SALVATORE FERRAGAMO MUSEUM IN FLORENCE, ONE OF THE ITALIAN STYLISTS PIONEERS OF MADE IN ITALY
Such resurgence speaks for a new sense of self-respect, indicates a time of rediscovery of a denied past and erased history, and manifests the urge to reacquire control of its own future. Therefore, the contemporary Salentine movement reflects an ideological and philosophical position of a self-centered South seeking autonomy, identity, and delineating the coordinates of a political and cultural self. Lecce 10 August, Founded by Doriano Longo and established in , this group of artists studies therapeutic forms of music and rituals belonging to the erudite and popular Salentine tradition, composed in the seventeenth and eighteenth centuries.
Further, the Ensemble performs Salentine Baroque composers82 using original or faithful copies of antique instruments and adopting the style and techniques of the time. In addition to taking the regional classical music to a wider international public, these musicians promote traditional singing and dancing by organizing seminars, courses and festivals. Through this complex transformation, Salento has reacquired its role of anthropological laboratory at the intersection between post-industrial identity needs, multimedia globalization trends, and cultural inter-ethnic syncretism.
In conclusion, this essay has examined a variety of topics and addressed several ideological and artistic issues pertaining to the Southern Italian practice of tarantism. Second, an exploration of the stylistic and thematic choices and the different objectives of anthropological documentaries testifying the rituals of tarantism has led to assess the validity and effectiveness of these recordings as social and cultural documents, and to address questions of representation in examining whether tarantism has been respectfully portrayed, or exploited and ideologized in these documentaries.
The distinctive purpose of this analysis has also been to open an academic debate on tarantism in film and media studies, and to start an intellectual inquiry on the varied authentic, distorted or romanticized representations of tarantism in film productions. Finally, the discussion has focused on whether this current popularity and commercialization are only forms of emblematic justification, or if instead they are more deeply connected with a new appreciation and re- appropriation of the role of Southern Italian popular cultures and values in contemporary Italy.
Di Mitri, eds. Apolito, P. Di Mitri ed. Attolini V. Cineasti di Puglia. Autori mestieri storie. Bari: Mario Adda Editore, Bandini, G. Il bacio della tarantola. Roma: Newton Compton Editori, Bartholomew, R. Biagi, L. New York University. Cassano, F. Il pensiero meridiano, Bari: Sagittari Laterza, Cupolo, M. Review of The Land of Remorse.
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De Martino, E. La terra del rimorso, Reprint, Milano: Est, Del Giudice, L. Mckean, The Flowering Thorn. Logan: Utah State University Press, , pp. Di Lecce, G. Durante, D. Ampolo and G. Zappatore eds , Musica, droga e transe. Rome: Sensibili alle foglie. Gouk, P. Gramsci, A. Lettere dal carcere, , Reprint, Palermo: Sellerio, Hecker, J. Malattia popolare del Medioevo. Di Lecce Ed. New Edition. Horden, P. Aldershot: Ashgate, Inchingolo, R.
Luigi Stifani e la pizzica tarantata. Lanternari, V. La Penna, D. Hope ed.
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Oxford: Peter Lang. Laviosa, F. Vitti ed. Horden ed. Aldershot: Ashgate. Del Giudice and N. Ottawa: Institute of Mediaeval Music. Dances with Spiders. Crisis, Celebrity and Celebration in Sothern Italy. Nacci, A. Tarantismo e neo-tarantismo. Musica, danza, transe. Viterbo: Nuovi Equilibri, Rossi, A. Lettere da una tarantata, Bari: De Donato, Tarantino, L. La notte dei tamburi e dei coltelli. La danza-scherma nel Salento.
Zinn, L. The Land of Remorse. London: Free Association, Special recognition and gratitude goes to Dr. Marisa Iori, Officer of the audio-visual collection at MNATP, for her dedicated assistance in facilitating the consultation of their rare ethnographic photos and films, and for explaining the historical, aesthetic, and anthropological aspects of their resources. All translations of Italian citations and interviews are mine.
Saint Donato is the protector of those affected by epilepsy and mental diseases. People go to the chapel of the Saint in Montesano every year on 6 and 7 of August to be healed.
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His vast research on the history of epidemics produced his monograph Die Tanzwuth, eine Volkskrankheit im Mittelalter Primary source, Hecker, , p. The areas where such dances are still prominent and preserved are Salento, the Taranto and Bari provinces, the Matera province and the Jonian area in the Basilicata region. Today the practice of the dances in their original version is almost completely extinct, as the repertoires recuperated through the testimony of the older generations are minimal and incomplete. The dance is performed in couples in the middle of a circle of spectators, players and dancers, consists of frontal, circular, round dancing with brief confidential approaches and tight turns.
