Magazine Italy

A conversation betweenLouis Tallarini* & Anthony J. Tamburri**

i-Italy recently interviewed Franco Frattini, the Italian Foreign AffairsMinister. We discussed his vision of promoting Italy’s “cultural piazza”abroad, a place where Italians meet and communicate with those whoare attracted to Italy’s multifaceted cultural experience. We alsodiscussed the importance of networking and, therefore, the role ofmodern technology in helping the diverse realities of the Italian diasporacommunicate with each other. The result of this interview is an accuratereflection on that “Piazza Italiana”, both physical and virtual, thatthe Italian Foreign Ministry is helping to create worldwide.

Even though we are talking about culture, we would still briefly liketo touch on a political topic. In your opinion, how important is culturefor politics, particularly foreign policy? In this sense, how useful arecultural exchanges?

If nothing else, politics is culture because it is born out of humanity’sneed for culture. Keeping this in mind, I feel that it is important for thosewho participate in the political realm to keep it from disintegrating into aform of power that betrays the most admirable as well as the most authenticintentions.

Regarding foreign policy, through its features of inclusivity andimpartiality, culture is a formidable instrument that allows the meeting ofdiverse, sometimes very different, cultures and humanities that can evenbe in conflict with one another.

In the international field, I often hear discussions of “soft diplomacy”that leave out important cultural characteristics. In Italy, it cannot beemphasized enough that culture needs to become an even greaterdevelopmental instrument, together with the overall promotion of Italythroughout the world.

Promoting Italian culture abroad can also be a powerful way topromote our country. What is the Foreign Ministry doing to promoteItaly in the world? Have you met with any difficulties?

by Letizia Airos Soria

A.Tamburri: For Virgil’s Aeneas, Italy was the“land of our return”—the place his ancestorDarmanus left generations earlier. How would youdescribe your return to Italy, when you went thereto receive the “Filippo Mazzei” award and youvisited the towns of Lacedonia and Calitri for thefirst time?

L.Tallarini: That trip was three years ago. Theaward ceremony organizers called me to find outwhere my Italian family was from, but I did not havemuch information to give them. Being a third-generation Italian American, I lost some of myhistorical background. Luckily, they managed tofind my mother’s first and second cousins inLacedonia and Calitri. At the award ceremony,which was held in Bonito, in the Province ofAvellino, I met members of both families: the Panicofamily from Lacedonia and the Rainone family fromCalitri. It was a very moving reunion. Over the nextfew days, they gave me a tour not only of the townsbut also of my family’s birthplaces, like the housewhere my grandfather was born in Lacedonia andthe little cave-like construction on a mountainsidenear Calitri where my grandmother was born. Therewas an incredible view there—no wonder why theycall Calitri the “Positano of Avellino”. I also visitedthe ruins of the castle of Gesualdo near where mygreat-grandfather had his butcher shop. It is stillthere.

AT: When I visited my grandparents’ hometownfor the first time (and I am getting to the main topicof this print edition of i-Italy.org), I could see thatthe focal point of the village was the piazza, thesquare where everything took place. I was trulymarveled by this. I wonder if you had the sameexperience.

LT: Yes, in both Lacedonia and Calitri there is amain “piazza” where concerts and social gatheringsare held. Everyone goes to spend the evening there.

AT: In Stamford, Connecticut, we had someplace like a piazza. There was an area where ourgrandparents used to hang out in the warm weatherand they would speak some form of Italian. It wasnot standard Italian; it was mainly dialect mixedwith English. Did you have this in New Rochelle?

LT: Yes, I recall this form of English. We called it“Pidgin English”. That was the language spokenin the so-called “Dutch ghetto” where peoplegathered on their neighbors’ doorsteps to spendtime together.

AT: This brings us to the question of the Italianlanguage. I remember that when I was younger Iused to buy the “Progresso” Italian-Americannewspaper for my grandfather. When I tried to readit I could recognize maybe five words on each page.My situation was not uncommon. Your dedicationto the cause of preserving the study of the Italianlanguage in the United States has been remarkable.I was among those who asked you to discusspossible scholarships to send high school teachersto Italy. Instead, and to our great benefit, you endedup doing much more.

Il ritorno

cont’d. page 3

i-Italy is 1 year old. We launched it in October 2007 in an incrediblypacked conference hall offered by the Graduate School of Journalism ofthe City University of New York. We were then part of an internationalproject funded by the Italian Government and directed by the SapienzaUniversity of Rome. Our goal was to create the first online communityand information network dedicated to Italian and Italian American affairs.It was a fascinating experience, thanks especially to our partners andsupporting institutions, in particular America Oggi, the John D. CalandraItalian American Institute (Queens College, CUNY), and the Casa ItalianaZerilli-Marimò of NYU.

Linkingthe Diaspora

Culturally

cont’d. page 7

In this issue: Letizia Airos Soria, Piero Bassetti, Stefano Benni, Ottorino Cappelli, Lucio Caputo,Peter Carravetta, Franco Frattini, Judith Harris, Amara Lakhous, Silvana Mangione, Marina Melchionda,Renato Miracco, Berardo Paradiso, Rodrigo Praino, Roberta Iannacito-Provenzano, Riccardo Strano, LouisTallarini, Francesco Maria Talò, Anthony J. Tamburri, Paolo Timoni, Alfredo Valentini, Jana Vizmuller-Zocco

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October, 2008

The backing of the Consulate General of Italy in New Yorkhas been also essential. An entire section of our magazine(“Italy in New York”) is managed in collaboration with them.The Consul General Francesco Maria Talò has even started a“blog” on i-Italy (called “Sistema Italia”). Such institutionalsupport is by no means common, and we take it as a genuineappreciation of our work and passion.

One year later, that seminal project is ended, as well as the Italiangovernment fundings – but we have grown more ambitious, and we arestill around. We know that we are on the right track. We have incorporateda not-for-profit organization (The Italian American Digital Project, Inc.)to take care of the organizational and fund-raising activities of i-Italy. Weare on our own now and need the support of all of you!

Interview with Franco Frattini,Italian Minister of Foreign Affairs

cont’d. page 2

* President of the Columbus Citizens Foundation

In Italy the square (the“piazza”)is the living center of any townor village - physical or virtual,local or global.Everything takes place in thepiazza: culture and politics,art, and the market ...

“Col

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It Takes

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**Dean, John D. Calandra Italian American Institute,Queens College, CUNY

a

Our FirstYear

by Francesco Maria Talò*The concept of the piazza hasalways been deep-rooted inItalian culture—it reaches allthe way back to the AncientRoman forum and it still is adistinguishing characteristicof Italian cities and towns.

Since my arrival in NewYork, it has been my job to makethe Italian Consulate into thecity’s Italian piazza. Thispiazza is not limited to thephysical location of theConsulate; the virtual aspectof it is also important, since itis a far-reaching link among allItalians and Italian-Americans.It is even more vital to all thosewho are or would like tobecome interested in Italy.

In this way, we unite twodistinct aspects into onecommon purpose: that ofseeing each other and beingtogether and that of reachingthose who are farthest away.We are trying to accomplishthis dual purpose through aseries of initiatives designed tobring the Consulate to all of theneighborhoods of New YorkCity as well as to the states ofNew York and Connecticut.

To do this, it is necessaryto use technology. We not onlywant to optimize the officialwebsite of the Consulate, wealso believe that it is importantto link ourselves to otherwebsites. Indeed we areentering a new dimensionwhere there are many piazzasthat intermingle with eachother and multiply. We intendto participate in thiscommunication revolutionbecause it provides the toolsthat allow us to perform our

traditional duties even better.Diplomacy and the consularfunctions, in fact, are by theirown nature ways to unitepeople and foster the creationof meeting places.

In the spirit of the ‘net andof the new so-called “web 2.0”– the new interactive,multimedia, user-driven web oftoday – we have supported thecreation and the developmentof i-Italy, a virtual piazza withwhich we have launched aseries of common initiatives.One of these is the absorptionand strengthening within i-Italy of another site that theConsulate used to manage,“Italy in New York.” We nowhave an entire section of i-Italycalled “Italy in New York” thatis available to all organizationsand institutions who wish topromote their initiatives andevents to a broader public.This information exchange is avital aspect of the website. But exchanging informationalso means exchanging ideas,demonstrating the importanceof dialogue. This, too, is acharacteristic of the piazza thatis best expressed through theintroduction of electronic“neighborhoods,” such asblogs and forums. We werevery happy this past summerto collaborate with i-Italy inlaunching a new interactiveblog, “Sistema Italia.” A system is also a network,and thus a kind of a piazzabecause it offers a vision ofharmony and togetherness.This is how “Sistema Italia”was born; it is a place wherepeople can dialogue and where

members of the Italian communitycan present ideas and exchangeopinions. This is another expressionof one of the piazza’s essentialcharacteristics—it is thelocation of the marketplace,where merchandise isexchanged. And, taking this astep further, we can say thatideas are exchanged in thepiazza, as well. If the exchangeof merchandise for money isan equal exchange, theexchange of ideas, as someonesuggested, is an exchange thatenriches everyone. This is awin-win situation, for if I givean idea to you and you giveone to me, we both have twoideas. This is our goal, after all:to share ideas and opinions. I believe that it is importantfor public institutions toparticipate in this kind ofdialogue, even by means oftechnology. I can say that agreat deal of my daily workconsists of creating contactsand making connections—andI have dozens of meetingsevery day that allow me to unitepeople in this way. We don’t have many financialresources. Unfortunately, wedon’t even have much in termsof human resources, but we putall of our energy into unitingothers in such a way that asystem of contacts is createdfrom which everyone can benefit. The spirit of our work ismaking the Italian ConsulateGeneral of New York into aneven larger piazza for allItalians, Italian-Americans,and all those who love Italy.* Consul General of Italy in NY

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Interview with the Italian Minister of Foreign Affairs from page 1

The Institutions& the Piazzas

Promoting Italian culture means promoting not only Italy’s image in the world, butalso Italy’s entrepreneurship. This was already the main characteristic of my formerduties in this Ministry under President Berlusconi, to whom we owe the new directionof Italian diplomacy in service of the country’s development. I support this new directionso strongly, as you know, that I kept the Foreign Ministry’s responsibility for culturalpromotion under my direct supervision.

