tag:blogger.com,1999:blog-40999516272537829212024-03-13T15:55:55.885-07:00Uomini e coseBlog di Luca PisoniLuca Pisonihttp://www.blogger.com/profile/10196345288384629507noreply@blogger.comBlogger15125tag:blogger.com,1999:blog-4099951627253782921.post-21055194518728663142022-07-01T13:05:00.048-07:002023-04-15T01:32:32.667-07:00In cerca di appartenenza: una ricerca sulla sticker art a Trento<p><span style="font-family: Arial; font-size: 11pt; text-align: justify; white-space: pre-wrap;">Lo scrivere, così come il comunicare oralmente o in forma d’arte, fa parte di quelle attività che, assieme al nutrirsi, al difendersi e all'avere una progenie, gli studiosi di scienze sociali attribuiscono ai bisogni di base dell’essere umano. </span><span style="font-family: Arial; font-size: 11pt; text-align: justify; white-space: pre-wrap;">Pur con significati diversi e destinatari differenti, le raffigurazioni preistoriche delle grotte di Lascaux, la scrittura (burocratica ed elitaria prima, più popolare solo in un secondo momento) e più in generale l’arte, rappresentano quindi il bisogno di comunicare al mondo la propria esistenza, quella di individui o gruppi che vogliono sottolineare come chi legge o osserva le loro opere deve fare in qualche modo i conti con chi le ha realizzate. </span><span style="font-family: Arial; font-size: 11pt; text-align: justify; white-space: pre-wrap;">Una originalissima forma di combinazione e contaminazione tra arte e scrittura è costituita dalla <i>sticker art</i>, l’arte di realizzare e attaccare adesivi, caratterizzata da una volontà di autorappresentarsi in modo spesso ludico e scherzoso, ma anche da una carica di critica sociale più o meno diretta e aperta.</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9-dL4cblwf4WcQj08w4SdGUdYyYMR7UFzlohSpTYTp3205D1kwAdxm8pTnFPscocVMBiJ_EQfcQsjdUl1R2RV5j8CRnJa-KYs_WsIgu4abvp7V-KRkBJZN1qBTcUXDOrwtp_Ccqla96VKYnfNndF8TuEUHq3Tc-0jer1FVVrmsAe-2H6QlQtK1vnp/s1380/1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="722" data-original-width="1380" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9-dL4cblwf4WcQj08w4SdGUdYyYMR7UFzlohSpTYTp3205D1kwAdxm8pTnFPscocVMBiJ_EQfcQsjdUl1R2RV5j8CRnJa-KYs_WsIgu4abvp7V-KRkBJZN1qBTcUXDOrwtp_Ccqla96VKYnfNndF8TuEUHq3Tc-0jer1FVVrmsAe-2H6QlQtK1vnp/w640-h334/1.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTNQC4bR0C9hxWRB8emKKXNAAGBMMXIi0FqA4V1_EarKDOmAd6-lgJViDA6xsU7JDk8mzBl2LS1dI-zoZNh51nwoGCsQGZfLf-T_4zmo5JV39jit2pydvsvpzVpC-3UdWt4VNDUQ5vLDoBQphmjXAxSxQlAY6Xjzrv95HzW4CIXnVSYbUbgx-wzjcX/s1232/2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="934" data-original-width="1232" height="486" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTNQC4bR0C9hxWRB8emKKXNAAGBMMXIi0FqA4V1_EarKDOmAd6-lgJViDA6xsU7JDk8mzBl2LS1dI-zoZNh51nwoGCsQGZfLf-T_4zmo5JV39jit2pydvsvpzVpC-3UdWt4VNDUQ5vLDoBQphmjXAxSxQlAY6Xjzrv95HzW4CIXnVSYbUbgx-wzjcX/w640-h486/2.jpg" width="640" /></a></div><i><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7hu6DVMAkqv5F2KCFJe-_1cxXSDa9nsagLOZ9-Y3pucnAo8diJ1-QLwmsmsspedivC4bmB2GmGQmPad6rbj2W8c1f3l5yWlgzBaPlz4qrZwat4dUMYrJwcpwsXE6XegH_KlSOUFrxhXveBQ5wE3s8Rxmvbq8ttcVzA6aJdSBSGS0paUmYMEc-NrBx/s681/figurati.