Literally " dance trick", also known as "the dancer fairing", is a piece of classical court dance of Iran, which is characterized by a mime subtle and winking with which they show the various stages of preparation of the dancer with the makeup and flashy jewelry. In the version played in the video, filmed in 2006 as the first public performance of classical Persian dance never appeared in Italy, the dancer portrays the character of Shirin to the source (the text of Nizami). She sees for a moment, in the mirror the figure of the Beloved that the notes hidden behind the trees.
The theme of the makeup and the dressing is to be found throughout Central Asia to India, as the choreographic roots of what is also called the dance Teherani are also to be found in the dances of India, more than in the Arab world. Not only do we talk about some historical notations great kings, like Bahram Goor, who reported a large number of musicians and dancers from India, but this strong influence of Indian art there is evidenced by accounts of Western travelers to the courts as well as Persian iconography of 'era.
REVIEW AND DOCUMENTARY FILM THEME DANCES ON THE MEDITERRANEAN AND CENTRAL ASIA
towards. Art: Marialuisa Sales
FRIDAY 'November 21, 2008, AT 19.30: LATCH Dromio of T. Gatlif (1992) Film. Unforgettable musical journey and dance from northern India to Spain gypsy flamenco more authentic, passing through Egypt and the Balkans Performance presentation by Paola Stella: Contemporary Oriental Dance FRIDAY December 12, 2008, AT 19.30: ROMANY THE TRAIL, PART 1: GYPSY MUSIC INTO AFRICA, J. MARRE (1992) Documentary. Exclusive footage on the route of ancient dances from northern India to Spain. Camera unforgettable Ghawazee Egyptian and exclusive interview with one of the last Ghawazee. Speech by Natalia Bonanese on "Cinema and Roma."
FRIDAY January 23, 2009, ORE 19.30: DANCE OF NORTH AFRICA: TUNISIA AND MOROCCO TO AISHA ALI (1973-82) Outstanding documentary dance and folk music of Tunisia and Morocco, 1973-1982
FRIDAY 21 February 2009, AT 19.30: DANCE 'OF IRAN FRIEND RC (1982) Documentary: footage of performances of one of the most popular performers of the dances of Iran and Central Asia. Classical Persian Dance, Folklore of Iran, dancing dell'Azerbajan and Georgia. Persian Classical dance performance directed by M. Sales Ballet dancers during the Persian CUS University University of Rome "La Sapienza"
FRIDAY March 21, 2009, AT 19.30: ASHIKA KERIB OF S. Paradjanov (1988, English subtitles) Jewel memorable films Symbolists. Based on an ancient medieval legend of Central Asia, the film tells the story of a minstrel who, after initially refusing, he began to travel the world to become rich and be able to convince the family to allow him to marry his beloved. Composed in lyrical form and refined, Ashik Kerib manifests a rigorous, almost obsessive attention to the beauty of detail, whether the incidental music, choreography, costumes made by local clothing, or of suggestive scenes in outdoor dreamscapes between the ruins and monuments.
ORGANIZATION: ACADEMY OF DANCE Via G. SULTANA Castelbolognese by 30 / a, Rome Free Entry. Mandatory membership card.
THE 2008/2009 SEASON REPERTOIRE OF MUSIC AND DANCE
"Gul Amaad"
track entry and greeting. Music: Reng-e Abu-Ata , Reza Mahjoub. Choreography: M. Mahdavi, M. Sales.
"Miniature"
of pure dance track which shows the geometry executive style. Music: "Mozhdeh Bedeh" dastgah Mahuri , K. Alipour. Choreography: S. Khorsandi, adaptations of M. Sales
"Raqs-e Bazaq"
track traditional masked dances on makeup and dressing of the dancer. Music: Reng-e Dasht the second section, do so Hijaz, R. Friend, N. Siegel. Choreography: RC Friend, adaptations of M. Sales.
"Raqs-e Mahuri"
Former dancer choreography attributed to Chobak so Mahuri. It is believed that the song was dedicated to the night of Yalda. Music: Reng-e Mahuri . Choreography: M. Mahdavi
"Kosrov y Shirin "
track of masked dances inspired to extracts from the work of the same name of Nizami. Music: song and drum tombak Ali Akbar Moradi in the style of Kermanshahan. Choreography: M. Mahdavi, M. Sales
"Reng-e Homayun"
track inspired by Kai Arash-e Kamanje, the character of the Shahnameh (Book of Kings) who put all his strength into a single bow shot to fix the boundaries of 'Iran. Music: Reng-e Homayun (gosheh-e Isfahan) Choreography: M. Mahdavi
"Leily-o Majnun"
dance inspired by the eponymous poem by Nezami, recounts the story of Leyla crying in the garden. Music: song for tar and daire the gush-o Majnun Leyli R. Friend, N. Siegel. Choreography: RC Friend, adaptations of M. Sales.
"Gol-e Gandom Shekofteh" track into two sections: the first inspired by a dialogue between the flute and the birds and the second dedicated to the legend of the Phoenix, which sits on the Tree of the World. Music: piece for ney and tombak, Reng-e Dashti Hossein 'Omoumi and Madjid Kaladja Choreography: M. Mahdavi
QAJAR SONGS OF STYLE: two songs in nineteenth-century Qajar style: Shater and "Attar Bashi"
ARMENIAN DANCES: "Uzundara" "Archa Yeruzanke" Choreography: traditional on adaptations of H. Eriksen
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Excerpts: " MEDIEVAL ARAB DANCE DANCE AND INTERPRETATION of Arabic poetry" Marialuisa Sales, Ed. Akkuaria, 2006
(For gent.le of the Author. Author's Copyright, Reproduction in whole or part of the text without explicit permission . To request permission to write orchestes @ gmail.com . The article is devoid of text notes original.)
