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Kultura

Gramoz Burba: The new art law was not taken seriously and the demands of the artists remain in the drawers of the Ministry of Culture

Gramoz Burba: The new art law was not taken seriously and the demands of the

Gramoz Burba has a life with polyphony in his activity. There are dozens of tours that Burba has done together with vocalists of the ensemble in the country and abroad, before and after the 90s, where he took care to promote our polyphony. In the interview for the "SOT" newspaper, the well-known artist Gramoz Burba comes with a story from his beginnings in the Ensemble of Folk Songs and Dances, the creation of the group "Zadeja", performing on the stage of Sanremo and touring over the years. Gramoz Burba in 1982 joined TKOB and in 1988 he joined the Popular Ensemble. Leader of the vocal group "Zadeja" and former member of the Ensemble of Folk Songs and Dances, Burba says that they have been welcomed by the public on every stage both inside the country, but also in the tours they have held abroad such as in Paris, Marseille, Prague, etc. Regarding the "Zadeja" group, Burba says that its creation took place in the moments when changes occurred in our country and in the Ensemble, a small group of artists remained in the choir. Today with this group, Burba shows that they are developing a diverse artistic activity, where during the summer they will also be on foreign stages. Gramoz Burba dwells on the difficulties faced by artists in their activity, where, according to him, the legal framework in the country should be improved. But what is worrying for the well-known artist is that the requests of the artists for the new law, the status of the artist, etc., continue to remain in the drawers of the ministry that directs art and culture.

- The group "Zadeja" was created years ago and is continuing its activity with concerts in the country and abroad. How was this group created and what can you tell us more about the work that is done with the artistic activity?

The Ensemble of Folk Songs and Dances with the changes after the 90s in our country suffered deep deformations and mainly in its organic aspect. Since we remained a small group of artists in the Choir of the Ensemble, we had to adapt to the new conditions and mainly focused on the polyphonic labe song. In this context, this group was created within the "AlbaFolk" association, which has been directed by me for almost 25 years. With this group we have started the first activities both inside and outside the country. There are dozens of concerts abroad, but also participation in Gjirokastra Festivals, as well as in other concerts within the country. The group then expanded with former artists of AKVP, mainly singers, and we formed the choral group "Tirana", which preserved the tradition of the repertoire of the Ensemble of Folk Songs and Dances with its best creations. We participated in the world choir olympiad, where we won the second prize, we participated in Barcelona, ??Austria, Germany, etc. But the biggest movements and invitations that come to our address are for the polyphonic group "Zadeja" created in 1995. Following the activity in the month of July, we will be in Switzerland with three concerts, as in Zurich and other cities.

- How are you received by the public at the concerts you hold in other countries?

 The polyphonic song that has become a world value and is preserved by UNESCO is of interest to the foreign public, either to know it or for the artistic sound it has. The public wherever we are welcomes our concerts and the halls are almost full, but we also show interest in explaining the many texts and legends in popular songs. Apart from the concert, there is a conversation with the audience. It is a very big interest, as long as we as a group continue to have invitations to perform continuously. And during the summer we do concerts in tourist spots mainly in Italy and France, where the tours last several days with concerts. But what surprises us is that in our country we say the number of tourists increased and here the activities are almost minimal. In Albania there are artistic institutions, there are many artists who stay without work during the summer and there is no proper organization to enliven life on the beach days.  

- Last summer there was a calendar of activities, mainly from our institutions during the summer season...

Year there was a calendar with concerts and other activities, but not to create a tradition to be as many as possible. Here, a better cooperation is required between the Ministry dealing with Culture and the various municipalities so that the activities take an important place during the summer season.

 -You conceived and performed with the Popular Ensemble on stage the recital "My Albania" a year ago. How did the idea of ??this concert come about?

Idenë e mbajtjes së këtij koncerti recitali e kam pasur prej më shumë se dy vitesh, për shkak dhe të afrimit të moshës sime në pension. Mendoja që ta mbyllja me një koncert të tillë. Duke qenë se unë kam rreth 40 vite eksperiencë pune, në këtë spektakël pretendimet e mia ishin që të jepja më të mirën e eksperiencës sime.

 -Ju për gati 40 vjet keni qenë në Ansamblin e Këngëve dhe Valleve Popullore. Sot si e shikoni ansamblin?