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="451" data-original-width="681" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7hu6DVMAkqv5F2KCFJe-_1cxXSDa9nsagLOZ9-Y3pucnAo8diJ1-QLwmsmsspedivC4bmB2GmGQmPad6rbj2W8c1f3l5yWlgzBaPlz4qrZwat4dUMYrJwcpwsXE6XegH_KlSOUFrxhXveBQ5wE3s8Rxmvbq8ttcVzA6aJdSBSGS0paUmYMEc-NrBx/w640-h424/figurati.jpg" width="640" /></a></div></div><div style="text-align: center;"><i><span style="color: #04ff00;">Adesivi e scritte di musicisti e visual artist nelle vie del centro di Trento (2022)</span></i></div></i><p></p><span id="docs-internal-guid-4da099a5-7fff-7ce2-c6b7-a273fafbef07"><div><span style="font-family: Arial; font-size: 11pt; text-align: justify; white-space: pre-wrap;">La differenza con i graffiti e con i murales sta probabilmente nel fatto che la bomboletta non lascia spazio a ripensamenti o cancellature e quindi, a differenza degli adesivi, che possono essere staccati (e attaccati) velocemente, viene condannata in modo più deciso da cittadini e istituzioni. La scrittura permanente è quindi più trasgressiva mentre quella temporanea lo è certamente meno. In comune, graffiti e adesivi, hanno invece la non sempre esatta e diretta corrispondenza tra autore ed esecutore. Chi replica con la vernice un disegno visto altrove è in qualche modo assimilabile a chi attacca un adesivo trovato sul banchetto di qualche associazione o nello stand di qualche evento musicale.</span></div><div><span style="font-family: Arial; font-size: 11pt; text-align: justify; white-space: pre-wrap;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7k5EjyllSzlDWk6cdjdQrhYvQxOn4U5GJqHII5EgUTFVvgSJNuinSKQh9WBnESLDX01u-2gFqftOzx371r1tRCVEvOo9XtvAQjlmlKyVc8UMVmX6sDyxUyqFfTo4dJ-HWR4c2Kn15YSANXGBPGGMx_ZGQwT8YSgXhV8BNiQg_qpKYyFMy3IkzQwjQ/s1078/4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="706" data-original-width="1078" height="420" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7k5EjyllSzlDWk6cdjdQrhYvQxOn4U5GJqHII5EgUTFVvgSJNuinSKQh9WBnESLDX01u-2gFqftOzx371r1tRCVEvOo9XtvAQjlmlKyVc8UMVmX6sDyxUyqFfTo4dJ-HWR4c2Kn15YSANXGBPGGMx_ZGQwT8YSgXhV8BNiQg_qpKYyFMy3IkzQwjQ/w640-h420/4.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif-j2n4JEYzDHCTr3vLSMOoNnP3CDIOsI9oGsK4Ofb8tzdicUT3lfNcflAY1nydkdpvF04-HqjEPgyE1jDCkWn9QvtJvBQVuulCmHGw6r74ttq7M4Ye8_WqAXl7PZ_uofoL55ZPPCo-BMm8rEpRYHe-5S6_d6i9yeWZQg9DONxWC-wSl-U8s5fKIty/s832/6.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="524" data-original-width="832" height="404" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif-j2n4JEYzDHCTr3vLSMOoNnP3CDIOsI9oGsK4Ofb8tzdicUT3lfNcflAY1nydkdpvF04-HqjEPgyE1jDCkWn9QvtJvBQVuulCmHGw6r74ttq7M4Ye8_WqAXl7PZ_uofoL55ZPPCo-BMm8rEpRYHe-5S6_d6i9yeWZQg9DONxWC-wSl-U8s5fKIty/w640-h404/6.jpg" width="640" /></a></div><i style="text-align: center;"><div style="text-align: center;"><i><span style="color: #04ff00;">Adesivi di critica sociale nelle vie del centro di Trento (2022)</span></i></div></i></div><div><span style="font-family: Arial; font-size: 11pt; text-align: justify; white-space: pre-wrap;"><br /></span></div><div><span style="font-family: Arial; font-size: 11pt; text-align: justify; white-space: pre-wrap;">Nella piccola città di Trento, in particolare nel centro storico, sono moltissimi gli adesivi attaccati soprattutto su supporti metallici. Nel corso del progetto <span style="color: #ff00fe;"><i>In cerca di appartenenza: una ricerca sulla sticker art a Trento</i></span>, ideato e realizzato nel 2022 da chi scrive, ne sono stati</span><span style="font-family: Arial; font-size: 11pt; text-align: justify; white-space: pre-wrap;"> fotografati e classificati circa 300 e, </span><span style="font-family: Arial; font-size: 11pt; text-align: justify; white-space: pre-wrap;">seguendo i profili <i>instagram</i> quasi sempre rintracciabili per ciascuno di essi</span><span style="font-family: Arial; font-size: 11pt; text-align: justify; white-space: pre-wrap;">, è stato possibile considerare che le tipologie di <i>sticker</i> sono essenzialmente 3 (ciascuna delle quali è rappresentata grossomodo con il 30% delle presenze):</span></div><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlp3W6c5rU8kE3Q_QmiC7G0f3kMIHknU5CvIA5IPxVDUn6r2WgNbZZVcy0VGERAX_MkAXR41OPZL-m3JBmW_H5IuG-LfUbF0T-tyR9dFTpJeRBmM188sLipBvtBos1yz1gBdg9qDaCMY8y9XQ-BnWBOZxMc4HmyvVNVMFyW200eHcQaK4GLGI8lQot/s829/PPT.