{"id":7072,"date":"2021-01-25T13:02:46","date_gmt":"2021-01-25T12:02:46","guid":{"rendered":"https:\/\/letrat.eu\/?p=7072"},"modified":"2024-12-20T21:32:36","modified_gmt":"2024-12-20T20:32:36","slug":"trashegimia-kulturore-jomateriale-infografikat-nderaktive-te-unesco","status":"publish","type":"post","link":"https:\/\/letrat.eu\/?p=7072","title":{"rendered":"Trash\u00ebgimia Kulturore Jomateriale – Infografikat nd\u00ebraktive t\u00eb UNESCO"},"content":{"rendered":"

(sguraziu – ars poetica, j 2021, 2024)<\/em><\/p>\n

UNESCO [ Organizata Edukative, Shkencore dhe Kulturore e Kombeve t\u00eb Bashkuara ] – Projekti “Zhytu n\u00eb Trash\u00ebgimin\u00eb Kulturore Jomateriale” – Mund\u00ebsuar nga Mbret\u00ebria e Holand\u00ebs<\/p>\n

Databaza e UNESCO sot i ka mbi 500 elemente t\u00eb Trash\u00ebgimis\u00eb Kulturore Jomateriale, nga mbi 100 vende t\u00eb bot\u00ebs. Elementet e regjistruara u referohen pothuaj 1000 koncepteve. Tutje krijohen mbi 15.000 nd\u00ebrlidhje mes k\u00ebtyre elementeve, koncepteve, shteteve, rajoneve.<\/p>\n

Elementet n\u00eb infografikat e UNESCO-s nd\u00ebrlidhen p\u00ebrmes koncepteve dhe jan\u00eb t\u00eb sitemuara n\u00eb 5 Domene (Fusha) \u2013 Zejtaria tradicionale, Traditat dhe Goj\u00ebtaria, Artet Performuese, Praktikat Shoq\u00ebrore, Ritet dhe Ngjarjet Festive, Njohurit\u00eb dhe Praktikat mbi Natyr\u00ebn e Universin.<\/p>\n

Infografikat nd\u00ebraktive t\u00eb UNESCO-s jan\u00eb: Konstelacioni (Plejada), Biomet (Resurset Natyrore), Zhvillimi i Q\u00ebndruesh\u00ebm, K\u00ebrc\u00ebnimet, Domenet (Fushat).
\nK\u00ebto vegla t\u00eb avancuara e ndihmojn\u00eb vizitorin p\u00ebr \u201cleximin\u201d e t\u00eb dh\u00ebnave m\u00eb leht\u00eb, duken paksa komplekse n\u00eb shikim t\u00eb par\u00eb por n\u00eb fakt \u00ebsht\u00eb supozuar ta zbusin \u201ckompleksitetin\u201d \u2013 nd\u00ebraktiviteti patjet\u00ebr se ndihmon q\u00eb t\u00eb kihet akses sadopak m\u00eb i leht\u00eb n\u00eb \u201cbig data\u201d t\u00eb k\u00ebtij lloji.<\/p>\n

