Towards the paths of developing a discipline: Albanian folkloristics in Kosovo

Towards the paths of developing adiscipline: Albanian folkloristics in Kosovo Arbnora Dushi ABSTRACT From the end of the Second World War to the 1990s, Albanian folklore from throughout the Yugoslav space was collected and studied in Kosovo. This opened the possibility of a contact and a collaboration with schools and trends developing in folklore studies among all the peoples of Yugoslavia and beyond. However, this was not the case with folklore studies developing over the border in Albania. Scholarly communication with Albania became possible during the 1990s, yet alongside this conversation there were circumstances that affected the physical existence of the Albanian people in Kosovo. This brought about aperiod of stagnation from the point of view of folklore studies. For scholars of folklore, as for the whole population at this time, the accent was on survival. Albanian folklore scholars in Kosovo only managed to publish afew learned journal issues ayear, thanks to donations from the Albanian Diaspora in Europe. After the year 2000, the conditions and opportunities for the development in the study of Albanian folklore in Kosovo changed completely. This provided an opportunity not only to open out to other Albanians in the Balkans, but also to come to terms with trends and perspectives in folklore studies across Europe. In this encounter, the theoretical and conceptual legacy of folklore studies in Kosovo has also been faced with the shift in the boundaries of the discipline of folklore studies, as well as its interplay with social and cultural anthropology, as has been the case for many other peoples in Europe. In my paper Iwill try to present the historical background and circumstances of Albanians living in Kosovo, which influenced the research and publications of the Folklore Department at the Institute of Albanology in Prishtina, as the only institution for the academic treatment of Albanian folklore. Through presenting its research methodology, paradigms, publications as well as its status today, Itry to give an overview of folkloristics in Kosovo. KEYWORDS folkloristics, Albanians, Kosovo, Institute of Albanology, research, publications The Republic of Kosovo today, known in the former Yugoslavia as the Autonomous Socialist Province of Kosovo, was inhabited by about 90% ethnic Albanians who shared the same language and cultural heritage with other Albanians living elsewhere in Yugoslavia (in the other Yugoslav republics of Macedonia, Serbia and Montenegro), but also with Albanians living in the adjacent state in Albania. Due to the tense circumstances between these two states, Yugoslavia and Albania, the Albanians living in these two states were divided by the political border, which was inaccessible to ordinary citizens1, until the early 1990s. This fact should be taken into account, while studying the development of Albanian folklore in Kosovo. 1 The performance of these relations was not always at the same intensity of interruption throughout the whole period of tense relations between these two states (1948–1990). OPEN ACCESS 10 STUDIA ETHNOLOGICA PRAGENSIA 2/2019 THE FIRST PUBLICATIONS OF ALBANIAN FOLKLORISTICS Albanian folklore studies, by definition, includes the research of entire folk culture of the Albanian nation in the diachronic and synchronous aspect, which implies the folklore of all Albanians wherever they were and are around the world. As such, Albanian folklore study is considered to be born among Albanian Diaspora in Rome in 1635, when the Albanian Catholic clergyman Frang Bardhi (originally from the Northern Albania) published aLatin-Albanian Dictionary. In this dictionary he included 113 Albanian folk proverbs translated into Latin and Italian (Gega-Musa, 2007: 269–276). Then, other works of folklore were published in the settlements of the Arbëresh2 in Italy. Of particular importance for Albanian folklore is the year 1836 when the professor from Arbëresh College in Calabria, Girolamo De Rada, published in Florence the book titled “Rapsodie di un poema Albanese” (Rhapsody of an Arbëresh poem) in which he included 72 folk songs from Arbëresh settlements in Naples, with an Italian translation. This is considered the beginning of the first great work of Albanian folklore collection (Skendi, no year of publication, 21; Zheji, 1998, 16). Other publications of Albanian folklore were from Albanian settlements in Egypt (Thimi Mitko, “Bëleta shqyptare” [The Albanian Bee] (1878)), in Sofia (Spiro Dine “Valët edetit” [The waves of the sea], in Sarajevo Vinçenc Prenushi “Kangë popullore gegnishte” [Folk Songs in Gheg dialect]) (1911), etc. (Skendi , no publication year: 25). After the proclamation of Albania’s independence from the Ottoman Empire in 1912, the state-building projects began, which meant also the collection and publishing of folklore, the preparation and publication of 15 volumes with different types and genres of Albanian folklore under the title “Visaret eKombit” (The Treasures of the Nation), which