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="602" data-original-width="829" height="329" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlp3W6c5rU8kE3Q_QmiC7G0f3kMIHknU5CvIA5IPxVDUn6r2WgNbZZVcy0VGERAX_MkAXR41OPZL-m3JBmW_H5IuG-LfUbF0T-tyR9dFTpJeRBmM188sLipBvtBos1yz1gBdg9qDaCMY8y9XQ-BnWBOZxMc4HmyvVNVMFyW200eHcQaK4GLGI8lQot/w455-h329/PPT.jpg" width="455" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><ul style="margin-bottom: 0px; margin-top: 0px; padding-inline-start: 48px;"><li aria-level="1" dir="ltr" style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; list-style-type: disc; vertical-align: baseline; white-space: pre;"><p dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">arte (con adesivi che costituiscono delle opere in sé)</span></p></li><li aria-level="1" dir="ltr" style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; list-style-type: disc; vertical-align: baseline; white-space: pre;"><p dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">gruppi di provenienza sociale eterogenea (collettivi universitari, radio on-line, associazioni di vario tipo, ecc)</span></p></li><li aria-level="1" dir="ltr" style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; list-style-type: disc; vertical-align: baseline; white-space: pre;"><p dir="ltr" role="presentation" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">pubblicità (spesso di tatuatori e ristoratori)</span></p></li></ul><div style="text-align: justify;"><span style="font-family: Arial;"><span style="font-size: 14.6667px; white-space: pre-wrap;"><br /></span></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib6yEsCof1J_AvDUFdxV1d3rRqU8tAKF-RyrU2vaPHiaswoXxWcAAHfrRzpxmn-GNGz00_sqRbK-kMQDPQRbE1TjKxDD8J8vMiyt1I2waTbDsJyx8VJkgjchceKvvRjcGAArQp9cjq3uts3MMJxxPGe05FjuM3ZpC0dlS0_I4xWtICfzn0frrLoG8V/s2123/mappa%20trento.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1650" data-original-width="2123" height="498" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib6yEsCof1J_AvDUFdxV1d3rRqU8tAKF-RyrU2vaPHiaswoXxWcAAHfrRzpxmn-GNGz00_sqRbK-kMQDPQRbE1TjKxDD8J8vMiyt1I2waTbDsJyx8VJkgjchceKvvRjcGAArQp9cjq3uts3MMJxxPGe05FjuM3ZpC0dlS0_I4xWtICfzn0frrLoG8V/w640-h498/mappa%20trento.jpg" width="640" /></a></div></div><p style="text-align: justify;"><span style="color: #04ff00;"><span><i>Foto aerea del centro di Trento (2022). In azzurro la zona universitaria e in rosso quella della movida notturna. </i></span><i>In entrambe gli stickers sono numerosi mentre al di fuori di tali aree diminuiscono sensibilmente. Cluster con concentrazioni maggiori sono presenti nelle strette vicinanze di alcuni edifici universitari, bar e pub.</i></span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Come detto, non è la trasgressione (o non solo) a spingere i ragazzi ad attaccare gli adesivi, quasi sempre collegati con dei profili instagram.</span></p><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></p><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQErajjAsFlur6vEbNVw8OxOoVhGoY_WZJuW4THPMTeLJTwz6tobFDUb3WQoQrBAE81bFAwu1C4fR9U4qeFAeZrkwaMRVnozuxhzrafEpq3dYbReupGJhahbGADrTb4CxiheOokmTVxPJ3EUiYkVFkAr3_ZgfUeHTK2rLDOsfzmZD814DG7LzSdF2F/s866/5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="454" data-original-width="866" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQErajjAsFlur6vEbNVw8OxOoVhGoY_WZJuW4THPMTeLJTwz6tobFDUb3WQoQrBAE81bFAwu1C4fR9U4qeFAeZrkwaMRVnozuxhzrafEpq3dYbReupGJhahbGADrTb4CxiheOokmTVxPJ3EUiYkVFkAr3_ZgfUeHTK2rLDOsfzmZD814DG7LzSdF2F/w640-h336/5.jpg" width="640" /></a></div><i