The Sufi and theologian Abu Hamid Muhammad at-Tusi al-Ghazali (1058-1111) is Sunni Islam's highest authority of all time, to the extent that is allocated exclusively the honorary title of Supervisor of Islam (Hujjat al-Islam). While it is common that some Muslim scholars constitute the unquestioned authority in their specific area of \u200b\u200bresponsibility, the case of al-Ghazali is quite rare, because its authority extends to many areas. For regard to the right, within the school SCIAF al-Ghazali is considered second only to its founder as-Shafi'i, and in the speculative theology (kalam) is one of the greatest exponents of Ash'arite. In the context of Sufism is then considered a "Pole of Time" (Qutb az-Zaman), ie, the beginning of higher rank who is living in a given period. The literature of al-Ghazali is very wide and extended to many disciplines. His main work is Ihyā''ulūm ad-Din (The revivificazione of religious sciences), a multi-volume compendium that is considered a veritable encyclopedia of Islamic sciences. Of this al-Ghazali himself composed two synthetic summaries, one in Arabic, entitled Al-arba'īn fi usul ad-Din (The Forty principles of religion), and the other in Persian, called Kimiya-e Sa ' Adah (The Alchemy of Happiness). From this it seems appropriate to quote some passages from the chapter entitled "About the role of music and dance as the pillars of the spiritual practice." In our view, they allow you to dispel the assumption under which the Islamic jurists would be detrimental as opposed to the use of musical instruments and dance practice.
"The Most High - says al-Ghazali - has designed the human heart so that it contains a hidden fire which is awakened by music and harmony, and that can lead man beyond by himself, in ecstasy. These harmonies are echoes of that higher world of beauty that call the 'spirit world'. They point to man his relationship with that world, and produce in him an emotion so deep and so strange that he is not able to explain . The effects of music and dance are more or less deep in proportion to the extent that those on whom they are acting more or less prone to movement, they flare up the fire that is dormant in the heart, regardless of whether it is a fire sensual, or divine and spiritual. "As a result there have been many disputes among theologians about the permissibility of music and dance from the religious point of view." Here we merely asserts that music and dance is not something external to instill in the heart, but simply to flare up emotions - albeit dormant - are already present in it. Therefore, if a man has in his heart the love of God which is required by law, it is perfectly legal, and even meritorious, that he devotes to activities that help to increase. On the contrary, if you have a heart full of desire to dominate the senses, music and dancing will only increase it, and in his case are therefore prohibited. As one who listens to music or attend the dance for the purpose of mere entertainment, music and dance in his case are neither lawful nor prohibited, but simply indifferent. The fact that they produce pleasure is not in itself sufficient to bring prohibited. Listen to the birds singing, contemplating the green grass or a running brook that they are also activities that give pleasure, but no one ever dreamed of and define them as prohibited. "Those who deny the reality of the ecstasies and other spiritual experiences of the Sufis do not prove that their narrow-mindedness. It should be recognized, however, some mitigating them, and as difficult to believe in the existence of states that have not experienced firsthand, as well as a blind man is difficult to contemplate that the green grass or a running brook that is pleasant or for a boy and difficult to understand the pleasure of governing. The wise man, however, despite not having experience of those states in person, you will look good and deny their reality. What folly could be greater than deny the reality of a thing for the mere fact of not having experienced ? "
So if al-Ghazali believes that music and dance, respectively, should be considered beneficial or harmful depending on the state of mind that generate the result, some lawyers rear Hanbali school, as Ibn al-Jawzī (1116-1201) and Ibn Taymiyyah (1263-1328) are so hostile to the dance to be condemned in toto, sometimes resorting to sophistry and specious arguments of nature . 'Abd al-Rahman ibn al-Jawzī al-Baghdadi was a literalist animated by a strong hostility to the Sufis in general and al-Ghazali, in particular, so as to write an entire treatise against him, entitled al-I'lām Ahya ' aghlāt bi-al-Ihya '(Notification of living beings errors in the Ihya'). Should therefore not surprising that he not only condemns every kind of dance, including Sufi, but even any kind of singing, including qasīdah, that is the anthem of religious argument. In Talbīs Iblis (Lucifer's temptation) Ibn al-Jawzī says
"The hearing music and dance have two defects: first, distract the heart from the knowledge of the power of Almighty God, and encourage the other pleasures of this world and make you give free rein to the passions of the senses, including the main stimulus to the sexual union. Thus, there is a relationship between music and adultery: the music is a pleasure for the spirit, just as adultery is the greatest of pleasures for the soul desires. For this reason, lawyers close to me say that musicians and dancers are not respectable people, and consequently believe that their testimony might be used in court. Music is in fact losing to a sense of proportion and the use of reason and cause behaviors similar to those induced by the wine drunk in the spirit. For this we go prohibited. "
continues blaming the Sufis and their dance