were published under the auspices of the Franciscans of Shkodra (Scadar). The compilation of these volumes was based on the comprehensive concept of Albanian folklore, which thanks to the service of the Franciscans and their associates, gathered material from all areas Since it was influenced by local politics and global one, too, history recognizes tensions such as the 1968 Kosovo Albanian demonstrations with the requirement to allow the use of the national flag (the flag of Albanians), but also the easing period, such as inter-university exchange agreements between Pristina and Tirana in the early 1970’s. The Constitution of 1974, which provided Kosovo with autonomy, but without the right to detach itself from Yugoslavia, brought anew period of time which was manifested by openings for communication and visits between two states, although they were always heavily depicted by state operators, even when they were both family and private visits. The demand of Albanian Students and intellectuals in 1981 for the Republic of Kosovo, which was followed by imprisonment and murders, such as the events after 1981, also followed with tension and interruption of contacts. All tense political periods were based on the ethnic Albanian identity expressed by Kosovo Albanians, which the Yugoslav state has tried to suppress with forms of violence and repression. 2 Arbëreshs are an Albanian ethnic and linguistic group in Southern Italy, mostly concentrated in scattered villages in the regions of Apulia, Basilicata, Calabria, Molise and Sicily. They are the descendants of mostly Tosk Albanian refugees, who fled from Albania between the fourteenth and eighteenth centuries in consequence of the Ottoman invasion of the Balkans. OPEN ACCESS ARbNORA DUSHI 11 inhabited by Albanians. Kreshnik songs (heroic songs or songs of frontier warriors), ballads, folktales, lyric songs, laments, lullabies or cradle songs, as well as customs from all areas where Albanians lived were collected. The Lute of Kosovo was avolume in itself which contained lullabies, wedding songs, laments and heroic songs or socalled songs of manhood (Arllati, 2017: 147–164), all items collected in Kosovo. ALBANIAN FOLKLORE MATERIALS PUBLISHED BY FOREIGN SCHOLARS Apart from Albanian collectors, items of Albanian folklore had also been published by foreign scholars, long before Albanian ones. Some of them, serving as missionaries of various kinds in Albanian settlements, were attracted to the beauty and distinctiveness of the Albanian folk traditions and published special works on folklore. Among these authors are the German diplomat and linguist Johann Georg von Hahn (his works published: “Albanesische Studien”, Bd. 1–3, Jena 1854, “Griechische und albanesische Märchen”, Bd. 1–2, Leipzig 1864, München/Berlin 1918; “Reise durch die Gebiete von Drin und Wardar”, Wien 1867); the French consul August Dozon (his work: ”Contes albanais, recueillis et traduits” collected and translated, published in Paris 1881); the Danish linguist Holger Pedersen, and the scholar Maximilian Lambertz (Their collected folkloric material was published in Sarajevo, 1917, as “Volkspoesie der Albaner: eine einführende Studien”). They included alot of material from Albanian folklore in their work, just as notes, as additions to cultural dictionaries or as research studies. The most attractive genre that excited foreign researchers was the Albanian heroic epic songs, which were sung by the highlanders of the Northern areas of Albania and Kosovo, (in Northern Albanian dialect— Gheg) which is well known as the Cycle of Kreshnik songs. The first interest in this sung mythic cycle came from the well-known Slovenian linguist Jernej Kopitar (1780–1844) in Vienna, who had correspondence with many academic authorities of the time. Among European linguists, he was considered avalued academic and thinker. In a correspondence with John Baring about the publication of Clement Forie’s “Modern Greek Folk Songs” (Paris, 1824–25), he writes: “There is no doubt that Greek songs published from Forie are imitated by those of Albanians. We have to make comparisons between Albanian, Greek, Bulgarian and Serbian songs. Which of these people has invented them” (Miodrag Ibrovac, Claude Fauriel et la fortune européenne des poesies populaires greque et serbe (B.Comptes rendus de Kopitar), Didier, Paris, 1966, 193–203, (quoted by Pllana 2004: 365)). According to the same source, Kopitar had asked his student, Vuk Karadžić, to collect the Albanian folk songs. So, in 1830 he had brought twelve Albanian folk songs (along with the translation into Serbian), three lyric and nine epic ones, recorded by two subjects from Peja/Peć (Kosovo). Although they were then recorded by Vuk Karadžić, these materials were published by Norbert Jokl only in 1921 (Pllana, 2004: 380). Gustav Meyer was the first foreign (German) scholar who collected and published in Albanian afragment (15 verses) of an Albanian song in 1897, which was published in Vienna along with other material from Albanian folklore, in his work “Albanesische Studien” VI (Neziri, 