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  • Art & Culture

    Reading Primo Levi in Italy and in the World. A Video Interview with Natalia Indrimi


    We meet Natalia Indrimi in the beautiful library of the Center for Jewish History, in the heart of Manhattan. The center is a consortium of research organizations studying, collecting, and preseving the history of Jewish communities all over the world. The Centro Primo Levi has become its Italian chapter and, as Dr. Indrimi explains,this is in itself an interesting development for "t

    he history of the Italian Jewish community is the most ancient of all the European communities, and it has also been the ground for mediation between the history of the Jews in the Middle East and the Mediterranean area and what happened in Northern Europe."

     

     

    Notwithstanding the millenia-long history it brings upon its shoulders, so to speak, Centro Primo Levi is a very modern institution, with a strong interactive presence on the web and a very extended virtual life.  “We intentionally started s an organization that can live both a social and a virtual life. And our web site is not only a way through which we communicate our program, but it is becoming a real multifunctional information platform.” The site informs about everything that happens in Italian Jewish studies all over the world and through this platform many people are getting connected, especially in the academoc world.

     

    The bulk of the interview your find above is dedicated to the description of the Centro’s Fall program, which has several events and three main projects: the International Symposium “New Voices on Primo Levi” (October 25th through the 27th), the residency of Lia Levi (November 2nd through the 5th), and the day dedicated to the Jews of Piedmont, on December 8th.

     

    Dr. Indrimi also speaks about one novelty of this year: for the first time the symposium will have a special opening, a concert: “We have discovered that many contemporary composers have dedicated works to Levi and we have decided that each year we will stage one of them. This year we start with the Israeli composer Tzvi Avni, who wrote a beautiful suite for piano and soprano based on five poems of Primo Levi.” The concert wil be on October 25th, 6pm, at the Center for Jewish History and afterwards Samuel Adler, of the Juilliard School of Music, will have a public conversation with composer Tzvi Avni.

     

    To follow i-Italy's special multimedia coverage of the Symposium, click here

    Then follow the two days of study. On October 26th at Casa Italiana Zerilli-Marimò (6pm), the figure of Primo Levi in Italy will be analyzed under two main respects. First, Ernesto Ferrero—who has been the editor of Primo Levi at the publishing house Einaudi during almost his entire career—will be discussing the very crucial topic of memory: something that Primo Levi saw “as a very complex item.” The second topic will be philosopher Giorgio Agamben’s reading of Levi. “This is something that has been since the beginning very controversial and has attracted a lot of criticism... and yet it has had the merit of bringing the ideas of Levi and the discourse on Levi to audiences to groups of scholars who probably would not have come in touch with him otherwise.”

     

    The second day of the symposium, October 27th, will be at CUNY Graduate Center (5pm) and wil be dedicated as always to “Primo Levi in Translation.” It will discuss the reading of Primo Levi in German as well as his recent translations in Arabic and Farsi—something that highlights “the universality of suffering,” as the title of this session says. Prior to these sessions, at 1:30pm, a series of archival interviews with Primo Levi and a television single act drama based on one of Levi’s science-fiction stories will be presented in collaboration with RAI Corporation and RAI Teche.

     

    In the final part of the interview, Dr. Indrimi offers some highlights of the Centro Primo Levi’s Spring program. The main project is a two-day conference with scholars who have studied the experience of the Italian Jewish expatrates in America, following the racial laws of 1938. It will be the first gathering ever dedicated to the study of this particular chapter of Italian emigration and of the history of Italians and Italian Americans in the U.S. and especially in New York. “There will be a number of issues, some sociological, some personal, and some that have to do with the ideas that these people contributed to the American society.”


    Discover Piedmont



  • Art & Culture

    "New Voices on Primo Levi". A Symposium in New York

    From a series of small annual meetings, the "New Voices on Primo Levi" symposium has grown to become one of the main international windows on the work of the Italian writer and scientist, held in collaboration with the New York University and the CUNY Graduate Center. 

    This year, in connection with the 90th Anniversary of Levi's birth, there are two important news: the collaboration with the recently born Centro Internazionale di Studi Primo Levi in Turin, and the establishment of an annual concert featuring works on Primo Levi by contemporary composers.

    On this special occasion Prof. Andrew Viterbi, scientist, inventor, educator, and philanthropist will open the symposium at the Center for Jewish History on October 25 with a personal reflection on Primo Levi, his cousin and friend. 

    The inaugural concert will feature the song cycle If This Is a Man, that the Israeli composer Tzvi Avni based on five poems by Primo Levi. The piece was initially composed for orchestra and soprano and has been recorded by the Israel Philharmonic Orchestra. That version premiered in New York in 1999 as part of the Interfaith Concert of Remembrance. The version for piano and soprano, featuring German virtuoso  Rainer Ambrust and the prodigious Israeli soprano Sharon Rorstorf-Zamir, was created for this event.  Following the concert Tzvi Avni will be in conversation with Juilliard faculty Samuel Adler

    The line-up of prominent speakers include, among others, post-memory theorist Marianne Hirsch, anthropologist Talal Asad, life-time editor of Levi and author of one his finest intellectual biographies, Ernesto Ferrero, German comparatist Ernestine Bradley, world-renowned Israeli composer Tzvi Avni, Algerian novelist Boualem Sansal, novelist and founding director of the New York University’s Center for Dialogues Mustapha Tlili, and Hebrew University Italianist, Manuela Consonni.
     

