October 20, 2021
REFLECTION ON THE F… OF SEXISM by Shqipe Malushi
When I came to Kosovo from New York, I thought there would be nothing much for me to do — I imagined I would just rest, assuming nothing significant was happening since the pandemic had affected the entire world. One should never make assumptions about anything.
Upon my arrival, I met Zana Hoxha, the director of the organization Artpolis, which uses art and activism as tools to raise awareness on gender issues, women’s empowerment, and the social, political, economic, and cultural development of Kosovo — breaking the taboos of patriarchy while questioning how much longer women must endure discrimination, violence, oppression, and isolation. “This is exactly my path,” I thought, and I was deeply excited to learn that Artpolis was holding the 9th edition of the FemArt Festival on October 1–6. For me, there could not have been a better platform to express myself and share my experience.
F… Sexism was created to spread the good news that women are no longer asleep — they make up more than 51% of the global population. They are daughters, sisters, mothers, wives, friends, leaders, artists, professionals, and so much more. FemArt showcased an extraordinary collection of works produced by women striving to raise awareness by standing tall, speaking out, and saying no to injustice, no to violence, no to wars, no to destruction — and this is how sexism will come to an end.
The vision of FemArt is to promote justice and inclusion, to respect and be respected, to create a platform where all groups are included and heard, to celebrate success with society, and to provide opportunities for young people to share their talents beyond borders, representing Kosovo at its very best.
I couldn’t have imagined what FemArt would be like because I had never experienced anything like it before. The festival opened at the National Theatre in Pristina with a fashion show by designer Yllka Brada, Kosovo’s rising star, presenting her new collection “Fall 2021 … Sexism,” followed by the extraordinary singer Ceylan Taci — a citizen of the world with Albanian roots, just like me. Her performance “Return to the Roots” touched me deeply as it reflected the same pull I feel toward my roots and my rediscovery of identity. She was accompanied on piano by Alzan Gashi, on guitar by Arbër Salihu, and on drums by Drin Tashi.
She took us on a journey into the unknown — searching for love and belonging until we find our way home. I was moved to tears, wondering: do we ever truly arrive home in time?
My workshop “Feminism, Modernism, and Change” took place on the second day of the festival at Oda Theatre. Twenty young girls, ages 16–20, participated. We talked about everything — what feminism is, what modernism is, and what kind of change they wished to see. The workshop was held in English, with even one participant from Germany, and everyone spoke fluently, which impressed me greatly. With positive thinking and perspective, our goal was to strengthen self-confidence, teach the girls nonviolent self-protection techniques, and help them believe that life has so much to offer — and they can seize it if they trust in themselves.
We connected, cried, laughed, and shared dreams. The girls were eager for such a space where they could speak freely and share their stories without barriers. I simply loved them.
All events were streamed online, and I couldn’t attend every single one. But those I did attend left the deepest impression on me and continue to fill my thoughts. The art exhibition “Breathe,” a collaboration between Kosovar and American artists, was held at the Faculty of Arts Gallery, curated by Berat Bajrami, highlighting the global impact of Covid-19. It was followed by the play “Birthday” at Dodona Theatre, starring Igballe Qena, Rebeka Qena, Bislim Muçaj, Labinot Raci, Alketa Sylaj, Sheqerie Buqaj, and Florenta Bajraktari — a remarkable performance addressing issues of dementia and disability, leaving the audience breathless in search of solutions where none were offered.
On the third day, Zana Hoxha and Robert Nuha spoke in a podcast about how the pandemic affected everyone’s lives, creativity, and the ways to overcome limitations without being fully consumed by them. In this way, Artpolis and its team kept a positive mindset and worked tirelessly through the pandemic. The result was the FEMART Festival itself.
The film screenings at Kino Armata — “NEO & DOKU FILMS” from Kosovo — were truly inspiring. These short films, created by film students and supported by Dokufest, addressed discrimination, poverty, immobility, and impossible dreams. I was inspired by these young people because I saw a new generation of talent emerging in Kosovo — young artists who will soon represent our stories to the entire world.
The documentary “No One Needs It” from Serbia, directed and written by Maja Mitić, assisted by Dženeta Agović, narrated by Olivera Viktorović, and performed by Maja Mitić, Dragana Jovanović, and Alexandra Pavlović, had a powerful impact. It told the story of Muslim women trafficked to Syria while the Serbian government remained silent. Watching this film — seeing the fates of young women trafficked and the anguish of their families who did not know in which ISIS camp their daughters were being held — was chilling.
Another outstanding presentation was Blerta Basholli’s award-winning film “Hive” starring Yllka Gashi, Çun Lajçi, and Kumrije Hoxha, among many others. It tells the story of Fahrije Hoti of Krusha, who, after her husband disappeared during the war along with all the other men of the village who never returned, had the courage to teach women to use their skills in cooking to earn their own living. The film instantly took me back to post-war Krusha, where I stood alongside Kosovar activists from “Motrat Qiriazi,” trying to motivate those women to survive for the sake of their children. Yllka Gashi gave a breathtaking performance that left the theatre audience in awe.