1997: 25–30). Matthias Murko (1861–1952) was anOPEN ACCESS 12 STUDIA ETHNOLOGICA PRAGENSIA 2/2019 other Slovenian-born ethnologist who recognized the tradition of epic songs sung in Albanian, but did not accept them as genuine, while defending the viewpoint that they were versions of the Serbo-Croatian epic. Berisha, who is referring to him as Czech scholar (Murko was professor of the Charles University in Prague where he lived until his death), has worked on Murko’s publications for Serbo-Croatian national epic. Matthias Murkos’s thoughts and data about the Albanian oral epic (which Murko referred to as aMuslim tradition), although incomplete and scarce compared to the Serbian-Croatian epic, are of particular importance to Albanian historical studies because they provide field-based evidence for the spread and cultivating an epic song to Albanians in the last century. The singing records and bilingual singers (singing in Albanian and Bosnian languages) are of unique importance for comparative studies of Balkan epics, the undeniable part of which is the Albanian versions of epic songs. Based on data found on Murko’s collection, even that he considered it as Muslim tradition, Berisha has recognized many of these materials as Albanian, because of the Albanian ethnographic features that belonged to Arnaut and many Muslim singers, such as their traditional costumes, their memory recorded or details of their origin. As Murko wrote in 1951, quoted by Berisha “From old Serbia, only the Arnauts ( Albanians) have remained illiterate, whom have preserved the oral tradition very well, so they are still ‘singing for everything’ and always creating new songs” (Berisha A. 1989: 279). Albanian epic songs were also recorded by the American researchers Milman Parry and Albert Lord, who, in search of the Homeric epic, arrived in the Balkans in the 1930s, and, in the Sandžak area in Serbia, recorded long songs from bilingual rhapsodists (four of the five singers from whom recorded the songs were Albanians and one of them sang in both languages, Salih Ugljanin) (Kolsti, 1990). The formulaic theory was built on the basis of the Serbian-Croatian epic, but according to David Elmer, who speaks of today’s virtual publications of Parry-Lord, ”Even among the epics, which have always received more attention than anything else, scholars will find that there are significant discoveries yet to be made. Lord’s Albanian collection, which includes some of the longest Albanian epics ever recorded but remains unpublished, stands out in this regard” (Elmer 2013: 348). When we are talking about foreign authors and their work with Albanian folklore, we cannot overcome the work that Canadian researcher Robert Elsie did for the revelation of values of Albanian oral and textural heritage. Many of the Albanian folklore works, included old materials from archives that he collected, translated into English, studied and published, are accessible to each of his web-pages3 and Albanians remain indebted to Elsie, for the great work he has done in comparison to his short life. He died on October 2, 2017. 3 Robert Elsie, <www.elsie.de> [accessed 20.04.2019]; Robert Elsie, Texts and Documents of Albanian History, <www.albanianhistory.net >[accessed 20.04.2019]. OPEN ACCESS ARbNORA DUSHI 13 ALBANIAN FOLKLORISTICS IN KOSOVO— THE DEVELOPMENT PATHS The declaration of Albania’s independence from the Ottoman Empire in 1912 and the following definition of the borders of the Albanian state by the Conference of Ambassadors in London (1913) left many settlements inhabited by amajority of ethnic Albanians outside the Albanian state borders. This also applied to Kosovo, which despite efforts made, continued to belong to Yugoslavia after the end of the Second World War. Later (1948). Because of the collapse of diplomatic relations between Albania and Yugoslavia, the border between these two states was closed, preventing any communication, even between families. Kosovo was acountry that had just emerged from the war (the Second World War), with apoor and uneducated population. The first post-war decades began with great hardships. The lack of high schools and universities meant that the first scholars had to study in Belgrade, and later in Zagreb and Ljubljana, until the University of Prishtina was opened in 1970. While first generations of Kosovo students from the technical and medicine sciences have studied in Zagreb and Ljubljana, most of the social science students were educated in Belgrade. Scholars of linguistics and literary history, or of the philosophy, were the beginners of the folkloristic work. The collecting of folklore, initially of folk songs about historical figures, folktales and anecdotes, had begun to be made by students who had completed their studies in Belgrade at the Faculty of Philosophy. Albanian folklore materials in Kosovo, (small collections done by enthusiast scholars), first started to be published in the daily newspaper Rilindja, but also in periodical journals. Abook with folk songs from different regions of Kosovo, entitled “Kangë popullore