There are difficulties in this mission but, for the most part, they are relative to theparticular and difficult economic times that the Western world, including Italy, isundergoing. A strong relationship between culture and development is vital, not just tothe key players in the market. Cultural promotion is always in need of more privateresources.

On July 31, you signed with Sandro Bondi, the Italian Minister of Culture, theMemorandum of Agreement for the overseas promotion of Italian language and culture.Could you please explain to us what this is?

Minister Bondi and I are on the same political and cultural wavelength. Ourperspectives are so well intertwined that they led us to sign an agreement between ourtwo ministries that is, perhaps, the first of its kind. Without a doubt, it is necessary togive an increased unity and efficacy to Italy’s cultural policy. The memorandum isactually rather simple; on a monthly basis, the general directors of both ministries willmeet to decide on common ways to promote Italian culture worldwide. The Ministry ofCulture will follow its vocation as cultural producer; likewise, the Foreign Ministry willfollow its vocation as diffuser of culture across the consular network, the embassies,and cultural institutes. The ultimate goal of this partnership is that of providing theseactivities with better coordination, which will allow us to optimize the network of Italianinstitutions abroad as an instrument of “cultural diplomacy” —the backbone of Italianforeign policy—also through the use of innovative methods and technologies. Thecollaboration between the two ministries aims to plan common strategies involvingother central and public administrations as well as the private sector in carrying outinitiatives and in developing, finally, a combined communication plan.

i-Italy is a network that unites Italian Americans, Italians, and Americans, throughthe use of the Internet. We are helping to realize the long-dreamt flow of informationbetween these groups. We hope to contribute to a coming together of Italy and theItalian diaspora, both past and present. At the same time, we try to talk to Americans,who love our country, but are often misinformed and think of the Italy of yesterday. Wecannot afford to lose the historic legacy of Italian emigration, nor can we lose theresources of the prestigious Italy of today, which is still somewhat unknown. What isthe Foreign Ministry doing to promote this “new” Italy on an international scale?

With the advent of new technologies, such as the Internet, we have the power todemocratically redistribute the way information and knowledge are accessed. In 2000,I undersigned a law that focused on public communication; this shows, I think, howmuch I believe in communication, in new technologies as a means to maintaintransparency in public administration and help human beings across the planet tounite. The Internet and the World Wide Web are a welcome addition to today’s society.

Sure, things get more delicate when you must represent the complex reality of anentire nation and its changes over the course of history. The Internet gives us immediateaccess to timely information but it also makes communication timeless and even splitstime into fragments that can be reassembled according to the user’s whims.

The past and the present communicate in this sphere and in some cases can evennegate each other. Today, sometimes truth and information do not coincide, and massmedia often risk stripping down the news according to their ideas.Thus, when you try to tell the history of a nation, it often becomes difficult to preservethe memory while, at the same time, avoiding stereotypes. For instance, I believe thatthe whole world recognizes Italy’s place at the forefront of music and art, but fewpeople know of Italy’s scientific, technological, and industrial excellence. The Ministryof Foreign Affairs intends to promote these characteristics through specific programs.As I said before, the network of Cultural Institutes, of embassies, of consulates, and ofItalian schools abroad need to join this new mission: to promote the ‘new’ Italy withoutletting the ‘old’ Italy fall into oblivion. The new Italy is the direct consequence of theold, after all.

Would you also allow us a personal question? What rapport do you have with theUnited States, with the American lifestyle and culture in general? Is there somethingthat we should learn? What did you learn?

I love the United States; I appreciate many aspects of the American lifestyle. Mostof all, I have a profound respect for what the United States represents in the eyes of theworld. The United States is the country that gave freedom something a meaning thatgoes way beyond its philosophic concept. The United States is the only country thatwrote in its Constitution that every citizen has a right to happiness. The idea of libertyis the American Creed. It appeared in the Declaration of Independence as a natural rightand then it reappeared a few years later as a national symbol on the first coins mintedby Congress. In 1886, the Statue of Liberty was inaugurated in New York Harbor and ithas become an international symbol. Now that Europe has been freed from Nazism andFascism and the Cold War has ended, the ideal of freedom for the American people hasbecome a symbol of their collective conscience and even a symbol of the United States’mission as keeper of the free world. This is what we all should learn from the UnitedStates. It disappoints me that sometimes Europeans forget this or pretend to forget it.

Our readers are Italian, Italian American, and also American, and scatteredthroughout the United States. They have in common a great love for our country andare, in a certain sense, the bearers of “italicity”. Do you have a message for them?

My biggest wish is that this love coincided with an attachment to the Italian language.By preserving our language, by passing it down through the generations, we guaranteethe preservation of our sensitivity, of our thought processes, our creativity, and ourtalent for life—everything that has made Italy unique in the world.

The Editors:Ottorino Cappelli

Fred GardapheStefano GiannuzziLetizia Airos Soria

Anthony J. TamburriRobert Viscusi

email: [email protected]

“Mee

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Poi

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by L

.F.

by Piero Bassetti*

LT: At the Columbus Foundation, we know that language is the foundation of every culture. Italian was not encouraged after World WarII amongst the early Italian immigrants. They were focused on Americanizing their children. The formal teaching of the Italian language asseen in the Italian schools was not a part of American schools. Looking back, this is sad. Now, people of my generation are middle-aged andgetting older and lack the skills in the Italian language necessary to spread our culture into America’s future. That is why, Anthony, when youbrought this mission to me, to the Columbus Foundation’s leadership we recognized how important it is to promote the Italian language asa building block of our culture.

AT: And now we have the Italian Language Foundation.LT: Yes, I am happy that I could support the effort for the Italian language teaching, both on an administrative and on a financial level. But,

we need everybody’s efforts so we can continue. Teachers, administrators, and leaders of various organizations are indeed welcome to stepforward and send donations to us through the foundation’s website (http://italianlanguagefoundation.org/). This will help us in our effort ofpromoting Italian language programs in the United States.

AT: Let’s turn to Italian-American youth. You are the president of an organization that gives out millions of dollars every year inscholarships. I know that recently the Columbus Foundation put emphasis on language as being part of the criteria for some of thescholarships. How has the Internet, in your opinion, changed the youngest generations’ approach to Italy, Italian, and Italian-Americanculture?

LT: I think that it is kind of eye-opening that Italian language courses at the A.P. level have only existed since 2006. We realized that wenever had an Italian requirement in any of the scholarships we granted. We have 58 high schools that we gave scholarships to last year; onlysome of them teach Italian at the A.P. level. Some of these high schools do not offer Italian courses at all. From now on, knowledge of Italianwill be a stipulation for scholarships given at the high school level.

As far as the Internet is concerned, I can say that I was one of those who spearheaded the effort to create the new website for the ItalianLanguage Foundation. Also, working with my 14-year-old son Matthew helped me to realize that the resources available on the web to studyItalian are just incredible.

AT: Let’s close with the idea of the Columbus Citizen Foundation as a “piazza”, as a meeting place.LT: I do believe that the Foundation is a piazza. First of all, we are a centralized source of information for Columbus Day celebrations, the

largest event in honor of Italian culture in the world. The parade, the exhibitions at Grand Central Terminal, the gala, and the memorial serviceat Columbus Circle...it takes a year to organize these events. Our building has also become the center of an international exchange of ideaswithin the Italian-American community, just like a piazza.

About 15 years ago, I coined the worditalicità or “italicity” based on the idea of avirtual meeting place, a new kind of piazza,where the 200-250 million people of Italicorigin (Italians, Swiss, Dalmatians,descendents of Italians, Italophiles…)throughout the world could meet in a placethat transcends formal boundaries and legalbarriers. Italicity can be compared to acommonwealth of cultures, experiences, andideals—a community that seeks to unite allthose who have ‘Italic’ roots.

The Italic community itself has severalkey characteristics: a millenary culture, away of life marked by quality, and a specialtaste for uniqueness. But, in addition tothese qualities, there are also certaincharacteristics that can mirror some Italiandefects. For example, there is acosmopolitanism that is far from Italianprovincialism; there is more internal unity,which was learned by peoples that are lessfactious than we are; and there is a familiaritywith societies and institutions that have anolder and more penetrating liberal anddemocratic tradition, such as the UnitedStates, Canada, Switzerland, Great Britain,or France.

There have always been Italici. It can besaid that Marco Polo, the explorer whounited two distinct and far apart civilizations,was the first Italic. Throughout history,many other “proto-Italici” left theirhomelands to establish themselves in otherparts of the world. Just like those who cameto Italy or Italian Switzerland attracted byart and culture, these people should also beconsidered the predecessors of the currentItalici. Goethe, who wrote his famous ItalianJourney, was certainly a predecessor of thecurrent Italici.

