-tandem- is a duo, newly formed by Blerta Kosova&Oda Haliti, both fanatics of experimental music. The energy, the same taste in music, the love for music, the courage for navigation on various music genres, experimentation on mixing, keyboards, and vocals will make us understand why these to artists merged into this duo. It’s a new format of presentation if we compare to what we are used to expect from them on stage. tandem is moving on…follow them. Photo by: Meddy Huduti
-tandem- will be part of polip 2017!
Interview with Syrian Poet Aïcha Arnaout
Words Without Borders has just translated from French into English an interview with Syrian poet Aïcha Arnaout, who has lived in Paris since 1978. “Last March,” Cécile Oumhani writes, “she became totally engaged in the Syrian revolt, working day and night to send news updates and attend meetings in support of her people. We no longer meet at readings, only at rallies and evenings centered on current events in Syria.”
An interview with Entela Tabaku Sorman, a poet from Albania! Entela will be part of the 7th edition of the International Literature Festival -polip
A short portrait of Hamed Abboud, a Syrian writer living in Vienna!
“I am Burgenlander!” says Hamed Abboud, half in earnest, when asked about his origin. The Syrian writer is a well-known refugee.
Nir Baram: How do we work and live in a society that we consider unjust?
Nir Baram is an Israeli writer. Good People, his second novel, has been translated into 10 languages and is now published in English by Text. He writes for Haaretz and other newspapers and lives in Tel Aviv.
An interview with Nir Baram, a writer from Israel, attending the 7th edition of polip festival 2017:
Ana Ćurčin is a singer-songwriter born in Baghdad, raised in Moscow and based in Belgrade, Serbia. Her music blends the traditions of folk, Americana and dream pop into a musical atmosphere of her own. She performs either as a solo artist or with her band. Two amazing singles “Cut Loose” and “I Can’t” as well as deeply touching live performances brought Ana under the spotlight in a short period of time and made her one of the most promising acts of Eastern European singer-songwriter scene. Ana’s live performances include many notable venues throughout Europe including Exit Festival. In January 2015. “Sketches of Belonging” was released in January 2016, the first single was “Remain Calm”. Ana Curcin & the band are: Ana Ćurčin, Goran Antović (keyboards), Marko Cvetković (bass), Marko Benini (drums).
Ana is going to perform as a solo artist on the 1st night of polip festival 2017. See below the links of her performances:
Literature in Exile
The year that we have left behind, the political arena have shaken the ground – BREXIT, Trump, and the rising of the right wing in countries in Europe, which in turn will produce many changes. Here would come a Chinese ancient saying quoted often by Hanna Arendt in discussion of political crisis ‘It is a curse to live in interesting times’. Massive flux of refugees and migrants, with the rising right wing, has unearthed latent cultural, ethnic and religious tensions in Europe. The post-communist countries, some in the Western Balkans striving to enter EU, have also been shaken by political turbulences, mainly because of corrupt governments and lack of economic development.
For many if not the majority, the exit strategy from crisis is migration. While from this part of the world, some want to leave ‘home’, others in other parts of the world like Syria, are forced to leave ‘home’ and forcibly confirming the state of exile as a human condition or rather necessity.
The immediacy through which we have access today to information and footage, technological advances gave a new dimension to exile and experience of political unrests. In this line, did literature take a new dimension of creation and consumption? How does literature responds to mobility or lack of it and the idea of home, or multiple ‘homes’. Simultaneously, the saturation with images that portray political crisis, left literature as a site of possibility/es, as a bridge to a multiple levels of experience of the self in relation to others, of new spaces in relation to old, known ones. The usage of language being the first medium of writers enables us to grasp in more profound ways these multiple levels of human condition.
This year, from 12-15 May, international literature festival ‘polip’ gathers in Prishtina thirty authors from different parts of the world, some of them being writers in exile.
Frankfurter Allgemeine Zeitung / a great article from Jan Böttcher, on our International Literature Festival – polip 2016
Tv 21 report on the upcoming 6th edition of the International Literature Festival polip – 2016
Festivali Ndërkombëtar i Letërsisë “Polip”, që organizohet për të gjashtin vit në Prishtinë, këtë vit do të fokusohet në shqetësimet që e kanë kapluar Evropën dhe ndikimin e letërsisë në këto situata. Në këtë festival, që këtë vit mbahet më 13,14 dhe 15 maj në qendrën “Multimedia”, këtë vit do të marrin pjesë rreth 30 artistë nga vende të ndryshme të Evropës, edhe pse buxheti i ndarë për të nga institucionet është zero./ 21 Media
More authors to polip 2016!