" When the excitement of the Sufi dance becomes more intense, one of them urges whoever is sitting next to stand with him. Under their rule, whoever receives the call can not refuse to get up. When the first rising, the others get up with him. If one of them turns his head, so do others and ceremonies of this sort supposed to worship God and to show him submissive. Then, when their excitement and became more intense, they throw their clothes to the musicians. Sometimes the whole cast, sometimes after being torn apart. " The same preconceived hostility towards music and dance, as demonstrated by Taqi al-Din Abu 'Abbas Ahmad ibn Taymiyyah al-Harran, the one that it is considered the forerunner of contemporary fundamentalist movements. While condemning the dance, Ibn Taymiyyah did not find anything untoward in resorting to an interpretation of the Koran itself very specious. Verse 37 of Surah of the Night Journey (XVII) states that: "Wa beyond tamshi fi al-ardi Marah," ie "do not walk the earth with insolence." It seems clear that the verse in question does not in itself imposes nothing on the dance, but merely to prohibit the vainglory and the pride of those who walk ostentatiously. Ibn Taymiyyah claims, however, read this as a condemnation of the dance and - in the footsteps of Ibn al-Jawzī - explains that "dance is something relevant to this kind of arrogance." This way of arguing, which is to force the legal sources just to prove a preconceived thesis, was typical of Ibn Taymiyyah and was indeed one of the reasons that led to his sentence to life imprisonment for heresy by the emir of Damascus Ibn Qalawun. It is no coincidence that, while after his death, al-Ghazali became undisputed legal authority for the entire Islamic world, Ibn al-Jawzī instead was sidelined because of his pedantic literalism, while Ibn Taymiyyah was even imprisoned by those who feared the spread of his extremism. It 'also significant that while the connoisseur of music and dance Ghazali brought Sufism to insurmountable heights of doctrinal formulation, his detractor Ibn al-Jawzī completely rejected him, and Ibn Taymiyyah, as well as order the music and dance, developed sterile polemics against the work of the greatest of Sufi masters of all time, that Muhi ad-Din Ibn al-'Arabî who was the heir of al-Ghazali in the rank of "Pole of Time" . This disagreement between a letter of spiritual and a fundamentalist Islamic doctrine is in fact come down to our days, so much so that contemporary fundamentalists, that the Wahhabis and Ikhwanidi, see Ibn Taymiyyah in one of their capiscuola, and oppose so fiercely to what Ibn al-Ghazali - 'Arabs. The legacy of these two authors, therefore, to be followed related to the hope of rebirth of the potential cultural, aesthetic and artistic activities of the Islamic world, while that of Ibn Taymiyyah and his followers continue to debase the deeper dimensions of Islam and to the point path of decadence, intolerance and obscurantism.
For years our association holds conference-show matters relating to the Persian Ballet, iconography and art of Iran and the Middle East.
Public and private stakeholders can contact us at: info@orchestes.com TEL. 333.7220123
MEETING-SHOW (ARCHIVE):
- " Persian classical dance and dance of the iconography of the Qajar era "
lecture-performance at the Teatro Derby of Milan, as part of "East and West, ancient and modern" by the Circle Zagharid, Milan, May 2008
- "Hortus Persicus "
(show / lecture on the symbolism of the flower and vegetable Iranian. Medieval Bristol, City of Brisbane, RA, July 2007)
- " Medieval Arab Dance of Arabic poetry and interpretive dance " ( presentation, Library Sangraal, Anagni, May 2007)
- "The Thousand and One Nights"
(intervention danced to classic songs of the repertoire of M. Mahdavi during the presentation "A Thousand and One Nights," traduza . edited by R. Money and M. Casari, Donzelli edit., Librairie Orientale "Nima", Rome, April 2007
- "Eyes of Narcissus"
(lecture-demonstration of Persian Classical Dance based on the symbolism of floral and plant their own tradition of the Iranian literary and poetic "(review" Florilegium ", cultural center Orsini Chapel, Rome, March 2007
- "Dance Dance Interpretative medieval Arabic and Arabic poetry" (presentation, Eastern Library "Nima" - Rome, December 2006)
- "Gulistan - medieval Arabic and Persian dance" (University of University of Rome La Sapienza, Rome by Night at La Sapienza, July 2006)
- "Classical Persian Dance: Raqs-e-Qajar era Bazak" (Università Degli Studi Roma Tre, Faculty of Humanities, June 2006)
- "The Garden of Love" (two-conference demonstration of medieval Arabic Dance, Orsini Chapel, Rome, April-May 2006)
- "From Mesopotamia to Damascus" (monumental complex of Santa Maria del Rifugio, Cava de 'Tirreni, SA, April 2006)
- "The souls and ghaziya: historical and symbolic dance in the Middle East"
(within the Conference on "Islam and the West: dialogue impossible? "University of Roma Tre, Faculty Humanities, May 2006)
- " The One, the All, the impermanence " (Orsini Chapel, Rome, March 2006)
- "Medieval Arab Dance: an attempt at reconstruction (Università Degli Studi Roma Tre, Faculty Humanities, December 2005)
member of the International Dance Council (CID) of UNESCO
(Author's Copyright, Reproduction in whole or part of the text without express permission. To request permission to write orchestes@gmail.com )
Before discussing the "Ballet of Iran", it is necessary to emphasize the fact, often not at all clear that Iran is linguistically, culturally and ethnically distinct from its Arab neighbors, even in the dance, the similarities of the Persian style should therefore be sought among the non-Arab peoples of the Central Asian region. When we refer Iran to the Ballet's artistic stylization mean a proper Persian elements in modern choreography, ballet assimilates ideas from Azerbaijan, Armenia, Tajikistan, Afghanistan and Uzbekistan.