    A rare appearance of Primo Levi’s Italian editor at Einaudi, Ernesto Ferrero, held under the aegis of the Primo Levi International Research Center in Turin, will offer the opportunity to come closer to the set of cultural and ethical references of Levi’s life, that has largely eluded his biographers.  Dr. Ferrero is currently head of the International Book Fair of Turin. The Primo Levi International Research Center was created by Levi’s family and local government agencies to sustain the research on his writings and foster interest in the many intellectual debates he initiated. 

    A series of archival interviews with Primo Levi and a television single act drama based on one of Levi’s science-fiction stories will be presented in collaboration with RAI Corporation and RAI Teche.

  • Events: Reports

    ElliSicily. ANFE in New York & New Jersey. A Week in the Name of Legality

    The Associazione Nazionale Famiglie Emigrati (National Association of Migrant Families) is a not-for-profit association founded in 1947. This year, ANFE's Regional Branch of Sicily, operating since the 1950s, is participating to the Columbus Day celebrations with an outstanding delegation and remarkable events.

    Created to protect and support Italian emigrants and their communities throughout the world, today ANFE is increasingly committed to promote the social and cultural integration of immigrants in Italy, and to assist them in entering the labor market.

    This year the main theme of the events organized by ANFE is "Legality."
    Here is ta list of the major events on schedule. They are all open to the public.

  • Events: Reports

    MUSIC BETWEEN TRADITION AND (POST)MODERNITY. New Mediterranean Proposals: Campania, Puglia & Sicily


    “Talking about music is like dancing about architecture”. Whether this was  uttered by Frank Zappa, Elvis Costello or someone else, this  is a quote that inspire reflection.


    i-Italy, in collaboration with ANFE-SICILIA and Casa Italiana Zerilli Marimò (NYU), invites you to a meeting with artists Roy Paci & Aretusca, Mauro Pagani, Marco Cappelli and the “Sun”. They will discuss about their musical roots, focusing on how these are connected to contemporary questions and new generation issues.


    On October 13 at 6:00 PM at Casa Italiana Zerilli Marimò, there won't be just a conversation among experts in the field: the musicians will be asked to share with words and notes their personal experiences as artists focused on reinterpreting Italian musical tradition in a contemporary key.


    Agreeing that "talking about music is like dancing about architecture", moderators George De Stefano and Letizia Airos will invite them to evoque, between a performance and the other, more than just happenings, but also emotions and reflections that have accompanyied them throughout their musical career




    The artists:



    SUN


    The Sicilian trio SUN consists of Dario Sulis (vocals, percussions), Alessandro Palacino (saxophone and flutes) and Diego Spitaleri (piano and keyboards). SUN's first album, "ETHINICITY", was first released in 1997 by the R.T.I. Music label. Teatro del Sole has recently re-released it. The trio's ethnic-Mediterranean music also draws on ambient, new age and jazz elements.  

     
    In September 2000, SUN received the MEMORY Award from the Foggia Jazz Festival. SUN performed for the United Nations summit held in Palermo in December 2000. In 2001, the trio recorded a live performance, Scarlatti Rendering, at Palermo's Teatro Massimo, where they presented their music in honor of the legendary Sicilian baroque composer Alessandro Scarlatti. Not only does SUN experiment with their own interpretation of past compositions, but they have also collaborated with musicians to recreate classical music. At Taormina, Sicily's TEATRO GRECO they performed their own interpretations of various Bach violin sonatas.  

     
    In 2004, the trio performed their music and lectured on their unique musical style and composition throughout venues in the United States. Film and television producers even use SUN's music - most recently their music created the soundtrack for a DVD on Italian immigration to Argentina, and a short "Chi Sei?" by Giuseppe Gigliorosso.



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    ROY PACI AND ARETUSKA

    Sicilian composer, trumpeter, and bandleader Rosario “Roy” Paci is one of the most creative and exciting musicians on the contemporary scene, an innovator whose popularity stretches from Italy and Europe to Latin America and beyond. His band Aretuska is composed of musicians from Sicily, Italy, Latin America and Africa. Paci has released four albums with Aretuska, the first being "Baciamo le mani" (2001). On his own label Etnagigante he released "Tuttapposto" (2003), "Parola D'Onore" (2005) and "Suonoglobal (2007). In 2008, he released “Bestiario Siciliano,” a compilation of his work with Aretuska that also featured three new songs and a DVD of the band in concert.

     

    Paci and Aretuska’s music is a fusion of Sicilian elements and the international rhythms of jazz, rock steady, reggae, ska, soul, and funk.  

     

    Throughout his career, Roy Paci has traveled throughout the world, constantly enriching his musical palette with new and traditional rhythms, from samba to Indian banghra.

    In 2007, Paci had a massive international hit with “Toda Joya, Toda Belleza,” an irresistibly catchy samba that captivated listeners – and dancers – from Palermo to Rio de Janeiro.

     

    Paci’s connection to Latin America is strong and deep. From 1990-1994, he performed with groups and solo artists such as Musica Popolar Do Brasil, Selma Reis in Brazil and Argentina, and the T.Rio Blanco in Montevideo.

    He also appears in the 2006 film, “The True Legend of Tony Vilar,” about an Italo-Argentine singer. Paci is seen in a dream sequence set in New York City. 

    Paci often writes lyrics in Spanish, as well as in Italian, and in a hybrid lingo he calls “italoño” that incorporates Spanish, Italian, Sicilian and English.   

