Page 65 - Shkodra - L’Albania di inizio Novecento
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Paloke Kurti (1860 – 1920)
                Primo compositore albanese e leader della prima ban-
               da musicale del Paese, nel 1881 fu incaricato di servire
                la sezione di Scutari della Lega di Prizren, per la quale
                compose il brano Unione d’Albania (Bashkimi i Shqyp-
              nisë). Il suo impegno patriottico gli costò l’esilio imposto
             dalle autorità ottomane e successivamente dalle potenze
             austriache, francesi e italiane. Rientrò in Albania nel 1920,
                                         anno in cui si spense.



              The first Albanian composer and leader of the coun- try’s
              first music band, he was appointed to serve the Shkodra
                branch of the League of Prizren in 1881, for which he
                             composed the piece Union of Albania
                (Bashkimi i Shqypnisë). His activism led to his exile by
               Ottoman authorities and, later, by Austrian, French, and
                      Italian powers. He returned to Albania in 1920,
                                         the year of his death.








               During the reign of King Zog (1928–1939), Albania un-
             derwent a series of reforms aimed at modernizing society,
               including a ban on the fez. King Zog implemented laws
             prohibiting traditional Ottoman attire like the fez to foster
               a distinct national identity and reduce Ottoman cultural
                                          influence in Albania.

               The red and black fezzes, each emblematic of Ottoman
             religious attire, held significant symbolic and social mean-
                          ings tied to status, ethnicity, and religion.

               The red fez, more commonly worn across urban centers
               in the Ottoman Empire, including Albania, symbolized a
             connection to Ottoman administration and played a major
              role in urban identity, particularly among those affiliated
                                     with Ottoman governance.


             By contrast, the black fez, though less common, was worn
              mainly in select Albanian provinces. It reflected the sen-
              timents of Albanians who sought to distance themselves
             from Ottoman cultural norms, asserting a sense of ethnic
              solidarity and distinct cultural identity within the empire.


             Given that religion was also a marker of social and cultur-
             al status, the choice of fez frequently represented layered
                                identities within Albanian society.

             Scutari   L’Albania di inizio Novecento                                                                                     65
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