On the fourth day, FEMART entered the Assembly Hall of the Republic of Kosovo for the first time, presenting a report on sexism conducted by Ariana Qosaj. Many ambassadors attended: Tomas Szunyog, Head of the EU Office and Special Representative in Kosovo; the French Ambassador, H.E. Marie-Christine Butel; the Austrian Ambassador, H.E. Mr. Wöeldinger; and many other high-ranking leaders. Discussions on sexism and concrete steps for addressing it — seeking support and methods for change — were highly productive. Three panels were held: “Institutional Response of Local and Central Government to Sexism,” “Women in Politics and Sexism in Politics,” and “Sexism in Culture and Media,” which opened deep-rooted issues regarding women. It was disheartening to learn how far there is still to go, but as every thousand-mile journey begins with a single step, there is hope.
The mural “Double-Headed Eagle” by Ermira Murati — the “Orange Girl” — painted on one of the city walls was stunning. She transformed the opposing heads of the eagle, the symbol of Albanians, into an image of them kissing rather than facing away from each other. It symbolized that peace can only come through love, not conflict.
The evening of Day 4 closed with a tribute to four extraordinary performers: Nexhmije Pagarusha, Leze Qena, Shahindere Berjalolli, and Violeta Rexhepagiqi — four voices of freedom, beauty, devotion, and contribution to the people of Kosovo and the Balkans. Their tireless dedication brought art to a state of perfection, serving as a model for all women. Their voices still echo in our hearts.
Day 5 featured Maja Mitić’s performance “Women of the Sea” portraying an actor’s conflict between role and reality — transformation, denial, challenges, and the impossibility of being oneself after embracing so many roles in a single body. The personal becomes public, and the public becomes personal. Maja Mitić delivered an extraordinary performance unlike anything I had ever seen.
Maja Mitić and Branislava Jovanović also led a workshop on what sexism is and how to recognize it in daily life. Incredibly, so many young people were eager to learn how sexism creeps into everyday life and which tools are most effective in dismantling it.
The fifth day ended with the promotion of books as a tool to dismantle patriarchy. Presenters included Ilire Zajmi, Rita Petro, and myself, Shqipe Malushi. Poems were read by actors Safete Rogova, Rina Krasniqi, and Zhaneta Xhemajli, directed by Flora Durmishi. The theatre was packed, and the audience was deeply engaged in the readings.
The festival’s closing came unexpectedly with heartbreaking news — we lost our dear colleague, photographer Meddy Huduti, who tragically passed away on the morning of the closing night of the performance “French Cabaret.” The hearts of artists, Artpolis staff, volunteers, and participants were shattered. I didn’t know if the closing night would even take place. Yet, in the spirit of love, everyone came together, and the evening turned out to be extraordinary. I have seen many cabaret shows in New York and Paris, but to my surprise, the Cabaret performance that night in Pristina equaled — and even surpassed — those spectacular productions. They danced in the arms of love and grief. Zana Berisha’s voice echoed beyond the theatre roof, reaching for Meddy’s soul in heaven. It was a cry of longing and loss for a beloved artist, brother, and friend. Director Zana Hoxha projected Meddy’s photo on the back wall, giving him the farewell he deserved — honored as an artist — as everyone stood, including the audience, for a minute of silence. The FEMART Festival ended that night with both sorrow and joy, unity and loss, success and pain.
After the performance, it was time to cry. The artists and Artpolis staff sat together and wept.
I have never seen such a grand event organized within a single month, both live and online — no one would have noticed if things didn’t go perfectly, yet everything worked flawlessly. The outstanding, tireless staff of Artpolis, led by Zana Hoxha — vibrant, energetic, and visionary — never paused for a moment and gave the audience an exceptional level of hope. The pandemic didn’t stop her; she gathered people together, respecting health measures, and rose above pain and joy alike. Art and activism became one, serving truth and humanity. We did not fight sexism — we simply rose above it, showing that we have the power to overcome. “We are the change!” said Zana Hoxha.
My deepest gratitude goes to the Artpolis staff and Zana Hoxha; to all the artists involved, to the guests who traveled far and wide to attend and be part of FEMART, to the audience, and to all the online viewers. So much more was offered at the FEMART Festival, but these pages are not enough to describe it all. I apologize to anyone I’ve left out or forgotten to mention.
One thing I learned from this festival is that Kosovo is not asleep — it is alive with artists, and art is keeping its spirit strong. While the pandemic may have dampened the spirit and mind of many, make no mistake — the artists are wide awake, performing on many stages and triumphing over pandemic, economic, political, and social hardships.
Glory to you, my people — strong as the double-headed eagle — moving forward. Bravo to Zana Hoxha for creating this platform where everyone can express themselves with love, and only in this way can we wipe out sexism and all the “-isms,” making them vanish like shadows — effortlessly.