     

    The artists with whom he has collaborated during his more than 25-year career include Manu Chao, Vinicio Capossela, Amadou and Mariam, Piero Pelù, Raiz, Samuele Bersani, Nicola Arigliano, Cesare Basile, 99 Posse, Giuliano Palma & the Bluebeaters, Mau Mau, Subsonica, Eric Mingus, Carlo Actis Dato, Sean Bergin, Flying Luttembachers, New York Ska Jazz Ensemble, Negrita, Jovanotti, Caparezza, Sud Sound System.





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    MARCO CAPPELLI

    Marco Cappelli is a founder of the acclaimed Italian contemporary music group Ensemble Dissonanzen.  He also is a professor of guitar at the Conservatory Vincenzo Bellini in Palermo and Music Associate at Columbia University in New York. Over the years his music has undergone a radical transformation, from classical to contemporary and experimental sounds.  
     
    The diversity of Marco's performances is due to his having worked with an array of brilliant collaborators --  Anthony Coleman, Michel Godard, Butch Morris, Franco Piersanti, Jim Pugliese, Enrico Rava, Marc Ribot, Elliott Sharp, Giovanni Sollima, Markus Stockhausen, Cristina Zavalloni and more. As a soloist and an ensemble member, he also regularly participates in major classical and contemporary music series (Teatro Massimo di Palermo, Associazione A. Scarlatti di Napoli, Ravenna Festival, Festival Traiettorie di Parma, Cinque passi nel '900 al Teatro Lirico di Cagliari, Guggenheim Museum in New York, Italian Academy at Columbia University New York, Salzburg Festival, Ruhr Triennale...) as well in jazz and avantgarde music festivals (Saalfelden Jazz Festival - Austria, Pomigliano Jazz - Italy, Grim in Marseille - France, Barnsdall Theatre in Los Angeles, Tonic in New York, OutPut Festival in Amsterdam.)  

     
    Marco has recorded three solo guitar CDs: "Fantasia per Ensemble", "Yun Mu" EGP (Extreme Guitar Project: Music from Downtown New York) for the prestigious American label Mode Records. In 2006-2007 Ictus Records published his "Los Angeles Tapes", and in 2008 the Italian jazz label Itinera released the first CD of Marco's band IDR - Italian Doc Remix.






    ______

    MAURO PAGANI


    Mauro Pagani is an internationally known multi-instrumentalist, composer and producer who has studied and researched various Mediterranean musical idioms, a multi-year path that has culminated in his becoming the Artistic Director of Le Notti di Taranta (Taranta Nights), Italy's most important Southern traditional music festival and one of Europe’s major festivals.  

     
    One of the founders of the historic progressive rock band Premiata Forneria Marconi (PFM), he also is one of the pioneers of the world music genre in Italy. Among the most significant highlights of his career was his multi-year collaboration with the Italian singer and songwriter Fabrizio de Andrè, with whom he wrote and produced Crueza de Ma (1984) -- considered by David Byrne one of the 10 best albums of the past few decades, from any country and in any genre. In 2004, Pagani partly rearranged and enriched Crueza de Ma with new ethnic-based sounds. De André and Pagani also had a major success with the 1991 album, Nuvole (Clouds). 

     

     In 1998 Mauro founded Officine Meccaniche, whose recording studios have become a meeting point for such notable Italian artists such as Daniele Silvestri, Samuele Bersani, Almamegretta, Le Vibrazioni, La Sintesi, bluvertigo, Afterhours, Negramaro, Stefano Bollani, Muse, Franz Ferdinand, Massimo Ranieri.
     

     
    The multi award-winning soundtrack composer of "Sogno di una notte d'estate" and "Nirvana" by director Gabriel Salvadores, Mauro has recently written and produced, in collaboration with more than 50 Italian artists, "Domani 21/04/09", a song dedicated to the victims of the earthquake in the Abruzzo region.




    --------


    THE EVENT AT CASA ITALIANA

    Date:
    Tuesday, October 13, 2009
    Time:
    6:00pm - 8:00pm
    Location:
    Casa Italiana Zerilli Marimò
    Street:
    24 West 12th Street
    City/Town:
    New York, NY
     




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  • Facts & Stories

    How Italian Technology is Trying to Save Venice. The MOSE Project Presented in New York

    It is widely accepted that without human intervention, Venice would eventually be abandoned to the tides. The MOSE will temporarily separate the lagoon from the sea. How will it work and why is this—according to you—the right answer to Venice's flooding problems?
    Yes it is, the Venice Lagoon survived to nowadays thanks to a series of interventions during the centuries (as the diversions of the rivers in order to avoid the silting up of the lagoon).

    The objective of the Italian legislation to safeguard Venice is to guarantee the complete defence of all areas in the lagoon from high waters of all levels, including extreme events. Ever more frequently, Venice, Chioggia, and other historic towns and villages in the lagoon are flooded, and the lowest lying zones - usually the oldest and most valuable - are flooded almost daily, particularly during the winter. The risk of an event representing a danger to the city, such as that of 1966, is ever greater.

    The Mose system includes mobile flood barriers (realized at the lagoon inlets in order to isolate temporarily the lagoon from the sea during the high water events) and local defences, carried out by “raising up” the lagoon banks and public pavement in the lowest areas of the city. The mobile flood barriers are made up of rows of flap-gates built into the inlet canal beds. They are "mobile" in so far as during normal tide conditions they are full of water and lie flat in their housings built into the inlet canal bed. When tides exceeding safeguarding level are forecast, an emission of compressed air empties the flap-gates of water until they emerge. In this way, it is possible to temporarily isolate the lagoon from the sea thereby blocking the flow of the tide. The inlets remain closed both for the duration of the high water and for the time it takes to manoeuvre the flap-gates (on an average a total of 4.5 hours).