Today, italicity is made up of manycomponents throughout the world that forma network. The scope of this network is notto revolve around Italy; rather, it is that ofinteracting with one another in the best andmost direct way possible. The Italici ofBuenos Aires can communicate, expressopinions, and do business with the Italiciof New York who can do the same thing withthe Italici of Sydney.

Like all free and open communities,italicity offers many opportunities as wellas the invaluable bonus of a shared identity,especially during this time of globalizationwhen many traditional values are cast bythe wayside. It is important to emphasizethat the Italic identity is not an act ofdisloyalty toward the person’s country ofresidence but, instead, it is the key tobelonging to a rich and complex valuesystem. The Italic “piazza” is not a place ofnationalistic claims; instead it is a place thatpromotes the togetherness of those whoshare a common matrix in their life experience(who can also hold the richness of regionalcommunities and the vitality of dialects).

To consider an additional membership, thatof Italic, belongs more to the act of conversionrather than secessions as it is neitherexclusive nor excluding. The Italici arefavored by their large diaspora, which ispresent in every corner of the earth. Thisdiaspora knew how to gain the respect andoften the admiration of its various newhomelands. Italian emigration is no longer ahumble migration in search of food. Today,the Italic business and cultural community isrecognized everywhere and the Internetseems to be the ideal way to link thesecommunities. In this postmodern world, wheretechnology has leveled the dimensions of timeand space, the Italic “piazza” cannot avoidcoinciding with the various aspects of theweb. The Internet is the best way to reachother people. In fact, the web can both speak

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c/o J.D. Calandra Italian American InsituteQueens College, CUNY25w 43rd Street 17th FloorNew York, N.Y. 10036Telephone: (212) 642-2094Fax: (212) 642-2030

PRINT EDITIONLetizia Airos Soria, Managing Editor

Marina Melchionda, Assistant EditorStephanie Longo & Giulia Prestia, Translations

Luca Fantini, Photographs

A conversation betweenAnthony J. Tamburri & Louis Tallarini from page 1

to and give voice to a diverse audience bysurpassing geographic location as well asnational, linguistic, and professionalboundaries.

Nevertheless, it is of the utmostimportance to remember that although theItalic union is attainable, it has nothing to dowith an exclusive membership; it has to begained through a gradual development ofconsciousness that is not in contrast withthe rights and duties of citizens born andraised on American, Argentine, or Australiansoil. To feel Italic is not in conflict with feelingItalian, Swiss-Italian, Italian-American, etc.;on the contrary. In fact, one of the first resultsof the new “glo-cal” experience (belongingto a shared community with a globaldimension, but still expressing it through itslocal components) is the ability to

simultaneously belong to separate, distinctcultures.

It can be said that there is an Italic piazza(Italy-city) wherever and whenever an Italicenters into relationship with another Italic.While the Italic piazza doesn’t coincide withthat of the ideal Renaissance City nor withDe Chirico’s metaphysical one, the Italicpiazza does indeed see, in both, its owncultural ascendance. Italici live by the valuesthat have been distilled and consolidatedthroughout centuries of civitas italica. Thesevalues are not just shared and shareablevalues; they are the springboard for newbelongings and additional togetherness thatat the moment are not completely imaginable.The Italic piazza will be the catalyst of futurepolitical alchemy.*President of “Globus et Locus”

‘Italicity’“B

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by Judith Harris*

by Renato Miracco*How is an Italian piazza different from an American piazza? Whatis the idea behind the invention of the Italian piazza and how did itdevelop? And how is it perceived by foreigners? If we do notreflect on this we cannot move forward and propose new piazzas,both physical and virtual.

The Italian piazza was born at the same time as history andsociety. People would meet in an historic public place to socialize.Now this has fallen out of favor. Today we do get together via theInternet, but increasingly less in historic and public spaces.Perhaps the only open place where we continue to meet is in thecafé, and only occasionally. The Internet and the café have becomeour versions of the contemporary piazza. I invite us all to reflect onthis, before making a few points about the cultural piazza that I amhelping to create here in New York thanks to my role as the directorof the Italian Cultural Institute (ICI).

The exhibition that I curated at the Met on Giorgio Morandiwas a great success and was transformed into a true piazza wherethe best of Italian art was on display.

As the Director of the ICI and the exhibition’s curator, I tried tolook at the Met as a new piazza in New York City to present Italianart. And my hope is that there will be many more of these piazzasas I continue my work as the Director of the ICI.

What does it mean to bring an exhibition of Morandi’s workhere? First and foremost, it means to disseminate and display - inpiazza - the excellence of Italian culture. Italian culture in the UnitedStates is generally seen as the province of the “old masters” andrarely includes contemporary art. It will suffice to recall the exhibitof Fontana’s work which took place two years ago; at first, theexhibit was seen almost as suspect, but it then gathered successand went on to become a true symbol of contemporary Italianculture.

All of this is thanks to the growing synergy between the ICI,which I have the privilege to direct, and the Consulate. The successof the Morandi exhibit can also be attributed to the program“Sundays at the Met” which provides art lectures to the public. Iwas asked to give 27 curatorial talks, and by doing so, spotlightItalian art. Specific gatherings like these are fundamental in thestrategy to publicize our culture here.

In order to broaden the Italian cultural piazza, it is also importantto complete the project of creating a much-anticipated exhibit spaceof Italian art in New York. The ministries of Foreign Affairs and ofCultural Heritage have expressed great support for this project.This space will represent the “connection hub” between Italy’sculture and Italian culture abroad. It will be a new media piazzawhich will join and connect other piazzas. It is only in this way thatwill we succeed in mapping the past and the present.

It is important to give the ICI a new image, both from a physicalpoint of view (I will seek to restore several floors of the Institute,transforming them into new exhibition spaces) and metaphorically:a new sense of italianità is needed, one that is more expansiveand ambitious. It is necessary to plan a new institutional identityfor the ICI here in order to broaden and disseminate the“architecture” of Italian culture within a piazza that is increasinglybroader and far-reaching.*Director of the Italian Cultural Institute in New York

The late British classicist HenryKitto held that the ancients had littleformal democracy, but that theirmeeting to argue out their problemsat the stoa in Athens or a forum inRome was essentially democratic,whereas the modern British, with theirformal democracy, tend to speak onlyacross backyard picket fences. ForProfessor Kitto, yammering away,arguing, quarreling, and joking in apiazza constitute a real and valuableroad to democracy.

This concept was driven hometo me when touring Sicily by car witha friend in 1965. At sunset we hearda drum beating across a valley.Drawn by the steady throbbing, wedrove up a winding road to a tinyhilltop town where we saw that thedrummer had summoned farmworkers, many of them illiterate, tothe piazza to hear the eveningnewspaper being read aloud.Afterward a lively debate began,exactly as Professor Kitto had said.

The architecture of urban life inItaly, still focuses around the piaz-za, continues to work towardguaranteeing that its diversestandards of living do not isolatepeople. And what a gift that is, evenwhen the people in the piazza runamok, as was not infrequent in theearly Seventies.

In May of 1969, the Rome DailyAmerican sent me to cover an anti-Vietnam war demonstration duringa visit by President Richard Nixon.Demonstrations were scheduled,and police had to protect theAmerican Embassy on Via Veneto.Helping them were severalorganized squads of right-wing

MeetingItalian Art Abroad

4





Politics & the Piazzaextremists yielding brickbats. Afterhundreds of demonstrators wereforced from Via Veneto toward Piaz-za della Repubblica, police carswhirled in a circle, sealing thedemonstrators as if in a ring. Theonly sound was a stampede ofrunning feet.

“What are you doing here?”shouted one of the organizers. I wassix months pregnant, and terrified. Ishowed him my press credentials.“Okay. Stay with us,” he said,drawing me toward an inner circle.

These days the piazzas are byand large calm, and favorite hauntsof Italians and tourists both. Traffichas always been barred from many,such as St. Mark’s in Venice, whichthrive as open-air living rooms. Theseopen spaces are in marked contrastwith the Anglo-Saxon concept of apark, such as Washington Square Park,crisscrossed by lanes.

The Italian piazza is anoutgrowth of the temple complexesof Greco-Roman antiquity. Manystood within a walled compound andhad treasuries containing valuablevotive offerings, so that gates werelocked at night for security. Thetransformation from templecompound to busy piazza with asecular function is nicely illustratedat ancient Pompeii, where the older,simpler Greek temple to Apollo withinits walls runs alongside the later,larger Roman forum. Centered on itstemple to the Capitoline gods, thatforum still has walls and gates but isexpanded so that flanking the templeare business offices, an elementaryschool, a public latrine, warehousing,and local government offices.

This configuration—church,town hall, place of business—continued throughout Italy. Duringthe Renaissance it was the scene ofpolitical and religiouschoreographed events. TheReformation changed itsarchitecture so that the piazzabecame a propagandistic, theatricalsetting for the beleaguered CatholicChurch. Personal propaganda wasan important function: under PopeInnocent X, Piazza Navona, wherehis Pamphilj family owned a palaz-zo, was revamped with Bernini’sFountain of the Four Rivers as itsfocal point. The goal was familyprestige, and indeed, for a time thepiazza was called the PamphiljForum.

Under Mussolini, handsomenew cities were built in the Pontinearea south of Rome, replete withpiazzas. There, the town hall, ratherthan the church, was designed to bethe primary focus.

But even then people conversing,dialoguing, quarreling, and enjoyingeach other remained at the real heartof the piazza.

