By Leonor Koppitz
Our project is a documentary exploring the music scene in Kosovo. Initially, we aimed to investigate music as a peace-building tool. We got inspired by a significant cultural event that took place in Sarajevo on September 23rd 1997. U2 hosted a concert in the Bosnian capital right after the war. For one night, it didn’t matter who you were, this concert was a moment of unity in turbulent times. “For one magical evening in 1997, the Sarajevo concert brought together a bitterly divided country, with youth from all corners of Bosnia and every ethnic group mingling inside a stadium that had itself been damaged by shelling -- 450 workers performed the necessary repairs on the eve of the concert.”1 This event inspired us to explore whether music could have a similar effect for the people of Kosovo. However, as we began gathering content and conducting interviews, we quickly realized our preconception—that music unites people—was overly simplistic and naive.
During our interviews, we encountered an array of perspectives and nuances, which made it clear the narrative of "music unites people" was not going to be possible. Some believed music should unite but didn't. Others claimed it does bring people together. Some mentioned that language within music creates division, while others felt music unites people regardless of the language. The varied responses made it impossible to construct a single narrative, leading us to shift our focus to a broader understanding of the music scene in Kosovo, with a link to the role of music in a post-conflict context, without assumptions about whether or not music unites.
We discovered that while collaboration often transcends ethnic and national lines in professional settings, the unifying power of music was more limited than we had anticipated. Language revealed itself to be the main obstacle for a shared musical identity between different communities, since Albanian and Serbian languages are very different. This is further emphasized by the reality that younger generations no longer learn both languages.
Our project also revealed that peacebuilding sometimes arises from necessity. The musicians we met were focused on their careers and willing to work with anyone, regardless of ethnicity, if it benefited their professional goals.
Furthermore, an interesting dynamic emerged regarding minority and majority perspectives. Many Kosovo Albanians, especially in Pristina, did not seem to notice the ethnic tensions we mentioned as a significant current reality. In contrast, Kosovo Serbs, being a minority, were quicker to react to our questions regarding persisting conflict between communities.
Ultimately, we aim for our documentary to provide an authentic view of the music scene in Kosovo. We strive to represent the country genuinely, ensuring as many voices as possible are heard. Our film features artists with established platforms and those typically unheard through street interviews, including Serbs and Albanians, young and old. We aim to capture the diverse narratives within Kosovo, whether related to ethnic tensions or not. There is no single story.
You can find our documentary here. Feel free to share!
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