    The gate-opening manoeuvres follow precise procedures, taking into account the possible increase of water in the lagoon due to input from rivers, rain, local rises caused by wind, and/or the passage of water between one gate and the next. The Mose can protect the lagoon and the urban centres from a tide level of about 10 feet and with a sea level rise of 2 feet.

    Management of Mose is flexible enough to cope with an increase in high waters in various ways, depending on the characteristics and scale of the tidal event. Depending on the situation, the defence strategies can involve simultaneous closure of all three inlets in case t of an exceptional event or alternatively and according to the winds, pressure and amplitude of the forecast tide, differentiated closure of the inlets, or again, partial closure of each inlet, as the gates are all independent.

    The integration between the mobile barriers and the raising up of the banks and pavements defines a system of defence that is extremely efficient and functional, and that not only guarantees the total defence from high waters, but also guarantees port activity, water quality, and the safeguarding of the lagoon environment. This is a vital environmental program being undertaken by the government as a response to the body of special legislation introduced to

    safeguard Venice and its lagoon.

    MOSE is the product of long and detailed studies carried out by private companies and research institutes in Italy and around the world. The technology however is essentially Italian. Who are the main scientific-technological actors behind MOSE?
    For many years now, the Consorzio Venezia Nuova on behalf of the Ministry of Infrastructure - Venice Water Authority has been implementing an extensive system of measures throughout the Venice lagoon area, designed to provide complete protection from flooding and sea storms and safeguard the ecosystem.

    Since it was set up, Consorzio Venezia Nuova has carried out extensive studies and experiments aimed both at understanding the phenomena and processes affecting the ecosystem of the lagoon, and at planning projects and implementing real protective measures, involving many Italian and foreign universities and research centres. It avails itself also of many American experts from the M.I.T. university in Boston, the SCRIPPS Institute of San Diego, the University of California and, since 2006, it has taken part in an international network for Storm Surge Barrier Managers, done by Dutch, English, Russian, and Italian Countries. The goal of the international network is exchanging and sharing experiences and the transfer of knowledge on operational and functional management of large movable storm surge barriers in order to optimize the management of barriers by innovative technology. In this network public administrations co-operate and collaborate on issues of common interest, forming a community of practice.

    What is the relationship between private bodies and state institutions in the work of projecting and realizing MOSE?
    Playing the leading role in safeguarding Venice, each within their particular area of responsibility, are the Italian State (measures to physically safeguard the lagoon and restore hydrogeological balance), the Veneto Region (abatement of water pollution), and the Venice and Chioggia local authorities (urban restoration and maintenance and measures to promote and encourage socio-economic development). The body responsible for policy, coordination and control of the objectives established by the special legislation is the Committee as per art. 4 of Law no. 798/84 (the "Comitatone"), which is composed of the competent ministers (Infrastructure and Transport, Environment and Territorial Protection, Cultural Heritage and Activities, University Education and Scientific Research), the Chairman of the Water Authority, the Chairman of the Veneto Regional Authority, the mayors of Venice and Chioggia, Treporti-Cavallino Local Authority, and two representatives of the other local authorities along the lagoon boundary. It is chaired by the President of the Council of Ministers.

    Because the complexity of the Venice problem, the “reciprocity” of every action in the lagoon environment and the highly experimental nature of the safeguarding interventions delegated to the State require the preparation and implementation of an “integrated plan” of interventions to tackle the various aspects of the physical and environmental safeguarding of the lagoon ecosystem in a unitary and organic fashion and with a systematic approach. Special Law no. 798/84 thus established that the State administration could nominate a single body to take on responsibility for the interventions as a whole.

    To carry out the measures aimed at safeguarding Venice and its lagoon in accordance with Law n. 798 of 1984, the Venice Water Authority avails itself, like its concessionaire, of the Consorzio Venezia Nuova. It consists of a group of leading Italian construction companies of international importance and local cooperatives and firms with considerable experience of operating in the lagoon. The Consortium acts, of course, under the direct control of the Venice Water Authority and on the basis of a general plan of interventions defined and approved by the “Comitatone” (and therefore by the institutions represented on the committee) and by Parliament which, in Special Law no. 139/92, adopted it as a reference for the development and financing of interventions programmed, implemented and underway.

    Consorzio Venezia Nuova has developed a structure able to plan, organise, manage and control the safeguarding measures during the various phases of implementation, while at the same time acting as the operational interface between the granting administration (the Venice Water Authority) on one hand and those carrying out the work on the other (designers, experts responsible for studies and experiments and companies carrying out the work).

    Why is MOSE so controversial in Italy and especially in Venice? Many say that it is “surgery before medicine” and that less radical, softer measures should be tried first that would avoid the environmental disruption and skyrocketing costs that MOSE seems to bring with it.
    Well, it was controversial in Venice, like any big project is and not only in Venice or in Italy!

    The opposition was more noisy than substantial: the majority of Venetians was, and it is, in favour of the Mose project.  If a few years ago, the Mose project was defined as too “huge” and not necessary by the opposition, now the same people say that it is not sufficient, and that Venice will need something bigger! The Mose project is the best solution for solving the problems of high water now and in the future, in presence of a bad sea level rise, as well. It is an important measure for the lagoon environment, not against it.