Ansambli i Këngëve dhe Valleve Popullore është në një moment jo të mirë për arsye të krijimtarisë dhe të investimeve të pakta. Mungojnë prurjet e reja dhe është një problem i madh, që lidhet dhe me reduktimin e numrit të artistëve të Ansamblit Popullor. Nga 96 vetë që kishte Ansambli Kombëtar në kohën kur kam filluar punë tani është katandisur në 30-35 veta, duke pasur parasysh që këtu operohet me tre sektorë, grupi i valleve, grupi i orkestrës dhe grupi koral. Janë në parametra të zhdrejtë profesionalë. Kjo e bën të pamundur që të organizosh një shfaqje dinjitoze. Në ansambël duhet të shtohet numri i artistëve dhe duhet të jetë rregullimi i organikave. Ansambli nuk është individ. Individi është në funksion të grupit dhe grupi në funksion të individit. Është Ansambël Kombëtar jo lokal dhe duhet të përfaqësojë të gjitha trevat e Shqipërisë. Ky mozaik vlerash e bën atë të jetë interesant dhe i pëlqyeshëm nga publiku. Por dhe bashkëpunimi me kompozitorët, me koreografët duhet të jetë më i madh që të ketë dhe prurje dhe risi.

-Herë pas here autorë të muzikës, thonë që duhet stimuluar më shumë nga institucionet krijimtaria. Çfarë ka sjellë kjo?

Duhet të ruajmë një balancë midis tregut dhe institucioneve të artit në vend. Nëse një këngë vlen përshembull 1 mijë euro në tregun privat, në institucion shkon te 20 mijë lekë të reja. Pra nuk ka interes që të shkruajnë, kështu dhe për vallet, etj. Trajtimi i veprave muzikore është shumë më i dobët nga pikëpamja financiare.

-Ju gjatë kohës në AKVP jeni angazhuar dhe me sindikatën e artistëve, ku keni pohuar probleme të ndryshme, si ligji i artit që duhet përmirësuar, statusi i artistit, etj. Kanë kaluar vite dhe ende artistët flasin për kërkesat e tyre. Çfarë ka munguar sipas jush?

Statusi i artistit u bë 25 vjet që po kërkohet. Janë bërë studime, etj, dhe asgjë. Mund të jenë këto studime dhe kërkesa nëpër sirtarët e Ministrisë së Kulturës, por asnjëherë nuk u mor seriozisht kjo punë apo të ulej dikush që ta formulonte dhe të bënte diçka të pëlqyeshme për artistët. Vërtetë janë rritur rrogat, por nuk është gjithçka, sepse është kuadri ligjor që duhet. Ligji për artin, statusi i artistit që mbron dhe e bën artistin të ndihet i qetë në punën e tij. Tek ne kuadri ligjor ka mungesa dhe nuk di të jetë marrë dikush në institucione seriozisht me ligjin e ri të artit apo statusin. Sindikata e Artistëve me drejtuesit e saj është përpjekur, është mundur brenda mundësive të saj që të gjejë gjuhën e përbashkët me drejtues të institucioneve. E ka bërë deri diku punën, por rezultati është ky që shohim.

-Your artistic journey started decades ago with the polyphonic song. But you also went on stage at the Sanremo Festival in Italy. It was 2006, when you and the polyphonic choir accompanied the singer Anna Oxa on stage. What do you keep from that moment?

For those of us who have followed Celentano, Morandi, etc., Sanremo has been a dream. It was 2006 when Ardit Gjebrea initiated this performance. Of course it had its own effects at the time, because Anna Oxa was also a very popular figure in Italy and the group joined her. We accompanied a song by Anna Oxa, we were a group with the artists Bardhyl Xhafka, Armaldo Kllogjeri, etc. The atmosphere was beautiful. But we didn't feel the Italian audience only at the Sanremo Festival, as I count over 50 concerts in Italy with an Italian audience. Every time we have appeared on the stage, we have been received with great interest.

- With the Ensemble of Folk Songs and Dances, you have been active for almost four decades. But in your reactions, you have emphasized the necessary artistic discipline from time to time. What has happened over the years?

When I started in the Ensemble before the 90s it was a fixed salary and people could be pushed around with it. But the artistic discipline, the artistic demands on oneself, the responsibility towards the institution, the responsibility towards the stage, these have no comparison. Competition was great within the sectors with each other. Only artistic competition drives it forward. The competition should be professional. There was competition among artists, competition among composers, but above all it was artistic discipline. But when I say artistic discipline, this is a little related to the art criticism that is made to a work or an interpretation. Today, criticism in art is extremely weak, it does not work. This brings a quagmire that everyone brags about themselves without deserving praise or some photos or materials on social networks and who gets likes. This has nothing to do with art criticism. Vaçe Zela had passed dozens of commissions and music reviews. Vaçe Zela did not come out and said I am the best. Today they are vipa who, as anyone knows, have no contribution, no one knows them either in art or in social life. There is no sound model that you refer to.

Interviewed by: Julia Vrapi