Fundamentals of Classical Dance and ballet Iran
Scholars tend to agree to identify the origin of this dance style in Raqs-e Tehrani ( dance of Tehran) in solo improvisation that is both private ( Majles) , which has a prominent role of graceful gestures and expressive gestures, while the lower part of the body plays a role play of the second floor and a mere support. This "improvised solo is indeed Iranian women's solo version of the exhibition we find that common feature among the Armenian population, turkish-Anatolian, Uzbekistan, Tajik and Uighur, until reaching the Eastern Mediterranean and the Balkans.
ballet Iran is therefore the stylization of art and dramatization of items in raqs-and Tehran. Although it has not been a hard coding, similar to that of Western ballet or Indian classical dance, it has none of the limitations of style, attitudes, facial expressions and interpretations of music that are clear to interpret, beyond which it can no longer speak Classical Dance of Iran.
Brief Historical
was especially the dynasties of Safavid (1501-1732) and Qajar (1779-1924) to develop a tradition of court dance in today is inspired by the Ballet Iran:
" The most beautiful women in Persia are devoted to dance (...) the exquisite symmetry of form, their apparent agitation and the licentiousness of their verses are many incentives to a passion - to be contained - needs more philosophy than I possess in general the Persians . "
(ES Waring," A Tour to Sheeraz, London, 1807, p. 55)
Classical Dance Iran seemed to share with the Indian dance degeneration saw these historic forms of choral activities associated with prostitution, the professional dance regained prestige and respectability only with the new court established in the marriage between the Shah Mohammad Reza Pahlavi and Soraya. From that time he developed a professionalism that allowed the formation of real companies. Following the 1979 revolution, this process of regeneration of the dance and the arts connected with it underwent an abrupt halt to the point that today Iran is predominantly a dance dance of the diaspora, no more home grown but they are in Western countries present and active community of Iranian exiles.
The Art of Bazm
oral tradition some performances more refined and specifications were included in the final part of the "private concert" called Bazm . The latter represents an artistic context is often difficult to understand for Westerners. Often translated as "home entertainment", the Bazm was a real concert with its own mystical rituals and a specific spiritual goal, that the sacredness of Bazm was implicitly respected by the audience and the musicians themselves. Connected to this is in fact implementing the concept of hal, meaning "state of mind" that transcends ordinary consciousness, the vehicle is intended for the condition of purity and simplicity pursued by the mystical spiritual concert. In this sense, the dance, which intervened in the final section, on a specific musical performance called Reng (usually in 6 / 8, Hindi " Ranga Bhumi," the "place of dance"), had a cathartic function and to "bring down" the energy of the group.
Hence the idea of \u200b\u200bthe dancer as a mediator between Heaven and Earth , whose performance, again for the oral tradition, is subject to limits imposed by the peculiarities of their context. For example, could express all the feelings, with the exception of the surprise and anger, but not absolutely had to assume a seductive or lascivious, or perform sudden movements and sudden, and should also contain forms of virtuosity. All these are examples of parameters that perhaps today we would find very limiting, unreasonable or bizarre, but they had their own logic on the subtle peculiarities of the context. We are therefore not in a liturgical dance, whose function it is easier to identify (as in the case of Indian classical dance), but a dance that goes beyond the intent of conveying content related to religious myths to be interpreter of a spirituality that regards the state of being and not that of believing. We remember it as the ritual in Islam is incantatory and turns all'incondizionato immediately without going through a period of meditation on a physical or mental shape. The same implementation of sama 'Sufi is in fact a sacred dance that is not designed for the temple ceremonies and that even remembers the man as the only true temple is the heart.
The current evolution of the Ballet of Iran
The performers today are generally agreed to place the Ballet Iran in an evolution which brings a uniqueness to this art form and aesthetic expression common to the arts of music, poetry, calligraphy and illumination, in part interrupted evolution on many historical events. Many companies operating mainly in the U.S., where the higher the concentration of migrants from Iran, using the art theatrical spectacular setting as the main theme, sometimes with good results and sometimes betraying the spirit within and inward, creating a style strongly influenced by our classical ballet, which in historical memory, is based on principles very different from those presented by the Ballet of Iran.
If he wants to preserve its authenticity, it should be pointed out that the mime and refined poetic, subtle gestures, the constant interaction with the public and the origin of intimate performances make Dance Classical Iran unsuited to modern theatrical contexts. This dance was created and grew in the princely courts, in private houses and tea houses flourished in all contexts incomparable with large stage spaces to which we have become accustomed to the modern theater. The prominence of the "state" and expression than the physical movement and dynamism would undoubtedly lost from the tenth row on one of our Italian theater. This makes the Ballet Iran a unique gem and a bit 'elitist in an age of standardization and evolution "circus", a spectacular and "physics" of the dance. This expression is dance, and remains, an exploration of love and education to the many aspects of union and separation expressed by Persian music, as well as all the other arts of this ancient culture.
Our association proposes for dance schools or private, short intensive courses or workshops dedicated to the repertoire of nineteenth-century court dances of Iran: women's solo dance whose origin is identified in "Raqs- and Tehran" (dance of Tehran). Characterized by the prominent role of graceful gestures, the expressive gestures and some characteristic steps and movements of the pelvis, this dance is considered the Iranian version of the exhibition as a soloist and find common feature among the Armenian population, turkish-Anatolian, Uzbekistan, and Tajik Uighur, until reaching the Eastern Mediterranean and the Balkans.