    Nothwithstanding its uniqueness, Venice faces challenges that have some similarities with those affecting other cities: London and Rotterdam, in Europe; New Orleans in the U.S. The international conference under preparation in New York is entitled “Saving Venezia, Protecting New Orleans”. To what extent and in what ways could MO.S.E.’s approach and know-how offer useful suggestions for these other cities?
    Consorzio Venezia Nuova is part of the International Network, that is a great unique opportunity for each country for building effective parternships, for sharing organizational aspects, for improving the current management, for exchanging products, services and for innovating services and competencies.


    Find the full program of the conference on
    ILICA's website

  • Anthony J. Tamburri comments on ILICA 5th Annual Conference


     

  • riki



  • "Salvare Venezia, Proteggere New Orleans". Un convegno a New York sul progetto MO.S.E.

    La prima conferenza transazionale dedicata al tema “Saving Venezia & Protecting New Orleans” si terrà il giorno 25 Settembre a New York. Organizzata da ILICA (Italian language Inter-Cultural Alliance), la conferenza ha l’obiettivo di riunire scienziati, accademici, ed esperti nel settore sia italiani che americani per discutere del progetto M.OS.E. (acronimo per Modulo Sperimentale Elettromeccanico), un progetto ad alta tecnologia inteso a proteggere la città di Venezia dalle acque alte mediante file di paratoie controllate elettronicamente.

    “MO.S.E.” – sigla che evoca anche il nome del profeta biblico Mosè – è un progetto in corso dai primi anni del 2000 ed è basato su tecnologie sviluppate in Italia. Con questa conferenza gli organizzatori suggeriscono che le tecnologie MO.S.E. potrebbero interessare anche coloro che, in America, stanno studiando come proteggere la baia di New Orleans da fenomeni simili a quelli che interessano Venezia.
     
    Prima e dopo la conferenza i-Italy pubblicherà una serie di report e interviste concernenti sia l’evento che gli aspetti culturali e scientifici dell’iniziativa. Iniziamo oggi intervistando il Cavalier Vincenzo Marra, Presidente di ILICA ed organizzatore dell’evento, ed il Professor Anthony Julian Tamburri, Preside del John D. Calandra Italian American Institute (Queens College, CUNY) e presidente dell’American Association of Teachers of Italian (AATI), che sponsorizza l’iniziativa.
     

    D: Una conferenza internazionale che riunisce scienziati, esperti, accademici… un format non proprio comune per gli eventi italiani a New York. Come mai questa scelta?

    VINCENZO MARRA: Vogliamo contribuire a far si che l’immagine dell’Italia negli USA non venga assimilata al solo folklore o alle cene di gala… L’idea che si ha del nostro Paese nel XX secolo è il risultato di rappresentazioni provenienti soprattutto dall’immaginario cinematografico, da film come “Il Padrino” ad esempio. Sin dal 1967, anno in cui il numero dei rimpatri dagli USA fu superiore a quello delle partenze dall’Italia, la qualità dell’emigrazione italiana è cambiata. Ora contribuiamo ai livelli più alti alla crescita sociale, finanziaria, ed intellettuale dell’America. Dall’ISSNAF (la fondazone che riunisce gli scienziati italiani in Nord America) al NOVA (una associazione che riunisce gli italiani laureati in economia che lavorano qui), potrei dare una lista infinita di nuove associazioni professionali italiane negli USA. È giunto il momento di creare un nuovo paradigma per questi nuovi italiani.
     
    ANTHONY J. TAMBURRI: Abbiamo bisogno di superare lo stereotipo delle “Tre F” (Food, Fashion, Film). Certamente la conferenza riunisce esperti italiani e americani nel campo della scienza, ma trascende questo settore specifico offrendo la base per una comparazione epistemologica e/o uno scambio reciproco sul modo in cui recepiamo e percepiamo alcuni aspetti della conoscenza. Inoltre assisteremo all’incontro tra la scienza ed un più ampio ambito culturale grazie al coinvolgimento di due registi, che hanno utilzzato le sfide geologiche della laguna di Venezia come background di un lungometraggio, “Watermark”.

    D: Perché avete scelto questo tema particolare, anche piuttosto “controverso”?

    VM: Io non vedo rischi in questo. L’Italia è uno dei Paesi membri del G8, e spesso è stata all’avanguardia in termini di cambiamenti, innovazione e creatività, e non solo in campo culturale ed artistico, ma anche in quello tecnologico. Il mondo deve sapere cosa è MO.S.E ... Inoltre, l’evoluzione sociale chiamata oggi “globalizzazione” sta ridefinendo la mappa socio-economica del mondo. L’Italia è un Paese piccolo dal punto di vista geografico; tuttavia, nel 1700 la lingua italiana era parlata da più persone di quanti parlino l’inglese oggi. È un momento per l’Italia per rispolverare l’arte della comunicazione. Se continuiamo a manterci in un'ottica puramente politica, passeremo il resto della nostra esistenza a discutere mentre il mondo è più interessato a quello che facciamo che a quello che diciamo.