Polip can now proudly announce two new authors that will join us for this 2016 year festival: the Swedish authors Viveka Sjögren and Annette Rosengren. They are both sitting in the international border of The Swedish Writers’ Union (Sveriges Författarförbund).
Viveka is writing and illustrating books for children and young adults. In one of her latest books, “Om du skulle fråga Micha” (Eng: “If you would ask Misha”), Viveka writes about how parents can explain the situation for refugees to their children.
Annette is engaged in questions about vulnurableness in the Swedish society, and
“… people in countryside, family life and everyday life and meaning in small communities, men´s interest for cars, life in prison, homelessness and social exclusion in the city of Stockholm, and in her last book from 2009 about asylum seekers who fights for a better future and Swedish mostly hard asylum policy.” (Quote: Annettes webpage).
The questions about how to express the refugee situation to children and to pay attention to the vulnurableness in the society for refugees could not be more necessary and important now. We at polip look forward for Vivekas and Annettes participation!
polip 6th edition!
The international literature festival polip will in its 6th edition (2016) be about the concerns that are shadowing the European continent right now. How are the values of liberalization tackling the current situation of migration flows, and how can literature affect the current situation in times of war, misery and fear? Polip this year will try to be a platform for all the impressions and feelings that the contemporary moment gives rise to.
We are proud to present authors that are aware of these shadows and know how to express the current situation in literature and cultural expressions. One of the authors that will visit the polip festival is the Turkish poet Mehmet Yashin, who will contribute with his sense of politic history within his Turkish poetry, and dealing with thoughts about identity and language. The Swiss duo Fitzgerald & Rimini explore the borders within culture expressions and have won prizes for their new way of playing with music, stage and poetry.
We are proud to further present following authors: Rosa Pock and her humoristic way to tackle hard subjects, Martin Bieri and his way to express the dark side of society in poetry and Rumena Bužarovska with her young and humoristic way to treat literature. Bojan Babić writes poetry about conflicts and prejudice and Peter Ahorner has a satirical way to express the society. Katrin Thomaneck has studied classical music and translation studies, and finally Gjergj Anton Filipaj has been working as a journalist in Kosovo and Albania with education in PR, communication and philosophy. We are curious to see how this mixture of meaningful persons can contribute to hope-building in the European continent in these hard times. The list of authors will be updated successively.
Exited to welcome them at our polip Festival 2016!…
Martin Bieri and Fitzgerald & Rimini – Europe / Grand Tour
Poet Martin Bieri and musical spoken-word duo Fitzgerald & Rimini present a literary journey through present-day geography. Bieri’s poetry collection Europa, Tektonik des Kapitals (Europe, Tectonics of Capital) is a sightseeing tour away from touristy landmarks seen as a final European vision of the good life: a look at the continent’s “late landscapes”, nuclear plants, traffic routes, football stadiums, areas dominated by functional architecture: at “illusion and infrastructure”. For their new album Grand Tour, Fitzgerald & Rimini have visited Babylonian capitals and forlorn backwaters, metropolises basking in their after after party glow and seaside resorts out of season; they have collected sounds and words, in order to generate from it the acoustic memory of a European home that go beyond all borders. Bieri and Fitzgerald & Rimini’s ways cross and turn into a musical-literary journey full of wonderment, criticism and wanderlust.