Imitation is the finest form offlattery, of course. Proof came in avisit last week to a year-old giganticand stylish mall complex inGlendale, California.

Its centerpiece is, guess what, asprawling piazza with a largetraditional fountain encircled byoutdoor cafes and a small greenwhere children play and grown-upsdo tai chi on Sunday mornings. Evvi-va la piazza!*Rome-based American writer andjournalist

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L.F

.

When he was seven or eight, to amuse himself and kill theboredom and the fear of animals and adults, he would spendhours drawing people, houses and maps, crouched at hisfather’s army surplus utility chest by u’focularu. He hadlearned to be thrifty with any available sheet of paper, plushe would pick up, even off the floor and by the piazza, anypiece of blank or somehow usable paper. He did not dareask his parents for an extra notebook. Spending for schoolsupplies came at a designated moment, in September, whenthey’d buy him one pen, one pencil , three marbled notebooks,plus a reader and a general topics anthology – “u’sussidiariu.”And he loved u’sussidiario especially. It had lots of maps,graphs, sketches, headings in bland magentas or dull blues,and some black and white photographs .

He was fascinated by the Ancient World, and he wouldstrain to imagine what the Great Wall of China and theColiseum looked like in reality. But he liked the part aboutthe Modern World as well. He read that in New York therewas a building that was 102 stories high! Per la miseria!The photograph was so small, he couldn’t quite grasp thedimensions: he thought of 34 Municipios stacked atop oneanother! It was unbelievable. He queried the experts inconstruction in his family: his uncle Michele, a contractorwho had actually built two-story houses, said with pouredconcrete you can do anything. His brother Franco juststarting his own company had read they could make thefloors lighter with a new honeycomb brick. His father, aforeman, just shook his head, wondering aloud: who knowswhat kind of steel they came up with. They agreed it was anengineering masterpiece, è un capolavoro edilizio.

He recalled that just outside of Lappano and perched ona hillcrest about 500 meters above Cosenza, there was abluff with a majestic 270 degree view, where he could seethe Crati River lazily vanishing in the north end of the valley,the Norman-Schwabian castle down below atop a knoll inthe city, then rising on the other, western, side the Appeninerange, and pyramid-shaped Monte Cucuzza towering aboveit. The bulging hills that rose up gradually toward La Silawere to the southeast. Behind and further up the railwaystation and then the paternal house. It was a breathtakinglocation. It was one of his favorite spots to which he wouldsteal away and daydream, undisturbed, and draw. He wouldsit there for hours trying to calculate in meters how far downthe slope the Empire State Building would have to be builtin order for him to have a straight level view of the 102thfloor. He had to ignore the height of the spire. But it lookedlike it would have had to be located just below Zumpano,yet slightly higher up than Cosenza. It would have beenawesome. Just the cement needed! Imagine the motors topull elevators four hundred meters up! And the thousandsof people who could fit inside; why it’d hold Lappano andZumpano and probably San Pietro too! He’d fantasize howthis imaginary monolith would sit in that valley, out of place,true, but grandiose, imposing, beautiful, and imagine whatyou could see and do from up there.

Fly away?Did he know or even dream that someday — only eight

years later! — he would be taking his father right up to that102th observatory? Looking south toward the Statue ofLiberty, his father had remarked: Do you recall that picturein your fourth grade sussidiario?

Oh yes, oh yes…*Alfonse M. D’Amato Professor of Italian and Italian AmericanStudies, SUNY/Stony Brook

by Peter Carravetta*

Origins of Fantasy

My first experience with an Italianpiazza was, to my surprise, the onlypiazza in the town that I had visitedback in 1970. Then, that small town inLazio, Settefrati, at the top of themountains in the Parco Nazionaled’Abruzzo, had a winter population of afew hundred people. Fortunately, I gotthere in July.

That piazza became, for me, a mee-ting place of the town’s citizens, fromcontadini (yes, there were still genuinecontadini at that time) to the town’spezzi da novanta, which included, firstand foremost, the priest, someone Iremember as a middle-aged man namedDon Antonio. (He took a liking to mebecause, I guess, we shared the samemoniker.) Also included in this groupwas, naturally, the mayor. (Yes, this littlemountain town is its own comune andhas its own mayor, as well as a few fra-zioni!). Then there were a few membersof the town, such as a prominent familyor two, the barber who, at that time, hadthe only public phone in town (one ofthe very few phones at all in thoseyears…), and a relative or two of minefrom my home town here in the States.And, of course, my grandfather, whohad spent close to two decades, at thattime, traveling to and fro because hehad retired from Con. Ed. in the 1950s.

That piazza was basically the town’scentral nerve system. The only bar/caffèwas there; the only alimentare wasthere; the post office was there; thebarbershop/centralino was there; andthe municipio and pro loco were alsolocated there. As a consequence, if youneeded to take care of business, youcould basically go to city hall and getthe documents you needed, thenproceed to the post office for a stamp,and ultimately mail them. Once thatseries of tasks was completed, youcould then proceed to the barbershopto call whoever was to receive yourletter. In the meantime, if so desired, youcould even get a coffee for that morningor afternoon pick-me-up. Or, if there weresome special event going on, you mightget a trim either before or after your

phone call, in order to look ever themore dapper for later on.

Yet, that piazza was, and remains,more than just the functional nervoussystem of the paese. It was where justabout everyone ended up after dinner,somewhere between 8 and 9 PM,dressed well, though not necessarilyto the nines; that was reserved for thosespecial Sunday events. During theseevening promenades, all sorts of othertown business took place. Chats wereheld, for example, about what to do withthe laundry fountain, located literallyunderneath the piazza. Yes, there wasstill, at that time, a functional publiclaundry fountain, where the proverbiallavandaie engaged their craft: cleaningclothes and, some would saygossiping, as they shared town news!Depending on the time of year,discussions on the annual feast of theMadonna di Canneto took place; a feastthat lasts from the 14th to the 29th ofAugust. Actually, two Madonnas inhabitthe area: one ceramic, which spends mostof the year in a sort of tabernacle in thechurch in town that overlooks the piazza;the other, a black Madonna that resideshigher up the mountain in the Sanctuaryof Canneto. And, more important, overthe years, what to do with the elementaryschool, whose population changedsignificantly from time to time, due to allsorts of reasons, most of which were tiedto family economics and possiblerelocation.

I remember so vividly my first timein that piazza. I had traveled close totwenty hours, from New York, to visitmy grandfather. From JFK to Fiumicino;then to Roma Termini; then, to mychagrin, a failed attempt to get a trainticket to Settefrati. “Quale linea?”, theticket man asked. “Boh!”, I replied,thinking, “What the heck did thepaesanos back in Stamford mean whenthey said Settefrati was near Rome?” Ittook some research, as I dragged mysuitcase all over Rome’s train station,but I did make it… I took a third-classtrain to Cassino, and then a taxi toSettefrati. The piazza, at my arrival, was

5



Marina Melchionda, Assistant Editor Stephanie Longo & Giulia Prestia, Translations


by Anthony J. Tamburri*

empty! Well, almost. There was thisyoung boy, sitting idly on a small wall,fiddling. I approached and asked him,in Italian, if he could direct to “la casa diMichele d’Egidio”. “You American?”,he blurted out loud, almost with relief.“Yes,” I replied. And after someintroductory conversation, from whichI learned he was there for the summerwith his family, from a town inConnecticut only a few miles from mine,he knew exactly who my grandfatherwas and where he was staying. Thatteenager, who barely knew mygrandfather personally, knew exactlywhere he lived; he habitually hung outin that piazza, even when everyone elsewas resting after a huge afternoon meal,soaking up not only the sun but, indeed,information about everyone andeverything. (Yes, lunch-time meals werestill abundant: a mountain of spaghettial sugo, followed by a roasted piccione,followed by salad, and then either fruitor cheese.)

This past August I returned to thatpiazza after twenty-two years. It wasthe same square, significantly redone,with the newly remodeled church stilloverlooking the piazza. Smack in themiddle was a bandstand, where thenightly entertainment played for the fewhundred that strolled in and out of thatpiazza after dinner, during this fortnightof celebrating the “festa dellaMadonna”! I returned, partly, becausemy cousins Theresa and Al were thereon summer vacation, and we wanted tosee their new house; partly, also,because, Italo, another dear cousin of88 years, wanted once more, as he putit, “dopo più di trent’anni camminarecon te a bracetto in piazza ancora unavolta.” Yes, in that square he wanted,once more, to walk arm in arm, discussingwith me—once more, after more thanthree decades—so many things,including my grandfather’s escapadesover the years, as we had often donesince 1971 in his sartoria, in Florence,in Piazza Santa Croce.

“Tom

atos

” by

L.