    AJT: Noi tendiamo facilmente a dimenticare i contributi italiani in campo scientifico e tecnologico. Invece di ritornar sempre con la mente ad un’Italia che non esiste più (penso a raffigurazioni di paesini di montagna colpiti dalla povertà), vogliamo ricordare che l’Italia è terra di innovazione scientifica e tecnologica, come provato dai suoi numerosi Premi Nobel per la scienza che si sono succeduti negli anni. È il Paese di una lingua e di una cultura che hanno dato alla Civiltà le radici della moderna poesia occidentale (Dante e Petrarca), le fondamenta di quella che oggi chiamiamo Modernità (la filosofia e l’arte del Rinascimento italiano), e la matrice della filosofia giuridica contemporanea (Cesare Beccaria).

    D: Come mai la conoscenza delle eccellenze italiane sembra limitata al fenomeno del “Made in Italy”, e più nello specifico al settore gastronomico e della moda?

    AJT: Ci sono molte responsabilità e gli stessi italoamericani non ne sono del tutto esenti. In quanto comunità ci appoggiamo troppo all’immagine più popolare dell’Italia, intrisa o di nostalgia nei confronti di un paese che esisteva molti anni fa, o di rappresentazioni controverse che secondo molti non sono di alcun aiuto alla causa italoamericana. Per questo apprezziamo lo sforzo fatto da ILICA per portare all’attenzione qualcosa di diverso che, primo, ci colloca su un diverso piano intellettuale e, secondo, ci costringe a guardare ad un’Italia non familiare per grande comunità italoamericana.
     
    VM: La missione di ILICA è ispirata a Vincenzo Sellaro, che fondò l’Order of the Sons of Italy in America (OSIA) nel 1905. Fu un cambiamento importante, di cui allora c’era grande bisogno. Dopo 100 anni abbiamo bisogno dello stesso tipo di svolta. Questo è solo il primo passo: ILICA vuole divenire un catalizzatore per un nuovo tipo di italiano, che viene negli Stati Uniti non per bisogno, ma per scelta… Questi Italiani devono integrarsi in una società multietnica ed interculturale. È vero che dobbiamo conoscere da dove veniamo, ma dobbiamo anche iniziare a dire al mondo dove stiamo andando. E scusatemi se lo dico: abbiamo molto di più da offrire di quanto siamo riusciti a fare nell’ultimo secolo. Dobbiamo saper creare una sinergia fra l'Italia della tradizione e gli Italiani del XXI secolo.

    D: Come possiamo costruire un ponte tra queste due diverse realtà, quella dei discendenti degli italiani che vennero qui “per bisogno” e quella degli Italiani di oggi che vengono “per scelta”?

    AJT: C’è un nuovo concetto di migrazione oggi (non e-migrazione o im-migrazione). Nasce da una nuova mobilità globale, e gli Italiani sono di nuovo in testa a questi nuovi sviluppi… Quando insegnavo in Florida avevo perlomeno cinque studenti nel mio corso che venivano dall’Italia per studiare la cultura italoamericana come campo di studi primario o secondario, e alcuni di loro sono rimasti in America e i loro figli sono cittadini americani. Difatti, perlomeno due partecipanti a questa conferenza hanno avuto un’esperienza analoga ai miei studenti universitari; sono cresciuti in Italia, sono venuti negli Stati Uniti subito dopo aver completato il loro primo percorso universitario, e sono rimasti qui. È una “contaminazione” culturalmente costruttiva tra i due mondi che deve essere compresa meglio, più approfonditamente,  così che possiamo apprezzare meglio le nostre radici culturali. È questo il dibattito inter-culturale tra l’Italia e gli Stati Uniti in cui tutti noi dobbiamo impegnarci. È una delle premesse di questa conferenza, e una delle ragioni per cui vi partecipo.

    VM: L’acronimo di ILICA contiene un elemento inter-culturale che si rivolge a una realtà globale. E difatti non abbiamo trascurato altre aree di eccellenza come quella gastronomica. In occasione della conferenza verranno qui due cuochi di eccellenza che affiancheranno Andrea Tiberi… e faremo arrivare anche 1000 chili di pesce fresco pescato nel Mar Adriatico, che è molto diverso da quello che troviamo nell’Atlantico… Tutto questo nell’ottica di un principio: gli Italiani che vengono qui per scelta sono complementari a quelli che vennero per bisogno. L’Italia deve conoscere di più l’esperienza italoamericana e gli italoamericani devono conoscere di più l’Italia. Dobbiamo recuperare il tempo che abbiamo perduto ignorandoci l’un l’altro per troppi anni. Poi dovremmo aiutarci reciprocamente ad entrare nella nuova società inter-culturale a mente aperta. Se un italoamericano ama il formaggio “romano” sulla sua insalata di pesce, l’italiano deve percepirlo come un diverso approccio al gusto. Tutti noi utilizziamo la “salsa all’anatra” in qualsiasi piatto nei ristoranti cinesi, anche se mi dicono che i cinesi non usano per niente quel condimento dolce nel loro cibo… In ogni caso, con lo svilupparsi del fenomeno della globalizzazione, è più importante sapere che in America un amministratore delegato aziendale su cinque è di origine italiane.

  • Life & People

    "Saving Venezia & Protecting New Orleans." Introducing the MOSE Project

    On September 25th a day-long internations conference in New York will be dedicated to the subject “SAVING VENEZIA & PROTECTING NEW ORLEANS.” Organized by ILICA (Italian language Inter-Cultural Alliance), the conference brings together scientists, academics, and experts from Italy and the U.S. to discuss MO.S.E. (acronym for Modulo Sperimentale Elettromeccanico, or Experimental Electromechanical Module)—a high-tech project intended to protect the city of Venice from floods through rows of electronically operated mobile gates.