style="text-align: center;"><p style="text-align: center;"><i><span style="color: #04ff00;">Adesivi di musicisti e visual artist nelle vie del centro di Trento (2022)</span></i></p><p style="text-align: center;"><i><span style="color: #ff00fe;"><br /></span></i></p></i></div><div><span style="color: #ff00fe;"><span style="font-family: Arial; font-size: 14.6667px; text-align: justify; white-space: pre-wrap;">Le frasi seguenti, raccolte nell'ambiente degli attacchini, sintetizzano bene l'attività di stickeraggio:</span></span></div><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">“<i>Gli stickers si attaccano per il gusto di farlo. In ogni caso un adesivo in più non fa nessuna differenza. E’ come ubbidire ad un istinto, ad una voglia di personalizzare la città, di sentirla propria. Chi li attacca, quando li osserva passando, prova un po' di compiacimento</i>”</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">“<i>Gli adesivi si trovano agli eventi o alle feste e si tengono in tasca o nello zainetto. Quando poi viene in mente, o quando c'è un palo libero, vengono presi e attaccati, magari accanto o sopra gli altri. Chi va in altre città lo fa in maniera più programmata e se li porta appositamente per lasciare un segno che, anche se non riconducibile a lui, vuol dire: io sono stato qui</i>”</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">“<i>Certamente gli adesivi vengono scelti prima di essere attaccati: nessuno gli attaccherebbe tutti, ma una certa parte sì</i>”</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">“<i>A volte vengono attaccati perché viene chiesto da qualcuno che fa parte dei gruppi che si frequentano</i>”</span></p><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">“<i>E’ una specie di arte istantanea</i>”</span></p><div><span><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVLfG7H6TaJWmRwDK5q1a4P8w0rhPFsaZiSVQBMIlM8Mwzp_bc1n0Ua_hWZbojJoBACdUUqYHID0CVE-4GX5JGe4hFNHRW2_JPWiakwN-fy8MFMmHkV-l8tSgrhUqREqnJB6Fud0ivIJA3NrkQgqh1n_ZeR6uDxp-qelXEQgSPHd7qINxqDFIKJFhP/s632/7.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="434" data-original-width="632" height="440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVLfG7H6TaJWmRwDK5q1a4P8w0rhPFsaZiSVQBMIlM8Mwzp_bc1n0Ua_hWZbojJoBACdUUqYHID0CVE-4GX5JGe4hFNHRW2_JPWiakwN-fy8MFMmHkV-l8tSgrhUqREqnJB6Fud0ivIJA3NrkQgqh1n_ZeR6uDxp-qelXEQgSPHd7qINxqDFIKJFhP/w640-h440/7.jpg" width="640" /></a></div><div style="text-align: center;"><i><span style="color: #04ff00;">Adesivi pubblicitari nelle vie del centro di Trento: offerta turistica e tatuaggi (2022)</span></i></div></div><div style="text-align: right;"><br /></div><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: justify;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">A partire dalla piccola scena trentina (che proprio in quanto piccola ha il pregio di non essere sovraffollata e di poter essere quindi meglio indagata) è possibile dire che la <i>sticker art</i> è una sorta di network, un grande circuito nel quale è certamente importante apparire ma, che lo si faccia per sé (o il proprio gruppo) o per conto di qualcun altro, anche il partecipare, l’esserci, il voler lasciare la propria traccia, sono un motivo altrettanto valido per attaccare qualche adesivo sui pali della città.</span></p><div><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><br /></span></div></span>Luca Pisonihttp://www.blogger.com/profile/10196345288384629507noreply@blogger.com2tag:blogger.com,1999:blog-4099951627253782921.post-17346799564006793192020-04-18T06:40:00.001-07:002020-04-21T05:37:35.421-07:00Coabitazione e parentela: etnoarcheologia della convivenza ai tempi del COVID-19<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: left;">