The proposed route of the famous songs choreographed Iranian dancer and choreographer Medea Mahdavi. Apprendemdo the songs in the 80s and getting in touch with the latest exponents of this tradition of the court, Medea continued to settle remaining strictly within those stylistic borders, while preserving the taste and authenticity. Learning the songs is integrated with historical, iconographic and music through the slideshow, video and film in the workshops.
Teaching provides an introduction to basic technique el 'learning one or more dances on a repertoire of Medea Mahdavi " Reng " (classical composition for dance) tradition.
TO GET THE PROGRAM OF SEMINARS ( cost, time) write or call:
publication, examining both the theory and practice of medieval Arabic dance, exposes cases of recoding on basic poses, the vault , the facial expressions and gestures. Includes two articles on the Sufi ritual gestures and the position of Islamic jurisprudence in music and dance.
CONTACTS YOU FOR THE BOOK: Akkuaria Publisher: libro@akkuaria.org - veraambra@akkuaria.com Association 6 Catania Via Akkuaria Dalmatia - tel.095.7223831
REVIEW Enrico Pietrangeli per say, 18/12/2008 "The art of poetry and dance inspired" click
were presented lists of candidates for European Elections 6 and 7 June. Many women (three of which are at the head of the 5 lists constituency), many persons not related to any party but widespread expression of "civil society" on the left, some local administrator, excellent outgoing MEPs (one of the present and active, according to statistics, the European Parliament in Strasbourg), few "people system" and the direct involvement of the President of the Region of Puglia Nichi Vendola , the only candidate in all constituencies: these are salient features of the lists. Among the new characters should be reported without doubt the most significant: Lisa Clark, a historic peace activist (leaders in the northwest), Giuliana Sgrena , journalist of the Manifesto (leaders in the middle), Sergio Staino, famous cartoonist of the Unit, the Bebo Storti comedian, writer baby Pitzorno White, Michele Dalai, director of Linus, Imma Battaglia, leader of the gay movement, Mauro Palma, President of Committee for the Prevention of Torture, the Committee of Directors of Treccani, Carlo Flamigni, known endocrinologist, the National Committee of Bioethics and President of the Union of Atheists and Agnostics, rationalists, the consultant Alessandro Bottoni, Italian Pirate Party leader who is fighting for the freedom of the net, Simonetta Salacone, headmaster from primary school which has left the Roman protest anti-Gelmini.
The aim therefore is to overcome the barrier of 4% and restore hope to a modern perspective of the Left, in Italy and Europe.
District 4 South 1 Nichi Vendola (Puglia Region President) 2 Marco Di Lello (coordinating secretariat PS) 3 Dino Di Palma (Provincial Council Chairman Napoli) 4 Eva Catizone (former mayor of Cosenza) 5 Vozza Salvatore (Mayor of Castellammare di Stabia) 6 Santroni Daniela (formerly Regional Councillor Abruzzo) 7 Imma Battaglia (Manager of IT, historical gay movement leader, president of Gay Project) 8 Francesco Barretta (CIA President Crotone) 9 Marello Louis ( Provincial Councillor Cosenza) 10 Raffaele Cammarano (IACP President Salerno) 11 Caruso Franz (criminal lawyer) 12 Aimmo D'Isadora (Provincial Councillor Napoli) 13 During Joseph (oncologist, primary Uva Don Bari) 14 Massaro Maria Grazia ( university medical student) 15 Pignataro Fernando (former regional secretary of CGIL Calabria) 16 Michael Ragosta (Regional Council of Campania) Gerardo Rosania 17 (Campania region Adviser) Jeanne Salvatore 18 (working)
1 - President Bertinotti, she is the first signatory of the appeal to vote for Roberto Musacchio. Because of the urgency of this preference?
Meanwhile there is a long collaboration with Robert, a long common history in the labor movement and the Communist Refoundation and then with a presence in the European Parliament in the first part of the legislature, where we worked together in the Gue. Roberto has been an active leader with political passion and ability to apply to people's problems and conflicts. He has acted as a bridge to the movements, Consider, for example, how he contributed to the fight against the Bolkestein directive: one element among many who speak of a mode of presence in Europe that I hope will continue. Finally, Robert is in a list that will not resign to the state of the left in Italy and is considered a useful temporary presence.
2 - Musacchio comes in Left and Freedom, a new political subject, which comes at a troubled time of the Italian left, never so scattered and ejected from the halls of parliament also
... We went from a condition in which c 'There were two left, and a radical reform to a condition in which there is no one left in Italy policy, while there is a conflict and there are people on the left. There is no public discourse on the left in a position to intervene with force in a crisis of devastating proportions, namely the crisis of an economic and social model that agrees with those who, like Worldist alter the movement and the radical left, had criticized the capitalist globalization. The paradox is that while the events gave her reason the left is almost silent and even the movements to return the word. The problem is thus to a reconstruction of a left in Europe and Italy. So I think the elections should reward those women and men and the forces they seek this goal.
3 - The struggles of recent months, teachers and students are left to struggle without left without representation
It 's true, social struggles have taken a turn unusual, are placed under the sign of independence , which is different from autonomy. All before they had to do, would conflict even if there were any need, with the parties of the labor movement. The struggles of today have taken a rather independent nature, this to protect themselves. Suffice it to say that for the first time the general strike of the CGIL was held without the backing of the largest opposition party.
4 - In a recent speech She said that Europe today is living a crisis of politics and that this crisis is part of the political crisis of the left. What happens? The history of the 900 came to an end?