Reviews Martin Bieri
“Feeling the proximity of the world’s largest illegal capital reserves may have helped in the writing of this book.”WDR 5, Matthias Ehlers
“His material, indeed his driving force are all the images, references and meanings he actively notices or that fall into his lap. It’s not old towns or alpine peaks that are this wayward tourist’s travel destination, but infrastructures: nuclear plants, traffic routes, industrial ruins, football stadiums.”DER BUND, Daniel Di Falco
Reviews Fitzgerald & Rimini
“This fascinating album defies all categorisation (…) Irresistible!” NZZ am Sonntag, Manfred Papst
“Puzzling miniature art pieces have come to life, refined into fantastic poetry, located somewhere between spoken word, radio play and song. A genre of its own in word and sound, evoking lovingly dark mental images without even remotely bordering upon kitsch.”Berner Zeitung”
CONTACT AND BOOKING
REELL, Rebecca Ellsäßer
Tel.: +49/30/40 05 38 77
The Guardian: polip festival, bridging the gap between two countries
“This is not the first attempt to use cultural events to bridge the gap between the countries. Polip, a literary festival in Pristina, first held in 2010, has Serbian writers among those regularly invited to participate. Co-founder Saša Ilić, a Serb, says he set up Polip “because I understood there was no cooperation between Pristina and Belgrade in a cultural sense and someone had to start that.” He was also involved in two books published in 2011: From Belgrade with Love, an anthology of Serbian literature translated into Albanian and published in Pristina, and From Pristina with Love, a volume of Kosovan literature published in Serbian in Belgrade. “The goal is that one day they might become part of the school curriculums,” he said”. (The Guardian)
read the full article:
Ana Ćurčin & Stray Dogg (Dukat) from Belgrade will perform at the 4th edition of polip. Here is a link to have a little preview of their performance on the 17th of May 2014:
Translating literature is a reoccurring issue that has been present throughout all periods of literature. But how does literature rise above its own linguistic limitations? How much has Albanian literature been translated into German, and what is the role of translators from Albanian in German and vice-versa?
Albanian is a particular and complex language when it comes to its morphological and syntax structure. So, what are the challenges of translating Albanian literature into German?
What are the chances that the work of Albanian author finds its light in German? Does this depend on the quality of literature, the subject theme, or how it talks about the present, or is it simply, chance and individual efforts? How does translation determine the fate of the translated work, how much it is accepted or refused when it goes beyond its language barriers?
What is the difference or what are the main differences between translating literature and other kinds of works? Are the skills and the talent of the translator the most important thing, or do ethics play a role too.
Translation is not only about words, but also about where those words come from. How much does the translator need to know about the writer, the culture of the language that they the belong to and its tradition?
Through translation we manage to know literature, great works of art, the cultures and the mindsets of other people. How do we approach translation of literature today, so we don’t get lost in translation?
Panelists: Zuzana Finger (DE), Hans-Joachim Lanksch (DE), Ulrike Syha (DE), Kim Komljanec (SI)
Moderator: Blerina Rogova Gaxha (RKS)
Translation: Rexhep Bajrami (RKS)
E shtunë, 17.05.2014
Përgjimi i Letërsisë 2: cka nuk mund të përkthehet
Përkthimi i letërsisë është një temë që e riaktualizon vetveten dhe e përcjellë çdo periudhë nëpër të cilën kalon letërsia. Çfarë është procesi i kalimit të letërsisë së caktuar përtej kufijve të vetë gjuhësorë. Sa është përkthyer letërsia shqipe në gjuhën gjermane dhe çfarë është roli përkthyesve të letërsisë nga shqipja në gjermanisht dhe anasjelltas?
Shqipja është një gjuhë karakteristike dhe komplekse për nga ndërtimi morfologjik dhe ai sintaksor. Çfarë janë sfidat e përkthimit të letërsisë shqipe në gjuhën gjermane?
Çfarë janë mundësitë që vepra e një autori shqiptarë të përkthehet në gjuhën gjermane? A varet kjo nga cilësia e letërsisë, tematika që trajtojnë, aktualiteti që përmbajnë, apo thjesht, nga fati dhe gjindshmëria individuale? Sa e derminon përkthimi fatin e letërsisë së përkthyer, pranimin apo refuzimin kur ajo e kalon kufirin e vet gjuhësor.
Cili është dallimi apo dallimet themelore mes përkthimit të letërsisë dhe përkthimeve të kategorive tjera? A kemi të bëjmë gjithmonë me aftësinë dhe talentin e përkthyesve, apo mund të mund të bëhet fjalë edhe për etikën e përkthyesit.
Përkthimi nuk ka të bëjë vetëm me fjalët, por edhe me faktin se prej nga na vijnë ato fjalë. Sa duhet ta njohin përkthyesit shkrimtarin që e përkthejnë, kulturën e gjuhws prej tw cilws pwrkthejnw dhe traditën e saj?
