74099bcd127146fec4f8489425fc838b by Unknown

Author:Unknown
Language: eng
Format: epub

aheng (poetic gathering).2 The image is meant to emulate what was already becoming a dying art in Albania: a poet and his two lovers indulging in poise through music, meze, and raki. The dylbers are identified as Emilio Simoni and Oso Faltorija. Faltorija is most likely a sobriquet for a fortuneteller in the feminine form. Men in homoerotic poses but not necessarily in a relationship (see figures 4.2 and 4.3) are the subject matter of several of Marubi’s works, through which he seems to have wanted to extend the tradition in the face of the Eu ro pe anizing gender and sexual dynamics of late nineteenth century Ottoman attempts at modernization.

In par tic u lar, in figure 4.3 we see one of the men dressed in traditional costume wearing an Ottoman fez, while his partner is outfitted ala franga, or in Western style clothing, mediating the body and geopo liti cal transformations of the time. The figure of the bejtexhi, like that of the central Asian steppe’s ashik (singer poet) immortalized in Sergei Parajanov’s Ashik Kerib (1988), is a queer one, not only because the bejtexhi’s relation with his dylbers was an erotic and poetic one, but also because in the context of late nineteenth century Albania, when the picture was taken, the bejtexhi tradition was a dying art and was slowly transforming into 108 · Chapter Four

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