F.Once Upona Piazza

*Professor and Dean, Calandra Institute

by Jana Vizmuller-Zocco & Roberta Iannacito-Provenzano*

Given that the generation of young people bornin North America who are now between 18 and25 year of age is technically savvy and enjoysthe activities offered by programs available onthe web, the question arises as to the mannerin which “Italianità” is reflected in thoseFacebook groups which have as their focusmatters that the creators have identified as“Italian”. Our research takes into considerationthose Facebook groups which have beencreated by US college and Canadian universitystudents who are children or grandchildren ofItalian immigrants or children of mixed-marriages where one parent is of Italianextraction. There are hundreds of groups (somewith thousands of members) dealing withaspects of Italianità. The group’s title clearlyidentifies its focus. This may be “national” or“local”/ “paese”: Being ITALIAN Just SimplyAmazing; I am SICILIAN…not Italian…get itright!!; Abruzzese and PROUD, Half-Italians,Villa San Michele; or manner of being raisedand cultural traditions: I used to get botte whenI was small, I love fettini, The world accordingto nonna, etc.There are at least three significantobservations that stem from our research:

1. Young North Americans of Italianbackground self-define themselves as Italian.What connection to Italy is shown by theFacebook groups creators who were not bornin Italy? Why do individuals of second, thirdand subsequent generations self-identify asItalian? According to the straight-lineassimilation theory, each generation ofimmigrants feels less and less ethnic and livesand acts more and more like the host society;this path also presents “detours” that MarkusLee Hansen alluded to: “the third generationwants to remember what the second generationtried to forget”. The analysis of the datacollected from Facebook groups with Italiancontent shows clearly that the assimilationtheory is insufficient to understand thecreation of ethnoculture as practiced on theWeb 2.0 today. Specifically, neither Hansen’shypothesis, nor Richard Alba’s EuropeanAmerican ethnicity, nor Herbert Gans’ symbolicethnicity can account for the connection thatyoung people of Italian background have withItaly today. Their attitude is often tongue-in-cheek, but it does not prevent them fromcreating their own Italy or their own Delia: theyare not dependent on the idea of a “paradisefrom which they are excluded” (as Robert Orsiput it): they choose to retain those aspects ofethnicity with which they have a directexperience. Clearly, nonni are an integral partof this picture, just as some variety of Italian ordialect belongs to the mix. And this is truewhether the group has been created by a youngperson born in Canada or the US. Therefore,cognitive ethnicity and creative ethnicityproceed hand-in-hand in general in North Ame-rica, and with most probability in othercountries with Italian immigration as well.

2. The meaning of the term “Italian” relies onthe knowledge of aspects of modern Italy aswell as familiar traditions common to NorthAmerican Italians.

The fact itself that all the second- and third-generation individuals (Canadian or US-born)

Italianità on FaceBook

6





who participate in Facebook groups callthemselves Italian requires some analysis andexplanation. In Italian, there are two terms eachindicating a different perspective of one’sconnection to Italy: italiano and italico. Eventhough the political and social definition ofitaliano is by no means without problems, it isgenerally used with the meaning of someoneborn in Italy whose parents were also born inItaly; italico is anyone born outside of Italywith parents/grandparents born in Italy. Thisdistinction is made in English in some researchon children and grandchildren of immigrants toNorth America (see Monica Stellin’s title of partone of her edited book: “Italicity” in CanadianMedia), but it has not entered the commonvocabulary of speakers of English. Therefore,“Italian” is the umbrella term for every individualwho has an ancestral connection to Italy,however near or distant. This attitude and thesubsequent fusion of referents of “Italian” isalso supported, in part, by the political decisionto grant citizenship to the descendant ofemigrants (in Italy, since 1992).

3. The third stage in ethnic development iscreative ethnicity.

It must be emphasized that the individualswho created the descriptions of these groupswere not concerned with negotiating theirethnicity in a socio-economic world, nor werethey forced or led by a capitalist system tochoose the words they used, nor are theyconcerned with integration. It is most likely thatthe individuals who created the groups’descriptions and those who join these groupsas the time passes attempt to understandthemselves and their background in a particularway which is not symbolic but cognitive. Thereis therefore a third possibility in the evolutionof ethnicity, that is, cognitive ethnicity (afterthe stage of 1. twilight, and 2. symbolicethnicities). Cognitive ethnicity indicates astrong desire to articulate (by verbal and visualmeans) one’s background, familycharacteristics, preferences in food, clothing,trips, and communicate this understanding orthe lack of it to others, and all of this is possiblethrough the medium of the Web. Technologyallows to understand one’s position vis-à-visethno-cultural concerns in a more holisticperspective shared by others of the samebackground and age-group.

It remains to be seen not only whether thesegroups will stay active and continue to grow,but also whether they will acquire some type ofsocial relevance and concomitant politicalaction (for ex., in the direction of a differenttype of teaching of the Italian language andculture). It is notable that the connection toItaly is very strongly felt and demonstrated:through pictures, mention of parents’ orgrandparents’ birthplace, through interest ingastronomy of a town or region, through (last)names. No mention is made of the immigrantexperience, the tragedies and difficulties ofintegration: the personal familial experiences areshared but with a view to Italy rather than toCanada or the US.

*Department of Languages, Literatures andLinguistics, York University, Toronto



Marina Melchionda, Assistant EditorStephanie Longo & Giulia Prestia, Translations


from page 1

The success of i-Italy is the living proofthat the Internet can be a powerful “piazza”for the Italian American community.

We have 50 regular contributors andcolumnists (we call them “bloggers”) fromthe U.S., Canada, and Italy, including amateurand professional journalists, academics, and“public intellectuals”. Our online magazine(www.i-Italy.org) has reached 250.000 readers,one-quarter of whom are frequent vistiors ofour site.

But we are particularly delighted by thesynergy between the journalistic activity inour magazine and the grassroots-levelcontributions on our open-access communityand social network (www.i-Italy.us). Onegood example of this is the issue of preservingand expanding the Italian language inAmerica.

In both the online and print issues of ourmagazine, we have often touched upon thissubject which is considered to be a culturalimperative by the Italian American communityat large. We have also been activelysupporting the campaign to save theAdvanced Placement Exam in Italian, whichis still in jeopardy as we write.

Last June, we published a special issue ofi-Italy dedicated to this topic. At that sametime, members of our community at i-Italy.usstarted two lively discussion threads on thissubject: “Studying Italian: Why and why not”and “Why most Italian immigrants do notteach Italian to their children.”

In these forums, dozens of multi-generational Italian Americans from all overthe U.S. shared their experience with theItalian language: their desire to speak thelanguage, connect with their heritage, theirfrustration at the obstacles they encounter,and their proposals to improve the situation.

And all of them testify to something thatis sadly missing. Many lament that Italian isnot offered in their school districts. Otherspoint out that Italian is not even offered atcollege level. Even when Italian is offered incolleges, its absence from high schools mayhave already determined its future. Whatemerges from these forums, as well, are thereal-life problems related to the experience ofchildren of Italian immigrants, such asmediating between English, Italian, and aregional dialect.

There are “local” discussion groupscreated by people who want to stay in touchand share information about their place oforigin in Italy. These include regional andtown-based groups such as Calabria,Abruzzo, Ciociaria, Emilia Romagna Group,Pugliesi in America, Piemontesi ofAmerica...and beyond, Guardia deiLombardi (Avellino), Furore (Costad’Amalfi), and Roseto Valfortore (Foggia).

Several discussion groups unite thosewith artistic interests, such as ItalianAmerican Writers and Editors, CinemaItaliano, Italian American Actors andPerformers, Italian American Architects,Italian American Filmmakers and Artists,and Fotografia. One active writers’ group,called Cicchetti, was created by essayist,poet, and cultural critic Mary Cappello, who

writes: “In the interest of cutting through thelogorrhea produced by new informationtechnologies, I write to announce a call tocicchetti makers—a new literary form that Ihope we can inaugurate together....[w]ith theidea of the small snack…in mind…I want touse this blog space to post cicchetti…and toask you to do the same.” In addition toanimating this community of writers, Maryalso contributes to our magazine where shehas recently started a series of conversationswith “mostly gay and lesbian writers, artists,filmmakers, and public intellectuals who havesome link to Italian or Italian American lifeand letters.”

Greenwich Village Italians (created byEmily, a freshman at the University ofMassachusetts, Amherst), intends to be “aforum for young adults to express what Italymeans to them – whether your parents arethe first generation to come to America or thefifth.”

One of the largest and most active isWomen in Italy and Italian Women in theWorld, “a forum for sharing ideas, information,and announcements pertaining to theintellectual and creative work of women inItaly and the Italian diaspora.”Understandably, this group has beenthoroughly discussing Hillary Clinton’scandidacy during the Democratic primaries.Many interesting issues have emerged here,including a debate about the remnants of the“macho culture” in some segments of theItalian American population in the U.S. Thisgroup is definitely worth a special mentionand more than a cursory visit.

Last but not least, some discussion groupshave been created by Italian citizens residingin the US.

One of them, Terre Promesse (PromisedLands) invites people to share criticalthoughts about the “unfulfilled promises” ofboth Italy and America. Another, Movi-Menti,is managed by Italian supporters of BarackObama who hope to replicate the “Obamaphenomenon” in Italy. They askprovocatively: “Obama. Here, We Can. There,Can We?” In the latter case, an interestingrelationship exists between the communityand the magazine, where several articlesanalyze both the “Italians for Obama”phenomenon in Italy and the attitude ofItalian Americans to Obama in the U.S.