<span style="font-family: "arial" , "helvetica" , sans-serif; text-align: justify;">Tra le varie notizie che i media passano
spesso in questi giorni di quarantena dovuta al COVID-19 c’è quella dell’aumento
dello stress e delle violenze domestiche, cosa che si verifica spesso anche nei
mesi più caldi dell’estate. Talvolta allo stress della convivenza obbligata si
somma quello di pensieri e preoccupazioni legati alla sfera professionale
(quando potrò riaprire la mia attività?) e finanziaria (riuscirò a pagare il
mutuo?). In alcuni casi è il parentado ad essere in agguato. Famiglie allargate
o coppie giovani che ospitano genitori anziani vedono il numero ed il tenore
dei conflitti aumentare come non mai, annullando quel distacco e quell’autonomia
che l’adolescenza aveva tentato di mettere in atto tra le generazioni. </span></div>
<div class="MsoNormalCxSpFirst" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Non conosco nessun Sinto o
nessun Rom, ma immagino che le considerazioni dell’antropologo Leonardo Piasere
a proposito della non sempre ottimale convivenza di uno o più clan in una
stessa area di sosta rappresentino esattamente tale situazione e possano
essere prese, assieme alle considerazioni esposte sopra, come spunto per interpretare i siti abitativi del passato.<o:p></o:p></span></div>
<div class="MsoNormalCxSpMiddle" style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Gli abitati densi e compatti, come le palafitte
e le terramare dell’età del bronzo, indicano la presenza di società non molto differenziate e gerarchizzate che probabilmente ruotavano
attorno all’attività di uno o più clan dominanti, in grado di permeare le
attività di organizzazione e gestione degli abitati. <o:p></o:p></span><br />
<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht51Y3qKou5IdZcgLVqynro2bExAKxxFcl6fATjM6F-el6dSS9M6Jwvq95t-vPI248R7AR_dDbWPP2tzdkhKqlsNVeS_bfYTDqpCcATAyZZz7y3EgkBiKCaYPmfUYdf7SJw0pOEbBeMzo/s1600/montale.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="545" data-original-width="947" height="368" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht51Y3qKou5IdZcgLVqynro2bExAKxxFcl6fATjM6F-el6dSS9M6Jwvq95t-vPI248R7AR_dDbWPP2tzdkhKqlsNVeS_bfYTDqpCcATAyZZz7y3EgkBiKCaYPmfUYdf7SJw0pOEbBeMzo/s640/montale.png" width="640" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Ricostruzione della Terramara di Montale (dal materiale didattico del Museo all'aperto della Terramara di Montale, MO)</span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Una cappa parentale funzionale ma
probabilmente, e qui il richiamo ai giorni nostri, soffocante, tanto da poter essere
chiaramente deducibile dalla tessitura funeraria della necropoli della terramara
di Casinalbo (MO), imbastita attorno ad una parentela allargata che “soffre” però
nelle sue fasi finali dell’inquietudine e dell’esuberanza della famiglia
nucleare, attestata in piccoli gruppi di tombe attribuite ai rami cadetti fuoriusciti
delle più ampie rappresentative parentali (Cardarelli 2014, p. 851).<span style="mso-bidi-font-family: Calibri;"><o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Una certa conflittualità è
attestata anche dai dati relativi alla necropoli di Olmo di Nogara (VR) dove le
sepolture, che riflettono anche in questo caso un sistema sociale basato sulla
parentela, sono corredate da spade che indicano come l’unità politica della