The 900 is over. Great scholars have divided the history of the labor movement into cycles: the 900 ended with the collapse of the Eastern regimes and with the advent of the capitalist revolution that we call globalization restorer. In this new crisis appears on the scene and suggests the rebirth of a new labor movement, a new left. The section that this new left can inherit from the old one was a critique of capitalism as a mode of production but all the social model to strive for is to be reinvented, from rideclinazione the concept of equality, without which there is left. It seems to me that we are faced with two paradoxes. The first: the left is gone when she got the facts right. Second paradox: Europe is not when the world they would need is the fundamental ground of the political challenges of the future. 5 - Why do you say that Europe is not?
Europe because there has been a process of approval to the North American model, Europe is not because there has been a process of unification in which the merchant market ate democracy, because they have renounced the sovereignty of the peoples in the name of dogma intake induced by free culture (think of the Maastricht criteria), Europe is not at this late stage because it is built on a systematic democratic deficit filled by a growing empowerment of technocratic structures, such as the European Central Bank. Europe is not because he has thrown during the construction of the Constitution and replacing it with the inter-governmental agreements with the Board's decisions. So it is presented naked to the crisis.
6 - So you see a weak Europe
Large individuals who are making decisions in the world have Obama in the U.S., China, the concert of Latin American countries. Instead, Europe has flowed in the choices of governments and of individual countries. There is a European economic program, not an investment plan and even with the large industrial cases, such as car, you do not see emerge an idea of \u200b\u200bindustrial policy, industrial conversion, conditioning the disbursement of financial public to the realization of strategic objectives relating to the rights of workers and the pursuit of environmental objectives and the introduction of targets for economic democracy. Yet Europe is the scale required to implement policies and objectives that can really weigh on the output from the crisis and its direction of travel.
7 - The devastating effects of the crisis are visible to everyone. Thousands of temporary workers is not renewed the contract, the exploding use of layoffs and extraordinary, and we expect a wave of layoffs that maybe the country can not afford. What do you think are the concrete measures to activate? The Franceschini convinced the proposal of a minimum wage for the unemployed?
To overcome the crisis should be a full and quality employment, then the objective is to maintain employment is not social safety nets. The problem is to build an economic policy . We should make a public discussion on this, a great assembly on which economic planning to take the next 5 years. We need a public address, do not be afraid of this word. We must first respond to crisis points, the other direct economic policy. E 'speech can not be postponed until tomorrow, with the "then see" pay crisis seriously and start you on a road that blinds.
8 - A recent Ipsos research has shown that the right to vote Operario, a trend already in place in recent years but now it looks dramatic. What signal do you think?
workers are condemned to solitude and loneliness in a test or to make do with the dream and selfishness. It is not the first time. Rating worker was targeted on the left in Europe with the birth of the labor movement and the large mass parties in the "thirty glorious years" after the victory by fascism but it is not a permanent condition of history. For there to be the workers' vote there must be a labor movement. The next day there and the workers vote in accordance with the tendency of orphans mercantile selfishness in which we are all subjected. Rather than be surprised that the workers the right to vote, be surprised that there is left.
9 - Today, from where it can start the next?
on all sides. Until yesterday we Meanwhile, because we start again beaten by a political force. Today there are starting points that are proposed as exclusive, or here or anywhere else. If you want to start should be from a big bang, that is, a questioning of all that is. Accepting that there was a break with the 900. It must be born a new labor movement because we need a new history of liberation from all forms of exploitation, alienation, oppression can come back, even slavery. Never as today the achievements of half a century are discussed, including democracy. So I think Roberto Musacchio and to encourage those forces, as Left and Freedom, who propose to contribute to the reconstruction of a major European left.
To mark the 72nd anniversary of the death of Antonio Gramsci, a delegation composed of the Left and Freedom Sentinelli and Roberto Musacchio visited the English Cemetery. Roberto Musacchio, an MEP from the Left and Freedom, said: "The lesson of Gramsci is always present. Moral reform of the country from subversion and classes diirigenti are issues of great relevance. In particular, from the subversion of the ruling class is a key to interpreting the that populism that is one of the most serious risks of our democracy. In this country too often the powerful use the difficult conditions of the weak to feed its power, the moral reform of which Gramsci speaks to continue serving in the values \u200b\u200bof our Constitution fully implementing "
In the speech Turin on democracy, on the eve of April 25, the President of the Republic Giorgio Napolitano has reminded us that the main institutions of democracy, conceived in opposition to every despotism, are "guaranteed rights of freedom (especially freedom of thought and press), the division of powers, the plurality parties and the protection of political minorities. " Quoting Norberto Bobbio, the president also reiterated the importance of the representativeness of Parliament, the independence of the judiciary and the rule of law.
no coincidence that the warning of the guarantor of the Constitution comes at a time when more and more often we see the arrogance of the executive which continually blows ordinances, takes possession of legislative powers in the name of "governability", stripped of did the Parliament of its functions.
The Head of State, which turned to Berlusconi but without quoting him directly, said that "today the government has already much power in relation to Parliament, having spent time in the Chambers prevailed on the executive, and warns against the continued demand for more power that is received by the winners of the elections, warning that "the complaint dell'ingovernabilità tends to suggest that authoritarian solutions ".
The President of the Republic could not be starker in the reject the "Berlusconi" in the most effective and politics of his speech, which was probably also the most challenging of taking office at the Quirinale.