Even Italian Fulbright students whoparticipate in the 2008-09 BEST (BusinessExchange and Student Training) programhave created their own group in ourcommunity. The program was started in 2007by US Ambassador to ‘ Italy, Ronald P. Spogli.It trains PhD students and post-docresearchers in business to help themestablish technology-based companies inItaly. Participants work as interns for sixmonths in select Silicon Valley companies andattend executive MBA lectures in theevening. Once they return, participants willhopefully start new technology-basedcompanies. We are pleased that i-Italy canprovide them with tools to stay in touch andshare their experiences.*i-Italy Project Coordinator

by Ottorino Cappelli*

Our First Year inthe Internet Piazza

7

Your novel has recently been translated into English with the title Clash of Civilizations in anElevator in Piazza Vittorio. Does that “piazza” have, autobiographically speaking, a particularmeaning for you? The choice of Piazza Vittorio is not casual. There is nothing exotic or “literary marketing” about it.I spent my first six years of immigration right there in this piazza. I rediscovered the atmospherethat was typical of the neighborhoods in my birth city, Algiers. In this sense, Piazza Vittoriobrought me luck: at first it helped me to overcome the usual issues with adjustment, and then itoffered a stage to tell the story of today’s Italy and also of tomorrow’s. I often say that in PiazzaVittorio I see the country’s future. In fact, my novel is gathering success even in other Italian citieswhere immigrants have become more numerous and visible.

You know that our theme for this month is “La Piazza.” What does this word evoke for you?In other words, what do you instinctively imagine when you hear “piazza”?

The piazza is an extraordinary place of meeting and exchange between two different people. Wealways need the other to define our own identity. For example, I am male only because there arefemales, I am a Muslim because there are Jews, Christians, Buddhists, etc. Differences should bea resource and not a threat. In the piazza we can better see our own selves and submit our owncertainties for discussion. It is a fertile space to cultivate doubts.

The word “piazza” often symbolizes a place where people gather, meet, and spend time together.But sometimes it is just intended as a transition point. How are these views included in your work?

I have always been struck by train stations. They are piazzas of transition. I remember that inthe ‘90s Somalis would meet in the Roma Termini train station. The piazza is synonymous withcirculation and movement where we always seem to seek a better life. My father who lived throughimmigration in France in the ‘50s always said to me: “Trees have roots to remain stationary, butmen have legs to travel and discover the world.” The piazza in my novel is the real protagonist.

Each of your characters, mostly immigrants, has a different perception of the “piazza.” Is ita consequence of the way they have managed or not managed to integrate in Italy or, morespecifically, in Rome?

The piazza is not an isolated place. There are gatherings and relationships that develop. Forexample, in Piazza Vittorio, there are markets, bars, stores, etc. It is a very profound human experiencewhere there should be a reciprocal acceptance of diversity. Obviously, the more means ofunderstanding we have - such as language - the more this can be possible. While fear andindifference can become two obstacles. Pluralism in the widest sense of the word is a positivevalue.

In Western culture, the “piazza” has been seen mostly as a place of cultural interchange.Piazza Vittorio instead appears to be a place where people just share the same space with nointerest in getting to know each other’s experiences and backgrounds. It does look like “a clashof civilizations” where Italians, moreover, seem to harbor prejudices towards their owncompatriots. Do you think that the behavior displayed in Piazza Vittorio accurately representsthe general attitude of Italian citizens? Also, in your opinion, is the situation portrayed particularto Italy or is it more wide spread?

My book is a survival manual in the world of immigration. The discovery of the other is notalways a pleasant path. Whoever is not comfortable with him or herself cannot get along well withothers. This is a well-researched fact in all psychology studies. In Italy, the immigrant representsa cultural challenge for Italians who have experienced immigration in the last few decades. Prejudicesbecome stereotypes, by which it is easy to be taken hostage. We all have prejudices. We musthave the curiosity and the courage to verify whether our information about the other is true orfalse. The bottom line is that my novel is an Italian micro-story that has examples in other parts ofthe world.

What expectations do you have about the publication of your book in the USA?I am so happy that my book will be translated and published in the USA. For me it is a very

important challenge. The fact that I have American or Anglo-Saxon readers fascinates me a lot. Iam curious to hear their comments, which will certainly enrich my writing.

For what kind of audience is the book intended?I hope that my book is open to everyone. Each one of us reads a book in his/her own way,

beginning with his/her own sensibilities and personal experience. For this reason, literature is anextraordinary adventure that can better our lives.

You are about to arrive in the U.S. to present your book, Time Skipper.What inspired you to write it?It is in part autobiographical. A boy’s life in a small mountain town, in the1960s.

The “piazza” is the theme chosen for Italian Heritage and CultureMonth. It can be considered an integral part of Italian culture. How muchdoes it reflect your personal identity?

The piazza, meaning a place to meet and tell stories, has been a “schoolof observation” for me. It was the place where I heard stories and oralnarrations of street theater. Therefore it formed me, as if it were a speakinglibrary. But this piazza no longer exists. Italians no longer spend time in thepiazza, at least not as spectators of an event. Perhaps it still exists in somesmall towns, but television has wiped it out for the most part.

Can you recount an episode, a story, or an event in your life that youparticularly associate with the piazza?

I am familiar with piazzas in the north, as well as the south because mymother is from southern Italy. I remember as a child, the first time I arrivedin the piazza in Baranello, a small town in Molise. I noticed somethingstrange. I realized that there were only women seated at the doorsteps ofthe houses. I asked my grandmother: “But where are the men?” Sheresponded that “they all went for coffee in Canada.” At that time, morethan half of the male residents of the town had emigrated.

In your work, the concept of the piazza is configured in different ways.In Margherita Dolce Vita we could say that the piazza is an abstractlocation: a heart, her heart where all her emotions converge. It is also adefenseless place, exposed to all kinds of novelties, surprises, but also tointrusions and violence....

It is, again, the place for stories and emotions. There is day and night,and it can be a meeting place or a threatening place. For children it is a placeto play outside and, therefore, it can be transformed into an adventure. Butit can also be dangerous, so it might be safer to stay shut at home, oppressedby ghosts and numbed by television.

The piazza in Time Skipper is, on the other hand, the boy’s clock. In thiswork, the meeting is not set within a defined space and time, but consists ofoccasional journeys into the future. The boy and Margherita have oppositereactions when facing the different and the unknown: he is curios whileshe is terrified. What is that makes the present scarier than the future?

The time of the book is not the time of everyday life. The winds of time–past, present, and future–all exist inside one single breath. It is neitherfrightening nor friendly, and the characters live much longer than a humanlife. The reader will decide if, and in what way, his/her time in everyday lifeand time in book resemble or are distant from each other.

Time and space are perceived differently in each culture. How do youthink American readers will identify themselves in your work?

I think that shared cultural places exist, as well as “sequel-literature”that does not want to surprise readers, such as certain best-sellers.Frequently Americans like to read about a stereotypical and simplified Italyand the same goes for Italian readers with respect to America. For thisreason, Italian readers are more familiar with Grisham than Melville. But ifwe leave the somewhat miserable topic of literature, then everything ismore exciting and unexpected. In this sense, I am a writer who is a bitoutrageous, not very “Italian,” or at least this is how they often see meabroad.

Imagine that all of your American readers were gathered in a piazza.What kind of people would you expect to meet? Would they be differentfrom your average Italian reader?

I do not know what they would be like, and for this reason I would becurious to meet them. I have already met British readers and I was struck bythe fact that there were so many young readers among them, as therearen’t as many in Italy.

by Marina Melchionda

8





Two writers from Italy, Stefano Benni and Amara Lakhous, will soon cometo the U.S. to present their new works, respectively The Time Skipper(Europa Editions, 2008) and Clash of Civilizations in an Elevator in PiazzaVittorio (Europa Editions, 2008). The two novels embody two differentconceptions and attitudes towards the “piazza”. We have interviewedthem about it.

Stefano Benni...

Amara Lakhous...

Two Writers Meetthe Italian Piazza

Stefano Benni and Amara Lakhous will present their works at theItalian Cultural Institute on October, 21st.For additional info visit www.iicnewyork.esteri.it

b y Berardo Paradiso*For young Americans studying Italian and who are interested in all aspects of Italian culture, theInternet is a wonderful means of getting in touch with their Italian peers: it is a kind of virtualpiazza where they can chat and share common ideas and interests, and freely express theiropinions about all kinds of issues.

We at IACE are very happy to be part of “Progetto Scuole” in partnership with i-Italy andItalian and American universities.

Since we started our project, thousands of kids have joined our piazza, some aspects of whichcan be considered virtual. In reality, since it is frequented by real people, day after day our piazzais becoming more vibrant and alive, with the common objective to speak the language of Danteand exchange ideas about a common love of Italy. This is what people have always done andcontinue to do, in real, physical piazze.

Piazza del Duomo in Milan, Piazza della Signoria in Florence, Piazza San Marco in Venice, Piazzadel Popolo and Piazza Navona in Rome, and every single piazza in each Italian city, small town, orvillage has preserved the same spirit. Like the agorà in Athens or the ancient forum in Rome, thepiazza has always been at the heart of a city where its spiritual, political, and socio-economicevents take place.

The piazza in Italy is still a common space where citizens gather daily and where they can meetin casual or formal ways. In the same piazza usually filled with children, it is not unusual to heartheir high-pitched voices expressing their freedom while chasing cats or pigeons under thesmiling surveillance of parents or nonni. In ancient times the piazza was already an establishedplace of communication where at first verbal announcements would be made, and later writtenpamphlets and tracts would be distributed, read, and commented publicly.

In my village in southern Italy, the announcement of a movie or a special sale was cried out bya person called a banditore. Every village had one, and the announcement was always precededby the sound of a trumpet! I will never forget the banditore of my village: his first name wasVincenzo but his nickname was il francese. No one could ever understand what he was saying sothey called him “the Frenchman” for his incomprehensible language. We were happy to see him;we knew that something new was about to be announced. We would follow him until after a whilewe could capture the essence of his message.