Si synim q\u00eb t\u2019u ofronte pal\u00ebve (shtet\u00ebrore) t\u00eb dh\u00ebnat e detajuara apo nj\u00eb \u201cpasqyr\u00eb\u201d m\u00eb t\u00eb kthjell\u00ebt, q\u00eb nga v. 2003 Sekretariati i Konvent\u00ebs p\u00ebr Ruajtjen e Trash\u00ebgimis\u00eb Kulturore ka investuar n\u00eb menaxhimin e infove. \u00cbsht\u00eb investuar dmth. dhe n\u00eb sh\u00ebrbimet internetike p\u00ebr zbatimin e k\u00ebtij menaxhimi informatik. N\u00eb v. 2016 UNESCO filloi t\u00eb impenjohej p\u00ebr gjetjen e zgjidhjes sa m\u00eb t\u00eb mir\u00eb, elementet q\u00eb u p\u00ebrkasin temave t\u00eb ngjashme duhej t\u00eb grupoheshin, duhej ta \u201ckomunikonin\u201d reciprocitetin, tutje synohej t\u00eb paraqiteshin variacionet e lidhjes s\u00eb elementeve me nj\u00ebri-tjetrin p\u00ebrmes koncepteve dhe ideve, si dhe t\u00eb zhvillohej nj\u00eb hartografi efikase e bazuar n\u00eb p\u00ebrmbajtjen dhe kuptimin (semantik), sesa (vet\u00ebm) n\u00eb at\u00eb gjeografik. N\u00eb v. 2018 qe punuar nj\u00eb prototip infografik, prezantimi i projektit do ta bindte Mbret\u00ebrin\u00eb e Holand\u00ebs p\u00ebr mb\u00ebshtetjen e zhvillimit t\u00eb m\u00ebtutjesh\u00ebm. Me ndihm\u00ebn e ekspert\u00ebve t\u00eb dh\u00ebnat qen\u00eb rafinuar, qen\u00eb p\u00ebrgatitur pastaj dhe disa versione shtes\u00eb t\u00eb vizualizimeve.<\/p>\n

Sipas fjal\u00ebve t\u00eb UNESCO, vizualizimet nd\u00ebraktive do duhej t\u2019na e shpalosnin se trash\u00ebgimia kulturore nuk \u00ebsht\u00eb vet\u00ebm e larmishme dhe shum\u00ebngjyr\u00ebshe, por dhe burim shum\u00eb i \u00e7muar i njohurive t\u00eb testuara nga koha si t\u2019jetojm\u00eb n\u00eb planetin ton\u00eb n\u00eb m\u00ebnyr\u00eb t\u00eb q\u00ebndrueshme dhe paq\u00ebsore. Info-vizualizimet nd\u00ebraktive m\u00ebtojn\u00eb t\u2019i qart\u00ebsoj\u00eb nd\u00ebrlidhjet (n\u00ebse ekzistente) mes trash\u00ebgimis\u00eb kulturore jomateriale me 17 Objektivat e Zhvillimit t\u00eb Q\u00ebndruesh\u00ebm (SDG), q\u00eb bashk\u00ebsia nd\u00ebrkomb\u00ebtare i ka parashtruar t\u00eb arrihen deri n\u00eb v. 2030.<\/p>\n

P\u00ebrmbyllje “kuriozitare” – Derisa (bie fjala) Kina e madhe i ka 40 elemente t\u00eb Trash\u00ebgimis\u00eb Kulturore Jomateriale n\u00eb list\u00ebn e UNESCO, Turqia e madhe 19, Franca e madhe 20, tutje edhe Kroacia e “vog\u00ebl” i ka 16 elemente – ama Shqip\u00ebria vet\u00ebm 1 (Iso-polifonia shqiptare)… sikur dhe Holanda vet\u00ebm 1 (lidhur me mullinjt\u00eb, me zanatin e mullixhiut : )<\/p>\n

(t\u00eb dh\u00ebnat: UNESCO – faqja zyrtare)<\/em><\/p>\n

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Sky Division (Infographic), 2024 – UNESCO – Intangible Cultural Heritage of Humanity [ Albania ]<\/p>\n

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2024 – K’cimi dancing of Tropoj\u00eb<\/strong><\/p>\n

Inscribed in 2024 (19 COM) on the Representative List of the Intangible Cultural Heritage of Humanity<\/p>\n

In Albania, the k\u2019cimi dance is a popular, festive dance performed in spontaneous gatherings or during traditional ceremonies such as weddings, birthdays, initiations and village celebrations. Typically accompanied by drums, k\u2019cimi is performed by men, women and children of all ages, and usually in couples, with partners changing according to the occasion and the dancers\u2019 choice. People dance face to face, without touching. They make swooning movements, raising and dropping their arms as they move around one another. According to the occasion, some dancers may wear traditional attire. During the dance, women may also wave a handkerchief, usually red in colour. The k\u2019cimi dance is traditionally practiced by the people of Tropoj\u00eb and is associated with springtime celebrations, mountainous landscapes and the flight of eagles \u2013 a symbol of strength and of collective identity. However, it is now performed year-round, including by people from other parts of Albania. Dance groups also perform the dance during festivals. K\u2019cimi is transmitted through observation and participation during social and ceremonial occasions. During family celebrations in particular, elders show and teach children and youth the dance. The dance evokes a sense of shared identity and belonging while promoting social cohesion, freedom of expression and tolerance.<\/p>\n