comunità dovesse probabilmente passare per dei momenti di confronto interno (Bietti Sestieri 2011 pp. 401-406), anche se i momenti di scontro vero e proprio, come indicano le tracce di armi da taglio individuate sulle ossa, riguardavano probabilmente il rapporto tra comunità diverse (Canci e<i>t Al</i>. 2015).<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Anche in area atesina è possibile registrare
una tendenza egualmente incentrata su elementi relativi a entità parentali
limitate, costituite dai tumuli del bronzo medio di Stenico Calferi (Perini
1983) e Gardolo di Mezzo (Mottes, Bassetti, Maggioni 2016). <o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Lo scorrere dell’età del bronzo
atesina e padano-veneta vede un progressivo allentarsi della coesione relativa
al sistema tribale che ne ha caratterizzato le fasi più antiche e l’imporsi di
un diverso “stile abitativo” con insediamenti di minore superficie: in Trentino e in Alto Adige le palafitte lasciano il posto alle strutture allungate del bronzo recente del Doss Gustinacci di Fiavè e quelle
del bronzo finale di Appiano, Montesei, Fai Doss Castel e del Ganglegg (Marzatico 2001; Steiner 2007)<span style="mso-bidi-font-style: italic;">, che potrebbero essere interpretate come</span> la sede di una o massimo
due famiglie nucleari, presumibilmente riferibili allo stesso <i style="mso-bidi-font-style: normal;">clan</i> patriarcale. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Sarà con la prima età
del ferro, ma soprattutto con la seconda, che le abitazioni, non solo alpine ma
anche veneto-padane, diverranno di forma quadrangolare e saranno presumibilmente destinate
ad ospitare un’unica famiglia nucleare.<o:p></o:p></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2O-QasLUDvVUcDvv_eMUTxbrcqfYt3Bw8oalsZ8-GjIDO16eoY__MP4uLgneKEBKOTAYNCsdgqyRo-flwGVckgdhUGLckQ8LezFKBz-T2ovxfBY7FflgT6697SFiMzploAiWm3gKmR_w/s1600/house.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="719" data-original-width="955" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2O-QasLUDvVUcDvv_eMUTxbrcqfYt3Bw8oalsZ8-GjIDO16eoY__MP4uLgneKEBKOTAYNCsdgqyRo-flwGVckgdhUGLckQ8LezFKBz-T2ovxfBY7FflgT6697SFiMzploAiWm3gKmR_w/s640/house.png" width="640" /></a></div>
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<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Abitazioni "monofamigliari" della seconda età del ferro in Italia settentrionale (Pisoni, Tecchiati 2014)</span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Nel frattempo nel mondo etrusco l’elemento </span><span style="font-family: "arial" , "helvetica" , sans-serif;">parentale stava ulteriormente allentando la presa e subiva ormai da tempo l’ascesa del ceto medio, con notevolissimi </span><span style="font-family: "arial" , "helvetica" , sans-serif;">cambiamenti sociali come </span><span style="font-family: "arial" , "helvetica" , sans-serif;">la privatizzazione della terra</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> e l’emergere di una classe </span><span style="font-family: "arial" , "helvetica" , sans-serif;">imprenditoriale di artigiani, commercianti ed agricoltori. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Non più clan o figure tribali eminenti ma, progressivamente, lo sviluppo</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> di una città isonomica con magistrati e leggi uguali per tutti.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Abitare in una casetta della seconda età del ferro nell'insediamento retico di Bolzano est o nell'emporio etrusco di Spina (FE) era probabilmente più rilassante che stare in una delle abitazioni di mezzo di una terramara. L'intrusione del lignaggio, seppur presente, iniziava via via ad essere spinta all'interno delle abitazioni e ad allontanarsi dal vertice dell'insediamento e dai luoghi di mercato (luoghi di integrazione sociale, politica ed economica; Massa-Pairault 2000).