How I miss my piazza! A few years ago I returned to my village and I saw an old, blind womansitting on her balcony, enjoying the fresh air. I called to her: “Zia Giulia, com’è stai?” [Aunt Giulia,how are you?] She recognized my voice and answered with one word: “Nostalgia.” The wordbounced on every wall and resounded in my ears, touching my heart. She was right. I wasnostalgic; I missed the stones, the air, the sounds, the light, the odors, and the people. I missed mypast and my friends.

This is the reason why we at IACE are promoting a physical exchange between American andItalian students. Our objective is to give American youths who are interested in italianità thepossibility to connect using modern technology, but we also want to help them complete theirvirtual experience by visiting the physical piazza and exploring different points of view, lifestyles,customs, and foods.

A group of young American students of Italian had the opportunity this summer to spend twoweeks in Florence and Lignano near Venice, where they lived and interacted with a large group oftheir Italian peers. They were compelled to adjust to new situations and news ways of life whichthey would never have experienced solely through their Internet connection.

This very enriching physical encounter with the Italian city, its piazze, and Italian youngsters’ways of living and thinking taught them respect and acceptance for one another and their uniquecultures.

The experience of living in a country among its people, as well as being connected to itsphysical piazza will lay the foundation for future generations to have a real understanding and afruitful exchange with Italy, Italians, and italianità.

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Since time began, a common meeting spacehas been conducive to reunions anddiscussions among people. Originally it wasa gathering around the fire with music andtalk, tales and learning, the calming of fears,and the birth of myths that would grow intowisdom. The young listened to the old whotold stories that would be expanded,enriched, reinvented over time, eventuallybecoming traditions and knowledge thatwould never be forgotten. Later, the meetingspace would become an area betweenbuildings, an agorà—a square—wherepeople would go and discuss matters ofthe polis—of the city. The young would goto the square to listen, to ask questions, tolearn, to grow, and to prepare for futureleadership roles. Today, we have a virtualsquare, full of possibilities, as fast as theuser can make it, and as captivating as theparticipants, the chat, the blog, the dialogue,the reading and the telling can be. A commonlanguage, however, is necessary; and itwould be even more desirable if it were abeautiful one, a language culture.

One such language is Italian, thecommon language of millions of youngpeople throughout the world who have notyet come together in their own square. Theywill this year, which marks the FirstConvention of Young Italians in the World.For the first time, there will be a physicalsquare, in Rome, where hundreds of Italo-Italians, Italo-Foreigners, Foreign-Italians,and all sorts of hyphenated Italians fromevery nation will convene to walk into aglittering, enticing global forum. Theseyoung people already share two things—their ancestry and its language—and theywill create many common venues. Theyhave already built many virtual squares inpreparation for the meeting. They haveincredibly similar interests and passions.They have already met in every countryunder the auspices and through fundingfrom CGIE—Consiglio Generale degli Italianiall’Estero—the General Council of ItaliansResiding Abroad, an internationalrepresentative body created by the ItalianParliament and whose president is Italy’sMinister of Foreign Affairs.

Since 1995, CGIE realized that the futureof the world’s Italian communities and thevery future of the Italian language itselfrested in the hands of the young. Arevolution was called for — a revolution ofopen minds and open means ofcommunication which centers on theInternet and the Italian language. CGIE hasconsistently been at their side, ready to solveproblems but careful not to overstep. Thenationwide “agoràs” have becomeuniversal, and even though it is a virtualspace it is no less engaging and compelling.It is global and local at the same time: glocal,as human matters must become as we goforth into the future. Our objective is tocreate connections among differentgenerations and experiences, to dissolve thebarriers between the new “mobility” and thedescendents of “traditional” Italianemigration—they both embody the samedesire for a vibrant future, and there canonly be a future for us and our language ifthey come together.* Vice Secretary General of CGIE (General Councilfor Italian Abroad) for Anglophone Countries

Since the summer of 2000, I have had theprivilege of accompanying well over 100 IACEscholarship winners to various places in Italy.This year the program split its base with a weekin Florence, followed by another week inLignano (a resort near Venice). The group hadthe assignment to reflect on the piazza as apart of Italian life.

In Italian history, piazzas grew out of thenecessity for space for large public gatherings,not unlike the Roman concept of the forum. Inour little corner of Florence at the IstitutoMaschile Antoniano, each evening the terracein front of the villa which housed us became apiazza in almost every sense. IACE studentsrepresented the millions of tourists filling themonumental squares of Italy. The otherresidents, a real microcosm of what Italy hasbecome: native Italians, foreign-born nationals,illegal aliens, and some who were using Italiansoil as a springboard to another place wherethey could establish roots and a new, successfullife. At first, the American students were waryof the residents but through the sports of soccer,volleyball and hide and seek, barriers crumbledand real communication took place. Eventually,social interaction, political discussions, flirting,and recreation took place upon this stage.

IACE students learned how four 16-year-old boys had left what remained of their familiesin war-torn Kosovo to try to find work. Theymet a 15-year-old boy who was taken off anillegal Egyptian fishing boat. Americans learnedthat although the residents liked them, they didnot always have a favorable opinion of thedecisions and policies of the Americangovernment in their homelands. Politicaldifferences aside, everyone got along beautifully.

The students saw Piazza della Signoria inFlorence and its wonderful art. They noted thatit was a political square and the art was chosento represent the strength and ideals of the city-state. Cosimo de’ Medici is portrayed in anequestrian statue like a Roman emperor. Judithcuts off Holofernese’s head to save her people.David is sizing up his enemy. Hercules defeatshis enemies Cacus and Nesus. Perseus holdsup Medusa’s bloody head. It was cool!

IACE students saw many of the “Vucomprà,” [“Wanna Buy?] or African and Asianstreet venders who sell handcrafts and othermerchandise on blankets spread on the piazza’spavement. They asked why there was a ruckusbetween a female vendor and another one onPonte Vecchio. They hadn’t seen that the formerhad been chased away by a police officer fromthe original place where she had set up and shewas now on someone else’s turf. Unfortunately,the students learned a few choice words thatday that are better left unsaid!

A realization was being reinforced andconfirmed through their observations of theItalian piazzas: Italy has become a nation ofimmigrants like the US. Most of the IACEstudents had come to Italy expecting to find acountry “locked into” a particular culturalreference; they now realized that the face of Italyis evolving as the world becomes a global society.

b y Silvana Mangione* This year IACE’s Summer Program haspartnered with Progetto Scuole in organizinga contest among American students of Italian.The students wrote articles about the “ItalianPiazza” and published them on the websitewww.progettoscuole.org. The best of theseyoung authors won a trip to Italy and had a‘real’ taste of its piazzas.

ProgettoScuole.org is a non profit partnership between the Italian Consulate Generalof New York, the Italian American Committee on Education (IACE), the Italian-languagedaily America Oggi, the web services company Digitalians Corporation, and i-Italy. Itoffers American students of Italian the tools to publish their own interactive web journal

Progetto ScuoleThe Piazza’s Mother Tongue

by Alfredo Valentini*

The Agoràof the Youth

“Columbus Fun” by L.F.

Studentsin Piazza

*Director of IACE Summer School *President of IACE (Italian American Committee on Education)

by Rodrigo Praino

by Riccardo StranoThe Italian word piazza means a place, usually circular or rectangular,enclosed by city roads; it is an open space where people meet.

Piazza originates from agorà; it was the center of religious and politicalactivities in ancient Greece. During the Roman Empire, the piazza becamethe place to build monuments and fountains, and over the course ofcenturies it has become a magnificent example of art and architecture. Inthe 19th century, intellectuals and artists would meet in the piazza toexchange ideas and new theories; 19th century cultural movements wereborn in the piazza.

People gather in the piazza to share common joys, and when theirfavorite soccer team wins there is a great celebration in the piazza.However, sorrow is also shared by crowds in the piazza. Stasera in piazza!

Let’s meet in the piazza…shops, buildings, churches, outdoor cafés…Italians meet in the piazza, walk around the piazza, chat, sip a cappuccinoat “Bar della Piazza,” and talk about soccer or politics. Italian piazze area big tourist attraction, especially for Americans. There aren’t too manypiazze in the States and the few that do exist, don’t have the charm of theItalian ones. The piazza is the symbol of Italian life and style.

Who doesn’t know “Caffè Della Pace” in Piazza Del Pantheon inRoma or “I Tre Gradini” in Piazza Navona? Americans going to Italy loveto taste the gelato and cappuccino that those cafés serve, particularly ifthe café is located in a popular and trendy piazza.

Tourists like to experience the lifestyle of the Italian piazza, mix withthe locals milling around, watch children at play, and discover the beautyof street corners formed by ancient buildings and churches.

In the piazza there are things to do all year ‘round.Open markets with stands selling fruit and cheese, clothing, and

leather goods, just to mention a few, represent everyday life in Italy. Alltourists, especially Americans, enjoy shopping at open markets andlook forward to this singular Italian experience while on vacation.

Concerts and religious events all take place in the piazza. At Christmas,every Italian city displays a nativity scene in at least one of its piazzewhile outdoor stands sell traditional Christmas sweets.

The piazza is the expression of the Italian soul, and I would like toinvite readers to come and visit our beautiful country and enjoy theessence of Italian life that only our piazze are able to provide.

See you in piazza!*Director for US & Canada, ENIT (Italian Government Tourist Board)

Interview with Lucio Caputo,President of GEI (GruppoEsponenti Italiani)

Since its inception in 1974 theGEI (Gruppo Esponenti Italiani orGroup of Italian Representatives),has been a prominent Italianpiazza in New York, connectingrepresentatives from Italianbusinesses operating in the UnitedStates, as well as Italian leadersin industrial design andinternational affairs. i-Italy satdown with GEI’s President LucioCaputo for an interview.