2022 – Xhubleta, skills, craftsmanship and forms of usage<\/strong><\/p>\n

Inscribed in 2022 (17COM) on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding<\/p>\n

Xhubleta is a handcrafted garment worn by highland women and girls in Northern Albania, characterised by its undulating bell form. Predominantly black with colourful embroidered motifs, the crafting process entails preparing the shajak (woven felt), cutting, sewing and embroidering symbolic figures. Xhubleta was once used in everyday life from the age of puberty, indicating the wearer\u2019s social and economic status. However, its use and production has been decreasing over the past decades due to socio-political and economic reasons. The new policies set by the socialist system in the 1960s altered traditional cultural patterns, bringing changes to the daily lives of the mountain communities and the use and production of Xhubleta. As women had to work in the agricultural socialist cooperatives, Xhubleta was no longer practical for everyday life. Furthermore, state collectivization led to a lack of raw materials for its production. Today, few women possess the knowledge of the entire process, and traditional family-based transmission is rare. Nevertheless, the garment has maintained its social and spiritual significance and is still considered an integral part of highland identity.<\/p>\n

2008 – Albanian folk iso-polyphony<\/strong><\/p>\n

Inscribed in 2008 (3 COM) on the Representative List of the Intangible Cultural Heritage of Humanity (originally proclaimed in 2005)<\/p>\n

Traditional Albanian polyphonic music can be divided into two major stylistic groups as performed by the Ghegs of northern Albania and the Tosks and Labs living in the southern part of the country. The term iso is related to the ison of Byzantine church music and refers to the drone accompanying polyphonic singing. The drone is performed in two ways: among the Tosks, it is always continuous and sung on the syllable \u2019e\u2019, using staggered breathing, while among the Labs, the drone is sometimes sung as a rhythmic tone, performed to the text of the song. Rendered mainly by male singers, the music traditionally accompanies a wide range of social events, such as weddings, funerals, harvest feasts, religious celebrations and festivals such as the well-known Albanian folk festival in Gjirokastra.
\nAlbanian iso-polyphony is characterized by songs consisting of two solo parts, a melody and a countermelody with a choral drone. The structure of the solo parts varies according to the different ways of performing the drone, which has a great variety of structures, especially in the popular style adopted by all groups performing this music. Over the last few decades, the modest rise of cultural tourism and the growing interest of the research community in this unique folk tradition have contributed to the revival of Albanian iso-polyphony. However, the tradition is adversely affected by poverty, the absence of legal protection and the lack of financial support for practitioners, threatening the transmission of the vast repertoire of songs and techniques. The rural exodus of young people to the bigger cities and abroad in search of jobs compounds this danger. Given these conditions, at the present time, the transmission of this tradition is maintained through professional folk artists, rather than within the family structure.<\/p>\n","protected":false},"excerpt":{"rendered":"

(sguraziu – ars poetica, j 2021, 2024) UNESCO [ Organizata Edukative, Shkencore dhe Kulturore e Kombeve t\u00eb Bashkuara ] – Projekti “Zhytu n\u00eb Trash\u00ebgimin\u00eb Kulturore Jomateriale” – Mund\u00ebsuar nga Mbret\u00ebria e Holand\u00ebs Databaza e UNESCO sot i ka mbi 500… Lexo →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[16],"tags":[],"class_list":["post-7072","post","type-post","status-publish","format-standard","hentry","category-multimedia"],"_links":{"self":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/posts\/7072","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=7072"}],"version-history":[{"count":0,"href":"https:\/\/letrat.eu\/index.php?rest_route=\/wp\/v2\/posts\/7072\/revisions"}],"wp:attachment":[{"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=7072"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=7072"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/letrat.eu\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=7072"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}