To be able to understand the history of the evolution of Albanian music well, we need to be able to better understand the context in which Albania was found after the war.
Slowly it began to become a communist state closed in itself, not only without outlets in terms of physical boundaries (in fact, there were very few journeys of pleasure and work that people could undertake outside the borders of the state; a small exception however it applied to communist countries like Russia and China), but also and above all isolated in terms of finding information on other realities.
Culture became enslaved to power, and the examples are many: to start the newspapers and books, written and regularly reviewed by the Labor Party; then the songs, the simplest form of entertainment for the masses at that time, which served as a megaphone to the communist propaganda operated by the State, with popular music, typical dances and easily recognizable voices. In any case, the new singers that followed were only those "approved" by the government: hence the light music that distinguishes even now, in the 2009, much of the entire musical offer.
Later the cinema arrived and soon the television, although they were for very few, given that for logistic reasons they were in the major cities, keeping out the countryside and smaller cities. A completely new cultural form began which incorporated all the other mediums into one. The first propaganda films began to appear, with a plot that was always the same, namely that of the Second World War and the Nazi-Fascist invasion of Albania, with the consequent liberation and final triumph of national unity. These films had the characteristic of being full of bad and ruthless military occupants, and always very good partisans. Some examples are: Rrugicat qe kerkonin djell, Lulekuqet mbi mure, Mengjes lufte, Tingujt and luftes etc ... all financed by the State.
Then almost at the same time the cabarets and comedy began to develop, with actors who became symbols of Albania who wanted to laugh like Koço Devole, Sejfullah Myftari ("Cekja") and many others.
Until the death of Enver Hoxha, it was a severely punishable crime to listen to foreign radio or watch foreign television channels. The Albanian intelligence system was well branched and the fear of being discovered was great. But higher was the curiosity of the Albanians, who with makeshift antennas made of pieces of tin and old irons, secretly managed to open a window on the world that had been forbidden to see until then. Thus the beauties of Italy began to appear on the one hand, and the music of foreign radios on the other.
Here the crucial junction to be able to understand why today the music in Albania leaves much to be desired, and is becoming a bad photocopy of the Western one.
With the arrival of the fateful year 1991 and the cultural "revolution", the pressures of intellectuals, young people and all the people who came down in the streets had won, the Party could not stand without its leader Enver Hoxha, who died six years before , so in a climate of confusion, democratization began. Leaving aside the dangers that this early change entailed (which were regularly verified by the 1997 with aggressive capitalist speculation), finally and officially the Albanian people had the right to tune their means of communication towards foreign channels, drawing new culture, so much from make an overdose. Television brought a sweet and fake world, which made many fall in love so much as to push for mass exodus towards Italy and to a lesser extent towards Greece.
What is important to understand however, having as background the world music development, is that the 90 years were marking the decadence of rock music and its derivatives, to open up to pop, boyband and a new music emerging from the United States: the rap. So it is no wonder that nowadays in Albania the kind that goes for the most (leaving out the light music, disguised as Italian pop, made to sing girls with candid voices and sinuous shapes more and more in sight), is dictated by natural developments (here I am deliberately ironic) of world music.
In short, we have received the waste of forty years of world music development and on these we are tracing over what now should be the highest Albanian art.
If we remove very few musical complexes influenced by the hard rock of groups such as Scorpions, Megadeth, Ac / Dc, Rolling Stones, etc. (which, although in complete decline, they managed to drag themselves past the 90 years enough to influence some young musicians who later have continued their footsteps, in stark contrast to the tastes chosen by the majority of the Albanians and therefore for this snubbed), practically nothing remains.
As with everything, even for music, Albania has always copied since it was clear and without the leash that held it tight. He chased, he went where everyone went, hoping to find some food.
The originality that has always characterized our people has clashed with ruthless capitalism. And I regret that a simple question has never jumped into anyone's heart.
Are we really more free now?
Author: Mateo Çili