The allegation of Napolitano came after a period of hard institutional clash, which began several months ago, and he has seen in the declarations Prime Minister on "Eluana case", the most critical moment. Just at that Berlusconi had expressed the intention of threatening to drain the powers of the Head of State and the Charter of fundamental change, according to the premier, was born "under the influence of the end of a dictatorship and with the presence at the table ideologized of forces that have looked to the Soviet Constitution as a model. " In those statements
condenses the basic idea of \u200b\u200bdemocracy second Berlusconi to govern without any offset, making Parliament a mere ratification of decisions within the government, concentrating all power in his hands of one person.
idea of \u200b\u200bdemocracy and authoritarian plebiscite in which, as Stephen says Rodotà you get into a "terra incognita" in which "the fundamental rights of persons no longer be trusted to guarantee the law, but the instincts of the majority" with the ' effect of disrupting the same constitutional democracy that is based on the Charter and will cause the head of state to argue that "the Republican Constitution is not some kind of war surplus as somewhere you would be sometimes to understand and which is based on values \u200b\u200bdeveloped in ' opposition to fascism, the Resistance. "
why we can not agree with Napolitano when says: "Respect the Constitution also means recognizing the essential role of constitutional review, and therefore the authority of the guarantee institutions. These should not ever be the subject of political attacks and disparaging reviews, beyond the expression of reservations about their specific responsible decisions. "
"The Constitution is not a simple charter of values. It is fundamental law and the supreme law also appears to be in marking the limits within which it can place all power is constituted and governed by the same sovereign will of the people. "
established power which Parliament is according to a logic of representation the people's will put a strain on those rules, designed to avoid excessive political fragmentation, have weakened the representation and questioned the freedom to vote and that in the absence of a viable training procedures of the applications and mechanisms of anchorage between the elected and electors for the territory, have helped to weaken our democracy. A
vulnus unfortunate that with the request for a "useful vote" that has crippled pluralism, social, political and institutional environment that is the essence of democracy, resulting in the ouster of some of the political spectrum by Parliament and the European electoral threshold, imposed by the majority with the agreement all of the current parliamentary opposition could intensify.
This marks the 25 April is not only the occasion of celebrations and memories, but now more than ever, must become an occasion for reflection on the risks to which authoritarians can slip our democracy.
of Marco Senaldi * - Flash Art n.274 February - March 2009
REALITY SHOW
ITALY IS A magnificent country, or a nightmarish place? In Italy you pay too many taxes, or if they evade even more? The Italian industry stands for excellence, or pollute like crazy? The Italian universities churn out export brains, or are incestuous dens of ill repute? And the Italian artists, finally, are misunderstood geniuses or provincial mammon? Turn it as you want, if not opposed to these questions it leaves. Or rather, what comes out is the usual image of Italy, a country not a country paradoxically, a jumble of contradictions that rebound, which are repeated, to avoid even a hi would like to resolve, and eventually exhausted all with the result which goes some way forward. Yet, come on you do in the end all this talk, lash, chain, rend clothes, and then sew rimettersele, perhaps in reverse, the next day something in common perception and perhaps in the things themselves, has changed. The first change is undoubtedly the level of debate. Almost imperceptibly, as the general din, we passed by the subtleties of political, ideological or extreme invective at a different level, I would say irresistible transparency. Assault as a journalist Marco Travaglio can give the mafia in an (in fact condemned) as Senator Dell'Utri, and this remains in parliament, but then leave it to the spokesman of his party, Capezzone, the task of apostrophes in direct Tv own labor by the epithet of "asshole".
A level (rank) higher Berlusconi himself can go to remember as a "hero" Vittorio Mangano, his groom Mafia, and his opponent Antonio Di Pietro may retort, without this, however, generate any real consequence. In another area, the controversy between Francesco Bonami and Achille Bonito Oliva about the exhibition "Italics" follows this pattern: it is openly accused what he would once have been cautiously whispered in the ears of a confidant. Although much linguistic and mental openness does not generate any real change, but in fact makes things interesting from another point of view, that is what we define "meaningful." Italy is a unique case in which ultimately all tacitly know that the ability to provide an objective reflection or not is left to the politicians (aware of the fact that, as Mussolini said, "govern Italians is not difficult, it is impossible") or to journalists or media (which are already widely placed for bands arthritis), or to religious leaders (historically discredited by a close geopolitical exaggerated), and even the so-called civil society and its representatives, which are also frequently collude with the potentates of various rank. What remains then, if not in artistic terms the translation of this mixture of the evils of '(ex) Beautiful Country, and their relative finishing creative? The result, which is itself paradoxical, is that, today, if a sociologist wants to know how it works in Italy, would do better to see a reality show that analyze (though debatable) indices Istat. If one wants to reconstruct the history of the country would do better to watch a recent movie quality, instead of compulsive often contradictory sources. And if an Italian would understand that maybe it would be good live country began to look around and notice that its artists produce works.