</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZFyfF5z86C_o0YKkaBRgps0H6vGeDWcKjyyh08eCF3Yki8hjo6gkujtnsKmz2HpaMcw_zgucx6JPvH-ZRbunLresOlhMXLCHUvIQkGalc0CXW-Dk8QbiRkdTOU1LlpniaI0WrC_LHyOo/s1600/spina.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="489" data-original-width="500" height="624" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZFyfF5z86C_o0YKkaBRgps0H6vGeDWcKjyyh08eCF3Yki8hjo6gkujtnsKmz2HpaMcw_zgucx6JPvH-ZRbunLresOlhMXLCHUvIQkGalc0CXW-Dk8QbiRkdTOU1LlpniaI0WrC_LHyOo/s640/spina.jpg" width="640" /></a></div>
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<br />
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">L'emporio etrusco di Spina (FE; dal sito del Museo Archeologico Nazionale di Ferrara)</span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">Con oscillazioni diverse a seconda del momento, i parenti sono un </span><i style="font-family: arial, helvetica, sans-serif;">leitmotiv</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> della storia passata e presente dell'uomo. Ancora oggi, infatti, le ricerche antropologiche condotte sulle pratiche sociali dei centri di piccole dimensioni dimostrano come sia difficile, ad esempio nel caso dell'elezione di un sindaco o nella scelta del negozio di fiducia in cui fare la spesa, tracciare un solco netto tra parentela e vantaggio economico.</span><br />
<br /></div>
<br /></div>
Luca Pisonihttp://www.blogger.com/profile/10196345288384629507noreply@blogger.com0tag:blogger.com,1999:blog-4099951627253782921.post-650407050864922722016-11-13T05:16:00.003-08:002016-11-20T05:57:18.524-08:00Cosa mi porto in Europa 2.0<div dir="ltr" style="text-align: left;" trbidi="on">
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<div style="line-height: 150%; text-align: justify;">
L’obiettivo generale di questa ricerca è capire qual è, in situazioni di
rischio e disagio dati dal viaggio e dalla permanenza nelle
strutture di accoglienza, il bagaglio culturale e materiale irrinunciabile per
i migranti che in questi mesi giungono in Europa dai vari paesi del mondo.</div>
<div style="line-height: 150%; text-align: justify;">
La metodologia utilizzata è
quella delle interviste qualitative unite all’approccio metodologico proprio
dei <i style="mso-bidi-font-style: normal;">Material
Culture Studies</i>: nelle interviste ai testimoni, oltre ad una panoramica
generale della loro storia personale e delle loro aspettative, è stato infatti
chiesto di mostrare e commentare quali oggetti avessero portato con sé per il
viaggio.</div>
<div style="line-height: 150%; text-align: justify;">
Il primo step si è svolto
nell’estate del 2015 nelle stazioni ferroviarie di Bolzano e del Brennero, dove
sono stati intervistati una cinquantina di migranti eritrei (quasi
esclusivamente maschi) in transito verso la Germania e il Nord Europa.</div>
<div style="line-height: 150%; text-align: justify;">
<a href="http://lucapisoni.blogspot.it/2015/08/cosa-mi-porto-in-europa.html">http://lucapisoni.blogspot.it/2015/08/cosa-mi-porto-in-europa.html</a></div>
<div style="line-height: 150%; text-align: justify;">
Il secondo si è sviluppato
invece nell’estate del 2016 nella struttura di accoglienza Residenza Fersina,
dove, tra i circa 400 richiedenti asilo di varia nazionalità (solo maschi
ospitati in un ex caserma situata a Trento sud, gestita dalla Provincia
Autonoma di Trento), sono stati intervistati circa 50 migranti.</div>