Përmes përkthimit, ne arrijmë të njohim letërsinë, veprat e mëdha, kulturën e mendësinë e popujve tjerë. Si duhet t’i qasemi përkthimit të letërsisë sot, në mënyrë që të mos jem i të humbur në përkthim?
Panelist: Zuzana Finger (DE), Hans-Joachim Lanksch (DE), Ulrike Syha (DE), Kim Komljanec (SI)
Moderator: Blerina Rogova Gaxha (RKS)
Përkthyes: Rexhep Bajrami (RKS)
16:00 – 17:30 The surveillance of literature 1: Book promotion + debate
Reading and promotion of the book “Dreams of love and death” by Filip David, an author from Serbia, translated into Albanian by Smajl Smaka. Visar Zhiti, a poet from Albania, and Adil Olluri, writer from Kosovo will talk about the book.
The author, the translator and the two speakers will also discuss literary translations and literary exchange in the context of Balkan. How much do we read one another, and can literature go beyond the usual prejudice and animosities of the people of the Balkans. Is anyone actually interested today in translating and exchanging literature amongst the people of Balkans?
Panelists: Filip David (SRB), Visar Zhiti (AL), Smajl Smaka (RKS)
Moderator: Adil Olluri (RKS)
E premte, 16.05.2014
16:00 – 17:30 Përgjimi i Letërsisë 1: promovim libri + debat
Promovimi i librit “Ëndërra për dashurinë dhe vdekjen” të autorit nga Serbia, Filip David, përkthyer në shqip nga Smajl Smaka. Për librin do të flasin poeti nga Shqipëria, Visar Zhiti dhe shkrimtari nga Kosova, Adil Olluri.
Autori, përkthyesi dhe dy panelistët do diskutojnë gjithashtu edhe për përkthimin dhe shkëmbimin e letërsisë në kontekstin ballkanik. Sa e lexojmë njërin-tjetrin dhe a mund të shkoj leximi dhe përkthimi I letërsisë përtej inateve dhe armiqësive balkanike. Kujt i intereson sot realisht përkthimi dhe shkëmbimi i letërsisë mes popujve të Ballkanit?
Panelist: Filip David (SRB), Visar Zhiti (AL), Smajl Smaka (RKS)
Moderator: Adil Olluri (RKS)
EURODRAM general assembly in Prishtina
It is our great pleasure to announce that the next general assembly of Eurodram will be held in Prishtina, from 13th to 19th of May 2014, in frame of the 4th edition of the International Literature Festival polip – Prishtina.
Eurodram is an European network for drama in translation, founded and coordinated by the Maison d’Europe et d’Orient in Paris, a cooperative member of the International theatre institute, and gathering around 300 members all over Europe, Central Asia and Mediterranean countries. Its main objective is to circulate and promote theatre texts, in a multilateral way, to both professionals and a wider audience. This work is also of course a strong opportunity to develop cultural exchanges between our different partners. Representatives from Azerbaijan, Belarus, Bosnia, North-Caucasus, Denmark, England, France, Georgia, Israel, Italia, Kurdistan, Macedonia, Poland, Rumania, Serbia, Slovenia, Spain, Turkey and Ukraine are expected to come. More information about EURODRAM can be found at http://www.sildav.org/eurodram.
“Të zhvendosura përbrenda” – Top Channel Albania – News – Lajme
“Të zhvendosura përbrenda” titullohej interpretimi që u kushtohet grave viktima të dhunës gjatë luftës së fundit në Kosovë, e cila u realizua në kuadër të Festivalit Ndërkombëtar të Letërsisë, POLIP.
The culture trip: polip festival – one of the Top Ten Summer Events In Europe:
Concert of Ah Ahilej
The band Ah Ahilej from Belgrade will perform at the 3rd edition of polip. Here is a link to have a little preview of their performance in May: http://www.youtube.com/watch?v=YwsYkWUambY
Subpoetics: Inner Poetry in Performance
with Dr. Seth Baumrin
The presentation and performance will be on sunday, 12.05.2013 at 15.00 – 16.00
At this year polip festival, among many other things, we will organize a four days of intensive workshops culminating in public performance of newly devised work.