shqiptare të Kosovës dhe Metohis” (The Albanian folk songs from Kosovo and Metohia), which was collected by Albanian philologist Zekeria Rexha (educated in Tirana, Paris and Belgrade), was published in Prishtina in the year 1951, but because of the theme of historical songs that was judged to be capable of inspiring nationalistic sentiments of one nation against another, all three thousand copies were destroyed immediately after the book was released and the author was deported to Albania (Shita, 2007). Subsequently, three other authors, two Albanian students with their professor from Belgrade, took some of these materials, removed the “dangerous” songs by adding many other genres of folk songs, and published them in three volumes with the same title in 1953 (Daçetoviq et al, 1953). These were considered as afirst volume of Albanian folkloristic published in Kosovo. In the same year (1953) the Institute of Albanology was established in Prishtina. This was an institution where the language, literature, history and culture of Kosovo Albanians would be researched, studied and published. In the year 1955, in unfavorable circumstances for Albanians in Kosovo (there were discriminatory policies against the Albanian Muslim population forcing them to declare as Turks therefore to migrate them to Turkey (see more Grmek et al. 2010, (156–195)), the Institute of Albanology was closed. After 12 years, the situation changed and other political circumstances helped in the reopening of the Institute of Albanology (1967) and then the opening of the University of Prishtina (1970). In this year, the Folklore department (within the Institute) was established. The head of it was Professor Anton Çetta OPEN ACCESS 14 STUDIA ETHNOLOGICA PRAGENSIA 2/2019 (1920–1995). He had completed his elementary and secondary education in Albania and graduated at Belgrade University in Romanian philology. At the same time, he was lecturing on Albanian Literature, History of Literature, and Latin Language at the University of Prishtina. WORKING ACTIVITY OF THE FOLKLORE DEPARTMENT IN PRISHTINA (PUBLICATIONS OF THE FOLK-VOLUMES) Anton Çetta (1920–1995) is considered to be the founder of Albanian folklore studies in Kosovo and after the reopening of the Institute of Albanology in Prishtina, he chaired the Department of Folklore. When professor Çetta took on the task of founding the Folklore Department at the Institute of Albanology in Prishtina, the collection of folk literature was thought to be something abstract and that how much of this treasure existed in the field, was unknown (Berisha Rr., 2011, 142). He formulated the project to collect and publish twenty-eight volumes of various genres of folk literature, which the Folklore Department would prepare. This was the primary task of the department as, at the end of the 1960s, folkloristics as adiscipline was incomprehensible without the grounding of folklore material in the archives. To accomplish this task, Çetta first gathered colleagues within the Department and then created anetwork of external collaborators, mainly his former students and scholars, who researched folk material in the field and brought it to the department (Mustafa, 2011, 127). Nearly thirty volumes of collected materials were published, mostly prepared by Çetta, his colleagues and collaborators. The chosen criteria for collecting and publishing of those materials were genre-based. This resulted in published volumes with collected oral-texts titled: — Këngë kreshnike [Kreshnik songs or Songs of Frontier Warriors], (Çetta, ed. 1974), (Berisha Rr., et al. (eds.) 1991), (Çetta, et al, (eds) 1993); — Këngë epike legjendare [Legendary epic songs] (Neziri 1997, 2009, 2011 ); — Balada dhe Legjenda [Ballads and Legends] (Çetta, Berisha (eds) 1974); — Këngë popullore historike I–IV [Historical folk songs I–IV] from different periods (Pllana, et al, (eds.) 1978); (Syla 1982); (Fetiu, et al. (eds.) 2007, Berisha Rr. et al, 2007; Syla et al.2007; Zejnullahu et al., 2007); — Këngë dasme [Lyric wedding songs] (Çetta, Berisha A. (eds.)1982; 1984; Rukiqi (ed.) 2009); — Këngë dashurie [Lyric love songs] (Mustafa, Berisha Rr. (eds.) 1979); (Berisha Rr., Mustafa (eds.) 1987); — Këngë dhe lojëra të fëmijëve [Children’s songs and games] (Fetiu (ed.), 1983); — Ninulla [Lullabies] (Fetiu (ed.) 1982; — Vajtime [Laments] (Çetta, Berisha A. (eds.) 1987; Ulaj (ed.) 2009); — Përralla [Fairytales] (Çetta 1979 (ed.), 1982); — Balada dhe legjenda, [Ballads and legends] (Çetta (ed.) 1974); — Kallëzime [Folk Tales] (Mustafa (ed.) 1987) ; — Anekdota [Anecdotes] (Çetta, et al.,(eds.) 1987; Çetta, et al., (eds.) 1988); OPEN ACCESS ARbNORA DUSHI 15 — Fabula [Fables] (Mustafa, Zejnullahu (eds.) 2008); — and other small forms of oral narratives (Kajtazi (ed.) 2015), (Çetta (ed.) 1995); (Çetta (ed.) 2000); (Çetta (ed.) 2001), (Ulaj, 2011). All these volumes and collected materials were organized according to the genre system and their collecting in the field was done according to this system (Honko 1976) as well as the publication. The focus of the publication was