| Abstrakt: |
The lahutë is a single-string fiddle used by Albanian lahutarë to accompany epic songs (kângë, kangë, and këngë). Its different images are influenced essentially by the connection with ideas of "cultural heritage" and "national culture", particularly since the independence of the country in 1912. The instrument is made of one piece of wood with a skin soundboard. The scroll on the neck of lahutë could be made in the shape of a heart, a leaf, or a goat head with antlers, which is considered to symbolize the helmet of the Albanian national hero Gjergj Kastrioti, known as Skanderbeg (Skënderbeu; 1405-1468). Unlike on gusle-the same instrument used by the Albanians' Slavic neighbors in Serbia, Macedonia and Bosnia and Herzegovina - which during the second half of the twentieth century is decorated with likenesses of politicians and nationalistic symbolism, political figures or singers have been rarely portrayed on the lahutë neck. The lahutë's bow is frequently made in the form of a serpent, possibly symbolizing snake as protector of the house. During the first half of the twentieth century lahutë and the "këngët e Mujit e Halilit" (songs of Muji and Halili) which were the accompanied with it became the Albanian national symbol in public discussions, publications and works of art. An example is the poem Lahuta e maids (The highland lute) by the Roman Catholic priest Gjergj Fishta (1871-1940), published in 1937, where the instrument's name represents the art of telling and the paean based on songs accompanied with the lahutë which the poet had learned from the highlanders living in northern Albania. Any use of lahute as term or image would not make sense in Lyra Shqiptareby Pjeter Dungu, the first Albanian melody collection published in 1940, which contains music from the Albanian urban areas. Therefore it is surprising to find with the melody no. 20 a drawing of a lahutar. The instrument is here related to the idea of the traditional national culture rather than an illustration for the particular song or its origin. The understanding of the lahutë as a part of local musical practice gradually gained in importance during the second half of the twentieth century, although the frequency of its everyday use decreased. The lahutë is also disappearing from television and radio programs as well as recordings' market, despite its continuing presence on Internet, at folklore festivals and at public gatherings of iahutare; where now only short fragments of songs are played. [ABSTRACT FROM AUTHOR] |
