more of an urban myth, promoted to denigrate Socialism, is more than likely it being almost impossible at that time to arrive at the border and obtain an entry visa – very much like it is at present on seeking entry into the belly of the capitalist beast, the United States of America. Stones and glass houses comes to mind.

Anyway, the length of the hair is still the clue to the gender of any person on any public Albanian art from before 1990 – their being no comparative artistic endeavour produced under capitalist controlled Albania. That’s not a surprise, how can you represent the idea of hope and a future when the measure is the amount of material goods one has and in a system that is prone to economic crisis. The image of a rich man or woman surrounded by all they can possess would be seen more as a parody rather than an aspiration for those without anything.

In the panel that shows both men and women firing rifles the stances are very much the same, the men standing and the women kneeling, but here the number of women has been reduced to three whilst the men stay at five.

However, the ethnic element is still present with the male who is most visible being dressed in a traditional country jacket and hat whilst the other four sport modern caps or go bare-headed.

The arrangement of the flags is the same and the only significant difference between the two main characters of the story is that what they held in their right hand on the south facade they now hold in their left, and vice versa.

Deterioration to north facing bas relief

As I’ve stated before his bas-relief is not in as good a condition as the one on the other side of the building and hence is sometimes difficult to read clearly. It’s north facing and doesn’t get the same amount of sunshine and that has led to a proliferation of black mould. Lack of cleaning and maintenance also means that the plaster is starting to come away in places. This deterioration is quite noticeable in the five and a half years between my visits to the Vlora Palace of Sport. It also suffers from looking out over a dusty, dirt car park and probably not noticed by the vast majority of people who might pass by. A little bit of tender loving care wouldn’t go amiss – although I think that’s highly unlikely to happen in the near future.

Of the artist I have no information whatsoever. Normally such works would have been created by local sculptors, especially in the late 1970s early 80s when I estimate this building was constructed. But who I have yet to discover.

Location

The erstwhile Palace of Sport is found set back from the road at the bottom end of Rruga Sadiki Zotaj at Sheshi Pavarësia (Independence Square). This is close to the roundabout that takes you right to the docks and ferry port and straight on to the hotels and beaches (coming from Fier).