text, not voice or performance. The recording was done by reel-to-reel audio tape recording (Uher brand), then the sound material was transcribed, but only the text was published. Every volume in the end was equipped with several tables filled with data for the performers and collectors. Since then was dominant the concept on the role of performer only as the bearer of folklore, the data about performers and collectors were done more statistically. So, from that time when the folklore paradigm was “the text is king” (Honko, 2000, 7) we have published volumes with lines and texts of songs and narratives. Here are the types of folklore collected from all areas where Albanians live in the former Yugoslavia, but there are also items from Albanian folklore in Albania as well as Albanian Diaspora in Italy and Greece. Publication of sound materials was not practical. For various reasons, the publication of these volumes took four decades. This publication of collections of Albanian folklore served as asolid base for the folklore studies that came later. As sub-branch of the Folklore Department, there was always the Ethnomusicology branch which functioned along with the folklore research and fieldwork. The folklore materials from the fieldwork were treated also for the melodic and ethno-musicological aspect. Mostly folk instruments as well as folk festivals and the typical way of folk singing from the different zones were the preoccupations of the Albanian ethnomusicologists from the Folklore department, which we can see in their publications (Munishi 1979: 1987), whose focus were also the choral music of Albanians (Munishi 1988). ACADEMIC SCIENTIFIC WORK BASED ON THE FOLKLORE MATERIAL PUBLICATIONS The 1974 Constitution guaranteed Kosovo autonomy within Social Federal Republic of Yugoslavia, which meant giving to Kosovo Albanians to develop the study of their national culture. More students had the chance to complete their higher education inside and outside Yugoslavia and to participate in the international conferences and congresses. Contacts with awider literature and international folklore scholars resulted in alarger intellectual production for Albanian researchers, who published anumber of books on poetics of the earlier published genres of Albanian folklore volumes. This was considered as the second phase of Albanian folkloristics in Kosovo. All the publications of the new perspectives on Albanian folklore published on this time were in Albanian language, but for practical needs of understanding we will present here the traslation of titles in English. So, the titles in English of these Albanian scholarly publications are: The Poetics of Albanian Folk Ballad (Fetiu, 1987), The Poetics of Albanian Folk Lyric (Vinca 1989), The Poetics of Albanian Fairy Tale (Mustafa, 2003), Approaching the Poetics of Albanian Oral Literature (Berisha A. 1997), The Poetics OPEN ACCESS 16 STUDIA ETHNOLOGICA PRAGENSIA 2/2019 of stylistic figure of comparison in Albanian folk lyric (Neziri, 2004), The Poetics of Riddle (Gega-Musa, 2009), along with other poetical issues upon historical folk songs (Zejnullahu 1987, Syla 1982). Although there were some monographic publications, articles on folklore were published regularly in the scientific journal “Gjurmime Albanologjike” (Albanological Research). It was published by the Institute of Albanology since the year 1971 in three series (Philology series, History series and the series of Folklore & Ethnology). Albanian folklore studies grew with this journal. The articles published in Gjurmime treated folklore analytically. An individual was considered as abearer of tradition while his art was qualified as atreasure of national culture and heritage. Until today there are 47 volumes of the journal published, in three series. The approach to folk materials was largely elevated and seen within its creative context. Theories and methods of research used in these papers were in correspondence with folkloristic publications published in other republics of Yugoslavia, which regularly came to the Library of the Institute of Albanology, with who the Institute was in contact. In the context of developments of Kosovo Albanian folkloristic within the Yugoslav area, very important was the organization of the twentieth Congress of the Association of Yugoslav Folklorists which was held on 24–28 September of the year 1986 in Prishtina. Under the auspices of Albanian folklorist Professor Shefqet Pllana and the Philosophical Faculty of the University of Prishtina, this congress brought together about 200 folklore scholars from Yugoslavia, Europe and the world. According to Enver Mehmeti’s chronicle, the two main topics of the congress were ‘Folklore of Kosovo’ and ‘Continuity and Changes in Folk Creation’, while the themes of the sections were related to the epic of the South Slavs and the Albanian epic as well as various theoretical aspects and practice of classification of folk literature. Other topics included issues of ethnomusicology, ethno-choreology and children’s folklore. The special topics of these