Rigels Halili, fitues i bursës ndërkombëtare të Programit Translation in Motion (TiM), për qëndrim në kryeqytetin shqiptar, si pjesë e Projektit Creative Europe, mbështetur nga BE dhe realizuar nga "Poeteka", merr pjesë në KONFERENCËN e 50-të NDERKOMBETARE TË STUDIUESVE TE BALADÈS, organizaur nga Akademia e Shkencave e Shqipërisë, me kumtesën e titulluar: "Between geography and motives. Mapping the ballad of immurement in Albania in the 20th century."
Më herët. Rigels Halili ka botuar përkthime të baladave dhe përrallave shqiptare në gjuhën polake, përfshi këtu edhe pjesë të zgjedhura nga "Kanuni i Lek Dukagjinit (shih: Selected Albanian folk-tales and fragments of the Code of Lek Dukagjin, published in the Polish cultural periodical Krasnogruda, vol 15, Sejny 2003.)
Fragment nga kumtesa:
I shall start by drawing a line of division between the practice of foundation sacrifice and its representations or references to it in the form of songs, legends or tales. The practice is well- known and well documented by different historical sources in different times and in various parts of the world, definitively in Euro-Asia from Japan and China to England, but also in such remote places like New Zealand. Its existence since early historic times is supported by direct archaeological data, and indirectly by myths and legends referring to human sacrifice. Representations, or spiritual reaction to these practices, do vary and include songs (mostly in the Balkans and Hungary), legends (in the Caucasus), tales (in western Europe and England), and even historical accounts (in Germany and France). The songs, mainly in the forms of the ballads, were documented and collected especially in the area south of Danube, all throughout the Balkans and stretching further east to modern Turkey and the Caucasus, where the motif is embodied mostly in legends, tales and stories.
When it comes to songs of immurement in the Balkans there are three objects, on which foundations a person is immured/walled-up so that the object can stand: a bridge (sometimes called also a saint bridge), a monastery or a church, and a castle. Two issues arise here open for further interpretations. The first one regards the act of sacrifice, which in the majority of the cases is committed either in the form of immurement, or walled-up. I believe we have to divide them, since they refer to different practices and, hence, methodological care is needed here. The former form leaves space for some final exchange of words, for the woman/wife to leave some last wishes, to show a kind of acceptance of her fate, and even to live for some time after the act of sacrifice. The latter does not give the space for such an exchange and ends rather abruptly, without the lyrical tone of the previous one.
The second issue deals with the nature of the buildings, on which foundations the sacrifice takes place. Why are these a castle, a bridge and a church/monastery? Why not a home, especially when one takes into account that the practice of sacrificing is still present in the Balkans, even when radical refurbishment takes place, let alone with the starting of building of a new home. I would limit myself to pointing out to two elements related to each other: 1) the public interests, so the act of sacrifice serves to the common good, and 2) the hegemonic nature of the work that simple folk and peasants were supposed to provide for these buildings to stand and or taking care of them…
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