The vaccine in the stadium as a sign that Rama uses kitsch even though he hates it

Air Albania, në njëfarë mënyre, ka qenë shëmbëlltyra e heshtur e gjendjes së Shqipërisë së Ramës. I ndërtuar për të sjellë një kuptim të ri estetik, sportiv dhe argëtues, u shndërrua në kujtesë të arenës së përgjithshme të kufizimeve dhe pamundësive.

The vaccine in the stadium as a sign that Rama uses kitsch even though he hates

Alfred Lela

Edi Rama does not have for the first time the technique of turning into a metaphor of inconveniences or battles that he cannot win. He always finds a way as thick as it is creative, that instrumentalizes public issues of general interest if he cannot exhaust them through policy-making and management, by re-presenting them, in public, as nothing more than part of the game general life.

Always aiming to spectacularize lost issues. Such is the case with the already long battle between him and the government with Covid-19, mostly lost, and with the decision to launch the anti-pandemic vaccination campaign at the Air Albania stadium. Paradoxically, the Prime Minister of Albania not only vaccinates several thousand 'lucky', injects a little hope in a country plagued by periodic and sporadic restrictions, but also plays, finally, a 'match' in the stadium of the Albanian national football.

The reality show of the vaccination of several thousand Albanians in this stadium brings back something of the imagined pomp of Air Albania, which was built with the idea of ​​big and triumphant matches of the National Team, but was affected, first, by a deep loss to France. and then by the pandemic. After that match, the public fled the stadium stairs, not because of the loss, but because of the pandemic and the impossibility of conducting activities with the public.

Air Albania, in a way, has been the silent example of Rama's state of Albania. Built to bring a new aesthetic, sporty, and fun meaning, it became a reminder of the general arena of limitations and impossibilities. Of course, this is just a metaphor, which is lived, even without being understood, by most people. This means that the Prime Minister does not care much about identifying this 'anomaly' as long as the use of metaphor does work.

Rama thus manages to create a vague idea of ​​his importance with the opening of the vaccination campaign. The projection is clear and has started since the visit to New York under the premise of 'vaccine insurance'. These two threads, the New York mug and the vaccination in the territories of a luxury complex, are Rama's way to ensure, aesthetically and politically, a continuation of his project. He hates kitsch * but uses it when he needs to. As is the case: Rama will appear in the role of the healing and saving father who has been harsh with the closures, but just as persistent with finding ways of opening up.

The Prime Minister has a joke about a senior Kosovo politician, whose house he would go to visit with a group of followers. 'We are going to the king of kitsch', he addressed his co-workers, on the way, with baggy notes. As the irony of fate loves it, the rest of us are being given the opportunity to see our prime minister leading the cameras, his rickshaw, and our eyes towards the kitsch house.

Which this time he raised himself, not the old slob from Kosovo.

* Kitsch: art, object, design or act that is considered poor in taste because of garnishments or sentimentalisms.   

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