sessions were the comparative themes from the Albanian and Serbo-Croatian epic, the ballads of the Yugoslav peoples as well as the topics of the classification of the categories of folklore, for which debates and discussions took place (Mehmeti, 1987: 221–222). Even though it was considered aspecial event and as agreat achievement of Pristina University and Kosovo at all, the papers from this conference were never published. The changes that followed briefly in Kosovo, as well as the drastic changes that faced the University of Pristina after, seem to have left their mark on the finalization of publication of the works from this congress, which was almost the last one that was organized in ex-Yugoslavia. WORKING CONDITIONS OUT OF THE WORKING PLACE DURING THE 1990’S The political circumstances behind the developments in the field directly affected the development of Albanian folklore studies in Kosovo. Albanian folklore studies in Kosovo made progress until the beginning of the 1990s, when they started to decline. From 1989 and for the whole of the next decade, Albanians faced very difficult times and their very existence was threatened by the Milošević regime. Kosovo’s autonomy was revoked; Albanians were excluded from all levels of education, health services, and government jobs. This meant the interruption of all academic activities. FolklorOPEN ACCESS ARbNORA DUSHI 17 ists together with their colleagues were expelled from the building of the Institute of Albanology. Like all other educators and researchers, they decided to organize their work privately, but because the state left them without financing they were forced to raise funds, avery difficult task in those circumstances. At atime when even their existence was in jeopardy, folklorists published only few small issues of the annual Journal of Albanological Research. The publication was realised thanks to the financial assistance of the Kosovo Diaspora in Europe and USA. In those difficult years, they also worked on transcribing and editing the materials collected until then. This is the only work that could be done in closed settings , as the fieldwork was impossible to accomplish. The Institute of Albanology was transferred to aprivate house, where researchers could continue their work but with a low capacity. Field research was impossible to accomplish due to financial inability, but also due to the fact that working outside the facility became dangerous. Another problem was the difficulty of supplying literature, because collaborations with libraries and bookstores were discontinued. Contacts and cooperation with institutions and institutes in the former Yugoslavia were completely interrupted. The separation of Kosovo from the Yugoslav state meant also the disappearance of Kosovo folkloristic publications from this network. Publishing was to acertain extent ensured on an individual basis and in illegal forms, according to the existing state rules. On the other hand, the dissolution of Yugoslavia on an ethnic basis, which, as we saw, resulted in the dissolution of internal institutional relations, paved the way for new ethnic contacts among Albanians. The collapse of communism in Albania in the early 1990s and then the mass deportation of the Kosovo Albanian population during the 1999 war (when amillion Albanians were violently made to leave their country by Serbian paramilitary forces and to seek shelter in Albania and Macedonia) facilitated the establishment of contacts within the Albanian population outside the borders of Kosovo. Especially with Albania, with which contacts for almost half acentury had been too weak, communication was not easy. The meetings between acquaintances, as well as the meeting between people who were unknown to each other, caused great cultural shock. As has been said many times, wars, tragedies and disasters are the most powerful sources for creating folklore. This time, it also led to the creation of a project by the Institute of Folk Culture in Tirana, which (together with colleagues from Kosovo) aimed to explore the “Cultural Survival of the Deported Albanians”, which took place in two phases: when deported Kosovars were refugees in Albania and later when they returned to their homes in Kosovo. Many colleagues from both sides of the border, who until then had heard of or had achance to read each other's works, were now getting acquainted with each other, but also with the fieldwork they had only heard from previous generations. Though the fieldwork in Kosovo, the people who had just emerged from the war, with many losses and casualties, needed time to return to work and scholarship. Based on this fieldwork many years later there were published avolume on Hasi region, which is settled between Albania and Kosovo and the political border divided it for almost half of the century. The volume titled “Tradita kulturore eHasit” [Cultural Tradition of Has] was completed by collecting works of folklorists and ethnographers from Kosovo and Albania, whose research were made in this region (Fetiu et al. (eds.), 2005). OPEN ACCESS