    “MO.S.E.” —the name is also a play on the Italian name for Biblical prophet Moses, Mosè—has been underway since the early 2000s and is entirely based on technology developed in Italy. In this conference the organizers suggest that MO.S.E. technologies could be of interest also to those who, in America, are studying how to protect the New Orleans bay from problems that have some similarities with those of Venice.
     

    Before and during the conference, i-Italy will be publishing a series of reports and interviews about this event and its scientific and cultural background. We start today by interviewing Cav. Vincenzo Marra, President of ILICA and organizer of the event, and Professor Anthony Julian Tamburri, Dean of the John D. Calandra Italian American Institute (Queens College, CUNY) and president of the American Association of Teachers of Italian (AATI,) who is sponsoring the initiative.
     

    Q: You have conceived a rather unusual gathering open mainly to scientists, experts, and academics... This is hardly the typical composition of many Italian-American events that people are mostly familiar with. What motivated your choice?

    VINCENZO MARRA: We want to contribute to make Italy known in the US not only through folkloristic images and gala dinners...The XX Century image of Italy was the result of all the stories represented especially by images contained in "The Godfather". Since 1967, the year when more Italians went back to Italy from the USA than viceversa, the quality of the new Italian immigration in the USA, gave some of the best intellectual contributions to American social, financial, and academic world. From ISSNAF to NOVA, I could give an endless list of new Italian young professional associations in the USA. Somehow, someone must create a new paradigm for the new Italians.
     

    ANTHONY J. TAMBURRI: We need to go beyond the "Three Fs" (Food, Fashion, and FIlm). The conference brings together Italian and American voices from the realm of science, for sure. But it also transcends the specifics in that it gives rise to a sort of epistemological comparison and/or exchange in how we receive and perceive certain modes of knowledge. In addition, especially with the inclusion of film makers, we witness the initial steps of how science is also employed in a cultural sense insofar as the fictional film project “Watermark” uses the geological challenges of the Venetian lagoon as a backdrop to a feature film.

    Q: Why did you pick this particular subject? It is also a rather “controversial” subject...
     

    VM: I see no risks in this. Italy is one of the G8 countries, it has often been at the helm of change, innovation and creativity and not only in the arts and culture, but also in technology. The world must know what MOSE is... Furthermore, the social evolution called today "Globalization", is redefining the social economical map of the world. Italy is geographically a small country however, in the 1700s, the Italian language was spoken by more people than those who speak English today. It is time for Italy to remember also the art of communication. By thinking always with politics in mind, we will be talking for the rest of our existence while the rest of the world will be more and more interested in what we do rather than what we say.
     

    AJT: We tend to forget about Italy's contributions in the scientific and technological fields. Instead of thinking back to an Italy that no longer exists (the images of the poverty-stricken mountain villages,) we want to emphasize that Italy is indeed an historical source of science and technology as proven by the numerous Nobel Peace Prize winners over the years in the sciences. Furthermore, Italy is indeed a cultural source. It is the country of a language and culture that have given to Civilization the roots of modern western poetry (Dante and Petrarca), the template for what we call Modernity (the philosophy and art of the Italian Renaissance), and the matrix for our own modern-day legal philosophy (Cesare Beccaria).

    Q: Why is it that the best known areas of Italian excellence seem limited to the “made in italy” phenomenon, especially in the gourmet and fashion industries?
     

    AJT: Italian Americans too have a responsibility in this. As a community we seem to rely too much on the popularized images of Italy, be they steeped in the nostalgia of an Italy of long ago, be they steeped in the more controversial images that many feel do not promote the Italian/American causes in any manner of speaking. Indeed, then, we appreciate the effort made by ILICA to bring something different to the fore that, first, situates us in a different intellectual mode and, second, forces us to look at an Italy not all that familiar to the Italian/American community at large.
     

    VM: The inspiration of Ilica is based on Vincenzo Sellaro, the founder of the OSIA in 1905. That was a major change and was very much needed. After 100 years we need the same kind of momentous change. This is only the first step. ILICA intends to be a catalyst for a new kind of Italian who come to the US not out of need but by choice... Those Italians need to be integrated into a multi ethnic, inter cultural society. As we need to know where we come from, we must finally start telling the world where we are heading. And, forgive me for saying so: we have so much more to offer than what we have achieved during the last century. We must create a synergy between tradition and XXI century Italians.

    Q: How do we go about building a bridge between these two different realities: the descendants of those Italians who came “out of need” and today’s Italians who are coming “by choice”?
     

    AJT: There is a new concept of migration today (not e-migration or im-migration) It's a new global mobility, and Italians are again in the forefront of these new developments... In my graduate class in Florida I had at least 5 students who came from Italy to study Italian/American culture as either a primary or secondary field, and some of them have remained in the US, they have children now who are Americans. Indeed, at least two of the particpants in this conference have had an experience analogous to my graduate students; they grew up in Italy, came to the United States at one point earliy in their post-laurea years, and they remained. It is a culturally constructive “contamination” between the two worlds that needs to be understand better, more profoundly, so that we can better appreciate our cultural heritage. This is the necessary inter-cultural discourse between Italy and America in which we all need to engage. This is one of the promises of this conference and one of the primary reasons I signed on to it.
     