Chopin, Liszt, Weber, and other composers used the rhythm of the dance in the form of a perpetuum mobile. Di Lecce. Lecce 13 October, South-East of the city of Lecce in Salento. He wrote about magic, shamanism, ethno-psychiatry, and Southern Italian societies. He taught History of Religions at the University of Cagliari from until his death.
De Martino went to Salento in with a team of psychiatrists, psychoanalysts, ethnomusicologists and anthropologists. La Terra del Rimorso was the result of their large survey work. La terra del rimorso, a classic for university courses in anthropology in Italy, was reprinted in , , and In recent years, violent discussions raged within the academic debate on the topic from representatives of both schools. He tried to understand the needs and problems of the South not only as an anthropologist, but also as a human being in search of answers to the tragic living conditions of the people he met and interviewed.
Matera 19 June, The novel tells the story of Alvina Houghton, a young woman suppressed by her conventional upper-class life in a mining town in the Midlands. When a group of Italian-theater artists come to her town, she meets a flamboyant Neapolitan musician, Ciccio, and rebels against the repressive life of a proper bourgeois woman.
Alvina and Ciccio fall passionately in love, marry and flee to his native village in Southern Italy. A few months later, with the starting of WWI, Ciccio leaves to fight for his country against Austria, and Alvina is left alone. During these rituals miraculous healings take place. Produced by ED. The videotape and homonymous CD were generously donated by Doriano Longo. Santoro and R. Durante; Stretti nello spazio senza tempo: viaggio nel tarantismo salentino by F. Bevilacqua; Me pizzica lu core by M.
Ferini; Craj-Domani by D. Marengo; and Amateve! Produced by Independent Television Service. Music by Nicola Piovani. Florinda Bolkan played the role of protagonist. Shot in Trani Bari , in the space in front of the Cathedral and in the monastery Colonna, and in parts of the countryside of Ostuni Brindisi. E questo grazie soprattutto ad una regia quanto mai asciutta ed essenziale e ad una sceneggiatura capace di coniugare furore anticlericale e apologia filofemminista e libertaria. Durante Interview with Giacomo Toriano. Lecce 9 August, E-mail correspondence with Francesco Faeta, 4 February, ; and in conversations with Faeta at the How to study the Souths?
There, he worked as assistant to the director, cameraman, sound editor and technician. This experience led him to his debut, the long feature Pizzicata , followed by Sangue vivo , Miracolo , and La guerra privata del tenente Guillet Attolini et al. Dialogues are in the Salentine dialect, subtitled in Italian. It is a fast paced jumping dance between a man and a woman. It is danced by young and old people, as it is the expression of feelings of joy and love. There are different ways of fencing and the fencers are often connected with the prison communities or the resident Gipsy Rom societies, wrote Antonio Gramsci in his Lettere dal carcere.
This is an antagonistic dance between two men. In the past, duelers held knives, and their dance and challenging performances were accompanied by tambourine players and lasted all night long. Today the knives are replaced with the forefinger and the middle finger that hit the chest of the enemy, the performance is executed with agile and elegant dancing movements.
Interview with Edoardo Winspeare. Taranto 24 June, Interview with Giacomo Toriano. Winspeare and Giorgia Di Cecere. Shot in Tricase, Alessano, Lecce and on the Salentine coast. The film was considered of National and Cultural Interest. Dialogues are in Salentine dialect, subtitled in Italian. Appreciated by national and international critics, the film gives voice to the Salentine dialect and to the regional music. Interview with Winspeare, So I have written a story around him. This name was chosen in reference to a panther that escaped from a private home at the beginning of and wandered in the Roman countryside.
Therefore, hybridization became the modality to reclaim and restore a traditional patrimony, and to adapt it to new forms of cultural consumption. However, his cinema is more interested in stories about contemporary society and culture, than in being neorealist or documentaristic. In Stewart Copeland, former percussionist of the group Police, was guest of honor and his spectacular performance was recorded on DVD. Interview with Toriano, Interview with Franco Cassano. Bari 19 June, Gianni Berengo Gardin. Il libro dei libri.
Rome: Contrasto Due, There are in fact two separate books, with identical titles and front covers and from the same publisher, one in Italian Copac record here and the other in English University of Texas at Austin library OPAC record here. The cover photograph of the book accompanying the Venice exhibition is of a couple embracing; that of the book accompanying the Milan exhibition shows people on two balconies. Rome: Peliti, Retrieved 21 March Retrieved 18 March History of Psychiatry.
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