Participants will be actors, dancers, athletes, writers, painters, photographers, and musicians.
Each participant shall devise new performances in workshops that transform physical and vocal training regimens combining inner impulse with action, based on poetic texts in various languages. The workshop culminates in original work that shall be performed at the end of the Festival. This work can be performed in the future by the group.
There shall be no limit on the nationalities of group members, no limit on the languages used, and the group size should be restricted to ten performers and five observers. Each participant must come to every meeting.
The work methodology is based on but not limited to the teachings of Eugenio Barba’s Odin Teatret actors Roberta Carerri, Tage Larsen, Iben Rasmussen, Julia Varley, and Torgeir Wethal, as well as regimens derived from Grotowski’s actor Ryszard Cieślak. The Workshop shall be led by Dr. Seth Baumrin, who received his professional training at Odin Teatret in Denmark, and is now Chairman of the Communication and Theatre Arts Department at John Jay College of the City University of New York.
Each participant shall be equipped with two poems in any language, fully memorized on the first day of the workshop. These poems should be rooted in cultural histories and dear to the heart of the participant.
This work is structured such that in the final stages of development an inner narrative (secret from the audience) moves performance beyond entertaining in the direction of healing through the artist’s work on self and its impact on the spectators. Subpoetics can be understood as social action taken in the interest of those who do the work and those who witness it.
Subpoetics is a process of elaboration whereby actors create physical actions associated with particular texts. These physical actions are shorn away from that text and perfected with precision. They are then attached to a different text even though the actions and the new text are unrelated. The actions are then justified to function as appropriate physical actions for the new text. The process of justification and adaptation of actions to different texts requires reducing, magnifying, or changing the rhythm of the original physical actions. In order to reduce or magnify a physical action, its original impulse in the torso must be located and retained. The extremities of movement, the external movements of the limbs or head, can be augmented by percentages—they use less space, or more, or are executed at different tempos, but the initial impulses to action remain the same. Through elaboration and reduction, participants give entirely new meaning not only to the original score of physical actions, and also, by justifying the actions, new meaning is given to the second text (thus there are inner and outer poetics). Most important they give the text a personal meaning discovered through individual means. Through this process, the participants shall develop subscores that stand behind the actions and have sources in the participants’ impulses and imaginations. Subscore differs from a subtext. A subtext’s sources are buried in the text and its author’s imagination, usually beyond recovery whereas subscore is personal to the performer. Subscore is located within the performer’s body/mind in the linkage of internal image and impulse to external action.
Subpoetics functions in the tradition of Bertolt Brecht’s Lehrstücke (learning play). In Brecht’s usage a learning play is not necessarily limited to the instruction of the audience but of equal importance to the players themselves for whom participation in the work enables realization of ideas, perspectives, and facts previously unknown to them.
Subpoetics embodies a training/performance regimen enabling participants to learn how to learn; learn how to teach; auto-didactic methodologies for self-realization; group dynamics that engender cultural awareness. Weaning young people away from stereotypes promoted by electronic and popular media—virtual reality replaced by truth—by constructing their own identity. This kind of work is crucial during a period of potential cultural erasure as borders both real and artificial obscure the struggles of the individual.
PANEL DISCUSSION | Day 2 of polip 2012 | May 12, 2012
Remembrance and Literature
In this discussion round, we want to investigate the connection between writing and remembrance.
Even though memories are closely knitted to visual impressions, literature mostly uses purely linguistically-communicated imagery when approaching the past. What happens, though, if the linguistic imagery is presented next to pictures and photographs that claim that ‘this is how it was’ regarding events anchored in the collective remembrance? Do these by now ubiquitous pictures risk overlaying the historical events?
What happens if suddenly the pictures begin to tell their own story and the text slowly disappears in one’s perception? Where do we find the reality in this and where do we find fiction? And how is literature distinguished from history? What are its strong points?
We aim to analyze the combination of image and text with regard to their correlation and to discover the additional benefit that emerges from that.
Furthermore, we are interested in the questions of what it means when literature has the purpose of remembrance, how this artistic action changes the perception of the past in the collective memory, and what influence this appropriation of the past has on the authors.
Moderator: Roman Ehrlich (GER)