One might say that GEI is thepiazza of the Italian excellence.How did GEI come into existenceand what does it take to managesuch a piazza here in the US?

GEI was established over thirtyyears ago as a forum for theadvancement of Italian business,science, and culture in the UnitedStates. Back in the Seventies a smallgroup of Italian representatives inNew York believed in fact that Italy,its many accomplishments and itshigh culture did not enjoy thereputation it deserved in the UnitedStates. They also maintained thatmisconceptions and ignoranceoften contributed to a negativeimage of our country.

Improving Italy’s image abroadbecame their personal goal. Theyagreed to make it their personalobligation to present the manypositive qualities of Italianbusiness and culture in New Yorkand the USA.

GEI was created as a non-political and a not-for-profitorganization that for the last 35years has managed to raise theprestige of Italy among American

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See Youin Piazza

Linking Italian & US Business

business, political, and culturalleaders, as well as the press.Headquartered in New York City,GEI sponsors seminars, round-tablediscussions, and other events topromote Italy in all of its diversityto an American audience. Theguests-of-honor participating inthese events include the Americanambassadors to Italy and the Italianambassadors to the United States,the presidents of various Italianregions, U.S. senators andrepresentatives, chairpersons ofleading companies and financialinstitutions, journalists, culturalrepresentatives, as well asnumerous members of the Italiangovernment and parliament. Duringthe working luncheons for itsmembers, guests, and press, eachinvited Italian or Americanpersonality will comment on his/herarea of work and interact with theaudience, contributing to thereciprocal exchange of views andfacilitating direct contacts. GEI’swebsite, www.gei-ny.com, offers asurvey of the institution’s activitiesin recent years.

What are GEI’s majoraccomplishments in creating thisnetwork and in promoting Italy’sexcellence in the US?

The apex of GEI’s activities is itsannual presentation of the GEIAward to notable Italians andAmericans for their outstandingcontribution in furthering relationsbetween the two countries. The goalof this award presentation is tocreate a widely publicized annualforum during which those presentcan share their thoughts on thetopic of U.S.-Italian relations. Theceremony, attended by highlyqualified Italian and Americanrepresentatives in the fields of

economics, commerce, finance, andpress, aims to offer a new image ofItaly through lectures, discussions,and an exchange of ideas as well asthrough extensive newspaper, radio,and television coverage in theUnited States and in Italy. The prizeconsists of a limited-editionsculpture designed by the well-known Italian artist Arnaldo Pomo-doro. Past recipients of the awardinclude: Carlo Azeglio Ciampi, thePresident of the Italian Republicbetween1999 and 2006; GianniAgnelli; Guido Carli; retailer Lucia-no Benetton; former New York StateGovernor Mario Cuomo; lateMetropolitan Opera star LucianoPavarotti; and banker andphilanthropist David Rockefeller. Aspecial GEI Award was presented tothe President of Italy, the lateSandro Pertini, on the occasion ofhis visit to the United States. GEIhas also enhanced collaboration andfriendship among its Italian membersactive in this country by focusingon important current questions andtopics. Moreover, it grantsscholarships to Americanuniversities and aids their Italianprograms. With great satisfaction,our organizational model has beenfollowed and reproduced in variousparts of the world such as Canada,Great Britain, Argentina andSwitzerland. This is a confirmationof our success.

Is there an upcoming project thatyou would like to announce?

GEI has met many of the goals itset at the beginning. It will face newchallenges coming from thechanging economic and politicalclimate in the world. It will also keepdeepening the relationship betweenItaly and the USA. This remains itsmost important task.

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The Italian motor scooter parexcellence has been spotted aroundNew York more frequently in the pastfew months. Italy is invading thecity’s marketplace with the Vespa.What happened? We asked PaoloTimoni who represents Piaggio inNew York. He is a man who is aspassionate about his work as fewothers are...

“Increasingly more people arerealizing that the motor scooter – anItalian product with a history of over60 years – represents an efficientsolution to the growing cost ofgasoline. In the first eight months ofthis year our retail sales haveincreased over 80% with respect tolast year’s sales. We want to create awide market for the motor scooter inthe U.S., as there is in London, Paris,Rome…we believe in it.”

Is there a specific strategy behindPiaggio’s success?

A few years ago we looked at theU.S. and tried to bring certain elementstogether. While in Europe the motorscooter is an established product usedby millions of people, in the U.S. thephenomenon started in the ‘90s. In2000, only 20,000 motor scooters weresold that year, which is very few for acountry of 300 million inhabitants. Togive you an idea, Americans buybetween 14 and 16 million cars per year.We needed to understand that theU.S. was very different from Europeand so we put together three benefits.

The first is that after 2000, thedevelopment of a global economy hascreated an exponential demand for oil.The oil supply is not unlimited andtherefore prices are destined to keepgoing up, as we see in the U.S. today.

The second is traffic. Americansspend 3.7 billion hours sitting in theircars, a statistic that is on the rise. Thisis also affected by a change inlifestyle: Americans are rediscovering

their city centers and “downtowns”as places where to live, many areleaving the suburbs, and it is moredifficult to get around by car in thecity.

The third aspect is globalwarming. Many cities are passinglaws to reduce carbon emissions.With distance covered being equal, amotor scooter creates 70% lesscarbon emission than a car.

This seems to be a perfectsituation for you. In fact Piaggio is aleader in the industry…

We have a focused strategy inactively promoting the motor scooteras a form of transportation. We havelaunched the initiativeVESPANOMICS, Vespa’s economicmodel (www.vespanomics.com).

In February 2006, after Bush’snational address in which he declaredthe reduction in oil consumption tobe a national objective, we publishedin the New York Times an open letterto the mayors of every American city.We explained how the motor scootercould contribute to reach these goalsand proposed making cities “scooterfriendly” by creating appropriateparking areas, designated trafficlanes, etc.

How did the local governmentsrespond?

The situation is getting better.This year Atlanta held its first “dayof the motor scooter” in which citizenswere invited to try this form oftransportation. Other cities areimproving their parking situation.And this year the requests aregrowing. We are fortunate that Vespais a highly valued product becausehere in America Italian products aresought-after and we benefit from alevel of prestige that othercompetitors do not enjoy.

Certainly change is difficult.Although there is a scooter culturein Europe, the difference is that itdoes not exist here. Our bet, therefore,is on educating the consumer.

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Scooter, USA





by Letizia Airos SoriaAnd we have a certain appeal,

nevertheless. Our clients span 25 to60 years of age and over. This summertwo 72-year olds went cross-countryfrom San Francisco to New York onour scooters. They are passionateriders, but for them the motorcycle isa cumbersome way to travel. Theychose our scooters to keep their senseof adventure intact. They have alsobecome part of our promotionalcampaign.

Images of an Italian piazzafrequently include a group of youngpeople with their Vespas parked onangle in front of a café. Are thereassociations or clubs for Vespaenthusiasts in the U.S.?

The Vespa entered the U.S. in the‘50s and in the following decadesthese so-called VESPA CLUBS werecreated. For many years theyrepresented a parallel market, withused vehicles imported directly fromEurope. There are still a few and wetry to support them. There are eventsin which we participate as sponsors.We contact them to find out if thereare people who would be willing togive testimonials.

A personal question: you have beenwith Piaggio since 2005. Whatmotivated you to accept this position?

The rare opportunity to be able tocreate a marketplace that does notexist, and a unique and very enjoyableexperience.

Interview with Paolo Timoni,President and CEO of PiaggioGroup Americas

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SUPPORT ITALIAN LANGUAGE STUDYIN AMERICAN HIGH SCHOOLS

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the Marche and the province of Ancona in Italy

Exhibition Gino De Dominicis on view October 19, 2008 - February 9, 2009 - P.S.1 New YorkThis exhibition will be Gino De Dominicis’ first major American museum show and will focus on his late paintings made from the 1980s until his death in 1998. An Italian artist who shrouded himself in mystery and stood apart from any artistic trend or movement, De Dominicis (1947--1998) exhibited little in North America. This will be a rare opportunity for New York audiences to see his art first-hand.

Organized by P.S.1 Director Alanna Heiss, P.S.1 Curatorial Advisor Andrea Bellini, and Fondazione Merz Curator Laura Cherubini.

Well removed from mass tourism, the Marche region is a land to be discovered. Because of the variety of the territory many different types of tourism are possible; from seaside resort tourism along the coast, characterized by the high quality of the offering, to food and wine tourism, for connoisseurs and lovers of good wine and excellent cuisine, which can be enjoyed throughout the region, to religious tourism centered around the Sanctuary of the Holy House of Loreto, oneof the capitals of Christianity. Finally, cultural tourism in the Marche encompasses all of the Arts represented throughout the region, from Urbino, the ideal Renaissance city and UNESCO world heritage, to Pesaro and Macerata, renowned for their age-old tradition of lyrical music, to Ancona itself. This region of 100 historic theaters, stands as a symbol of a generous artistic culture that has been nurtured over the centuries.

Provincia di Ancona Assessorato alla Cultura e al TurismoVia Ruggeri, 5 60131 Ancona IT [email protected] www.provincia.ancona.it Thanks to:

ASSEMBLEA LEGISLATIVADELLE MARCHE

www.gruppocamerawork.it

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