    VM: Indeed the ILICA acronym has this "Inter-Cultural" element in it, that tries to speak to a global world. And actually we have not forgotten about other areas of excellence such as food... we are flying in two great chefs to work with Andrea Tiberi... and also 2000 pounds of fresh fish from the Adriatic sea, which is so different from the one you find in the Atlantic... That is to make a point: the Italians who come here by choice are complementary to those who came here out of need. Italy must learn more about the Italian American experience and the Italian Americans must learn more about Italy today. We must recuperate the time we wasted by ignoring each other for too many years. Then we should help each other to enter the inter cultural society with an open mind. If an Italian American likes the Romano cheese on his fish salad, the Italian must recognize that as a different taste approach. We all use the "duck sauce" everywhere in the Chinese restaurant and I know that Chinese people don't even use that sugar taste in their food...However in the processing of globalization is more important to learn that one out of five chairmen of corporate America is of Italian origin.

  • Op-Eds

    Fighting the Good Fight

    As is well known to our readers, starting from this year the Advenced Placement exam in Italian, which was administered for the first time in 2006, has been cancelled.

    The Advanced Placement Program in Italian is a high school-level exam that allows those who pass it to receive credits from most colleges in the U.S., thus potentially saving students a fdew thousands dollars for college credit for an advanced course in Italian.

    The exam is managed nationally by the College Board, a not-for-profit organization. Just three years since its inception, the College Board declared that Advanced Placement Program in Italian had failed to attract enought students to justify its costs; they requested an endowment of $11.5 million in order to resume the AP Program in Italian.

    In a generous effort to save the AP in Italian, in the past year several Italian and Italian/American Organizations mobilized. The Italian Embassy in Washington and the Consulate General of Italy in New York were among those in the forefront of this struggle, together with the American Association of Teachers of Italian (AATI) and the then newly created Italian Language Foundation, to raise the necessary funds.

    These efforts were unsuccessful, however, and the situation is at a stand-still. Recently, the AATI called a meeting of the major national Italian/American associations for later this month.

    In this broad context, a most recent initiative by Mr. Arthur Piccolo merits some attention. In a recent email, Mr. Piccolo clearly expressed his desire to “discourage our Italian/American community to give into” the College Board’s “blackmail.” He argued that not one penny should be given to them to save AP Italian. “Shame on us if we give into this ransom demand” the letter says.

    Mr. Piccolo is disappointed by the fact that some Italian Americans may actually be taking the College Board’s demand seriously. “Although they will never really raise $11.5 Million to give to The College Board—the idea they would even try is disappointing to me as one Italian American. (...) Imagine what our community could do with $11.5 Million to promote the Italian language in America, and to reward those who pursue the learning of Italian. With $11.5 Million to spend properly Italian in the next decade will rise to levels never seen before. And millions of Americans who never would have learned to pak and read Italian will.”

    So what would Mr Piccolo suggest that we do? i-Italy has reached Mr Piccolo and asked just that. Here is his initial response...

    The College Board has canceled the Advanced Placement Program in Italian after only three years since its inception. In your opinion, what effect does this have on Italian?

    The College Board and its Advance Placement exam is the academic standard by which languages are judged. Not being an AP language in so many words labels a language that is not included a “minor” language. The overall impact is to discount the importance in Italian. Making it less important to school systems around the nation to provide courses in Italian. Making it less attractive for students to learn, and undermining the efforts of the Italian American community to increase interest in what is a very important European language.

    Also, what message does this cancellation send? Better still, what has been the message the first fifty-one years when the only Advanced Placement programs in languages were in French, German, and Spanish?

    The point of my speaking out as one interested and proud Italian American is that after doing some research and validating my concerns, I have no doubt that the College Board is actively involved in institutional discrimination against Italian. There is no reason why Italian was excluded when Advance Placement exams first began in he 1950s, and currently The College Board's position that in effect they must make money if they are to provide the AP exam in Italian is a blatant misuse of their educational charter issued them by the Regents of New York State and the New York State Education Department.

    If you had you druthers, what would you require of the College Board?

    I see a clear path here for our Italian American community. First of all, we must completely and categorically reject The College Board demand for $11.5 Million to reinstate the AP exam in Italian. That is nothing more than a blatant shakedown. Italian Americans need to know The College Board, a not-for-profit organization, consistently makes close to $500M or more in assets and profits annually after all its operational costs and all its testing is paid for [Ed. note: IRS Form 990, Line 21, net assets… $436,258,166 as of 2007]. Even worse, contrary to the very concept behind the IRS providing them 501(C)3 status, which relieves them of any taxes, they must spend their resources on their stated purpose. Instead, believe it or not, The College Board is sitting on over $500 Million in assets ONE HALF BILLION DOLLARS. Yet they claim they cannot afford to administer the AP exam for Italian. It is time that our Italian American leaders took the College Board to court and exposed this charade, demanding the immediate reinstatement of the Italian AP exam, and seeking multi-million dollar damages for over 50 years of undermining the teaching and learning of Italian language in the United States. It is time to fight for what we believe in and all that Italian Americans have contributed to our nation for 400 years, now beginning with Albiano Lupo in 1610 arriving in Jamestown, Virginia, and Pietro Alberti arriving in New Amsterdam, now New York City, in 1635.

    Arthur Piccolo is founder and chairman of the Bowling Green Association in Lower Manhattan and has been active in the Italian American community for many years. Currently he is promoting an ambitious 10 year project labeled The Alberti Project, to make the Italian language the equal of both French and German within the United States.

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