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When music refuses the comfortable silence to become the voice of the forgotten souls of Gaza<\/p>\n
On the illuminated stage of “Ariston”, where art is often alienated in a parade of vanity and curated smiles, Ermal Meta chose to tear the veil of indifference with the song “Stella Stellina” (Little Star).<\/p>\n
This year, it is not just another return to Sanremo, but a high human act that goes beyond the race and musical notes. While many artists and public figures carefully choose silence, hiding behind the cloak of “neutrality” or remaining politically correct in order not to risk the popularity of the masses, Ermali did the opposite.<\/p>\n
He did not choose the comfort of a general love song, but dared to wear the name of Amal, a little girl from Gaza, on his collar, transforming himself into a voice for those who have been drowned by the war. the scream in the throat.<\/p>\n
The difference between him and the rest of the world of the spectacle is painful and clear. In an era where marketing accounts often weigh more heavily than conscience, Ermal Meta refuses to play the safe game.<\/p>\n
In an Italy today more than ever polarized on any topic, where even the tragedy of Gaza divides political camps between the left that protects the Palestinians and the right that leans in favor of Israel, Meta refused to become part of electoral or ideological calculations.<\/p>\n
He knows well that talking about children of Gaza, is to enter a minefield of debate. But for him, this is not a matter of diplomacy, but a humanitarian emergency. Therefore, this moral stance elevates him above figures who are content with a superficial post on social networks.<\/p>\n
He “sew” the pain into his costume, making it part of the performance, and reminded us that art that does not shock and does not take the side of the innocent, is just decor. His song, a sweet lullaby that contained between the lines a harsh denunciation, is a tribute to “nobody’s daughters” who are in fact “everyone’s daughters”.<\/p>\n
Through the instruments but also the verses that talk about dolls lost between the walls and the sea, Meta invites us not to get used to the horror. Perhaps in this climate of political tensions, where the vote is often determined by ideological positioning, “Stella Stellina” will not be able to grab the official first prize in Saturday’s final.<\/p>\n
But the real victory, the moral one, has already been given to him by millions of people who shed tears in front of the screen. He showed us that to be a real artist, it means having the courage to be “inappropriate” for the system when it forgets. human.<\/p>\n
This integrity of Ermal Meta becomes even more thrilling when he projects it against the background of the reality of his country of origin, Albania. While Ermal uses the most important stage in Italy but in fact throughout Europe to mourn the fate of the thousands of children massacred in Gaza, many of his fellow artists in Albania seem self-isolated in a miserable bubble. music that no longer has an iota of humanity, an industry that produces no messages but only noise. Instead of humane causes, we see an absurd race of unbridled luxury, where the only “mission” is the insatiable need to get rich by any means and advertise a life that belongs to no one. the false splendor of money and arrogance. Ermal Meta did not go to Sanremo this year to win a gold trophy, but to protect the dignity of life, proving that before being a great singer-songwriter, he is a free-spirited man. A model that, unfortunately, seems so alien to the market that has drowned out art in Albania. \/tesheshi<\/p>\n
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Source: prizrenpost<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":" When music refuses the comfortable silence to become the voice of the forgotten souls of Gaza On the illuminated stage of “Ariston”, where art is often alienated in a parade of vanity and curated smiles, Ermal Meta chose to tear the veil of indifference with the song “Stella Stellina” (Little Star). This year, it is […]<\/p>\n","protected":false},"author":1,"featured_media":21621,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[24],"tags":[666],"class_list":["post-21620","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-world","tag-brief"],"views":84,"_links":{"self":[{"href":"https:\/\/prizrenpost.com\/en\/wp-json\/wp\/v2\/posts\/21620","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/prizrenpost.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/prizrenpost.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/prizrenpost.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/prizrenpost.com\/en\/wp-json\/wp\/v2\/comments?post=21620"}],"version-history":[{"count":1,"href":"https:\/\/prizrenpost.com\/en\/wp-json\/wp\/v2\/posts\/21620\/revisions"}],"predecessor-version":[{"id":21622,"href":"https:\/\/prizrenpost.com\/en\/wp-json\/wp\/v2\/posts\/21620\/revisions\/21622"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/prizrenpost.com\/en\/wp-json\/wp\/v2\/media\/21621"}],"wp:attachment":[{"href":"https:\/\/prizrenpost.com\/en\/wp-json\/wp\/v2\/media?parent=21620"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/prizrenpost.com\/en\/wp-json\/wp\/v2\/categories?post=21620"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/prizrenpost.com\/en\/wp-json\/wp\/v2\/tags?post=21620"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}