After many decades, of "cultural inferiority complex" and "let's not
recognize ", and" because we are not a normal country "(how can we think of certain films as London fog, in which the national Albertone eviscerated whole xenophiles that sets us apart?), Today many artists, writers, directors and designer back to concentrate on issues typically local, with the knowledge that there are events of a marginal province of the empire, but made their way to become epochal worthy artistic subjects. It is no coincidence that the new Italian cinema of the various Garrone, Virzi, Sorrentino, Vicari, has focused on issues of policy and company absolutely Italians - as the Camorra, or the political longevity of Andreotti, often in close correlation with the emerging narrative of such writers as Saviano, Ammann, Veronesi, Brizzi. On the other hand it is no coincidence that the new Italian designers like Giulio Iacchetti, have even produced a book-store all the objects, real or virtual that define the Italian identity, the timing of Brother Coccoina to guess, from the Feast Unit licorice Taboo (collected in the Italian collective volume, Corraini, Modena), while Roberto Giolito has revived, with sensitivity and intelligence, a myth at all like the Italian Fiat 500 (Marketing of the ghost. Nuova Fiat 500, Fulvio Carmagnola, in OT / Orbis Tertius, 1, Mimesis, 2008). The Italian photography should be noted recovery for this: think of the work of Francesco Jodice or Paola di Bello, Massimo Siragusa or Paola Salerno to understand it. However, here is crucial to establish some distinctions. A number of artists and works has focused on failures Italian with great seriousness, but inevitably modeled on traditional attitudes. The same example of Gomorrah - the book most of the film - shows that when dealing with subjects as "high" tend to use language as high, with severe "levied civil" as in this case, the recovery of neo-realism, but style not likely to be more in tune with the times. In many operations in which the current returns the old cliché of the complaint, will keep a (unjustified) confidence in the fact that there is something to (d) stating to someone, and that you can do so from a place of (d) neutral statement, was not involved, "objective" facts, which Instead absence is what makes the situation so paradoxical (and throughout history) of our country. Some recent works of art that have touched the sense of Italian, however, are their inability to take a stand "objective." Transactions of the Art Parade Francesco Spampinato spixellate with Italian flags, or the work of the Border goldiechiari imagined, the sound installation that reproduced with samples of splashing water and flush the Italian anthem Brothers of Italy, and Berlusconi's face turned into an icon in the Byzantine mosaics of Leonardo Pivi testify, rather than a desire to pillory "Italian customs and traditions, the radical comparison with an identity ghostly, detached from itself as the edges of a blur, where the cult of football, the photo of the leader of Mameli anthem (all other things strangely connected!) exchange roles and meanings. In this sense
, Cattelan's work, which often touched on the theme of Italian identity, is deeply indicative
. From Lullaby away 1994 installation made with the rubble of the CAP after the attack which had destroyed up to All, in 2008, the nine marbles that seem to many murder victims, Cattelan has never surrendered to the logic of simple complaint, preferring the indirect way of 'reflexive questioning and ambiguity. It is no coincidence that his Collodi Charlie Do not Surf (the boy with his hands pierced by two pencils) is dedicated to the eponymous ballad Baustelle - nor is it a coincidence that the applicant an allegory in contemporary art, its starting from Cattelan, up to the parody of that ingenious and irresistible duo are Bertozzi & Casoni, through Manganelli and Carmelo Bene, is the very un-heroic Pinocchio. In this sense, rather than searching for the roots of an alleged Italian identity, our own best artists have grasped the truth of our land lies mainly in a difference in nature, self-dis-identity for itself, certainly opened by someone like Pirandello. It is in this key should be recovered traditions of anti-dis-traditional Italian. Honestly, it's nice that a liquidator of an international level as Bonami has included in his exhibition "Italics" figures such as outdated or Guttuso Ferroni, but in a sense, what is truly remarkable is not the gesture to include in the show, but I wonder that it has aroused. This is also a typical feature dell'italiotismo most vulgar: in France, for example, when a person reaches a historical range, may be subjected to fierce criticism even posthumously, but it automatically goes to join a pantheon which is no longer removed, and in which are placed so that Napoleon Louis XVI, the Céline Sartre. Here, instead, the newest claims to make a clean sweep of all those who preceded him, so, although it is impossible not to sign the fierce criticism that someone like Luca Beatrice ideological waste sent to Arte Povera, it should also have the magnanimity to admit that now stuff is stored, is part of our history such as Futurism
or visual poetry. So, in an exhibition on Italian what is most astonishing is the presence of Guttuso (move undoubtedly talented), but rather the lack of authentic Italian anti-heroes: if we agree on Cattelan, why not enter the unforgettable two episodes of Carmelo Bene by Constance in 1994? In that task the media, in which a character so little TV as well had the courage and folly to give himself a meal in a public immensely bigger than him, all the force thrives Malaparte italianity most paradoxical and most true. And we should not say the same of television interventions De Dominicis, or forgotten, but insanely brilliant Luca Ronconi's Orlando Furioso (1975), which, before the eyes of today, can not remember the elaborate visual mechanics of a Dean or a Matthew Barney? And when the money as an artist Alfredo Jaar in his last Italian staff, goes great with posters asking "where is Gramsci", the operation is inevitably ideological as Gramsci's flag is raised to blessed "national consciousness" that 'Italy does not own and whose absence is indeed the characteristic, and its "ashes" should instead be approached without fear of those few who have shared with him the shaping the destiny of this country for good or evil, albeit from different sides politically, like Croce, Gentile or even of historic education reform which we are all (finora!) inevitably sons and debtors. These are the things that today's artists showing at times to understand except that, perhaps, a bit 'too late. Now, now that we were riappassionando to our country, other companies are overlooking the stage
of History, and perhaps the whole of Europe is intended to be an inevitable decline. Now that we have understood something, not for our alleged virtues and always repeated, but for our own flaws, now is the time to take leave. On the other Part of this strange destiny is in line with an unforgettable insight into one of the best dis-Italians who have never trod the native soil, that is Pier Paolo Pasolini, who shortly before his death he said: "It is therefore absolutely necessary to die, because, as long as we live, no sense. "
* Marco Senaldi, art critic and philosopher, is working with the chair of Aesthetic Education, University of Milano-Bicocca.