<div style="line-height: 150%; text-align: justify;">
I risultati delle due ricerche
si sovrappongono per quanto riguarda gli aspetti religiosi e parentali.</div>
<div style="line-height: 150%; text-align: justify;">
Tutti hanno (o avevano, in
quanto hanno subito dei furti lungo il viaggio) oggetti di carattere religioso
(Bibbie, Corani, croci, amuleti magico-religiosi, ecc.) e famigliare (foto di
casa, di amici e di parenti, spesso custodite negli smartphone). </div>
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<br />
<div style="line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: center;">
<i><span style="color: #783f04;">Residenza Fersina, Trento
(2016): il tasbeeh di un profugo afgnano</span></i></div>
</div>
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<br />
<div style="line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: center;">
<i><span style="color: #783f04;">Residenza Fersina, Trento
(2016): pagine miniate del Corano che un profugo pakistano porta legate al
braccio (regalo della madre)</span></i></div>
</div>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: inherit;"><span style="color: black; font-family: "calibri"; font-size: xx-small;"><span style="mso-spacerun: yes;"><br /></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkXKdqex7i3Ta2g7cVvKGtIyzSS4LUkJY4HgW22NbQXpVkWYOcp6T6WBkD8jHk8efHLFBAkxigxmfkc4QAn2acdyQamruSdUUmIpICeLC4gDycqnK_DOSau8hfuCa3kc8otoWMvG9OhVo/s1600/IMG_2853.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkXKdqex7i3Ta2g7cVvKGtIyzSS4LUkJY4HgW22NbQXpVkWYOcp6T6WBkD8jHk8efHLFBAkxigxmfkc4QAn2acdyQamruSdUUmIpICeLC4gDycqnK_DOSau8hfuCa3kc8otoWMvG9OhVo/s640/IMG_2853.JPG" width="480" /></a></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div>
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<br /></div>
<div style="line-height: 150%; margin: 0cm; text-align: center;">
<i><span style="color: #783f04;">Residenza Fersina, Trento
(2016): amuleto voodoo costituito da un anello caricato di energia positiva
dalla "seconda mamma" di un profugo nigeriano.</span></i></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
Riguardano la sola Residenza Fersina i riferimenti, meno
scontati, agli sport. Alcuni migranti africani hanno infatti portato con sé le
maglie delle squadre di calcio in cui militavano o quelle dei grandi club
europei che seguivano alla tv, mentre diversi Pakistani e Afgani hanno portato
con loro quelle della nazionale di cricket, della quale possiedono anche
numerosi filmati nei loro smartphone.</div>
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<br />
<div style="line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: center;">
<i><span style="color: #783f04;">Residenza Fersina, Trento
(2016): maglietta della squadra di calcio nella quale militava il profugo
senegalese</span></i></div>
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<div style="line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: center;">
<i><span style="color: #783f04;">Residenza Fersina, Trento
(2016): maglietta della nazionale afghana di cricket</span></i></div>
</div>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: inherit;"><br /></span></span></span></span></span></span></span></span></span></span></span></span></span></span>
<br />
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<br />
<div style="line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: center;">
<i><span style="color: #783f04;">Residenza Fersina, Trento
(2016): palla da cricket (profugo pakistano)</span></i></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
Afghani e Pakistani, oltre all’interesse per le
rappresentative nazionali, hanno anche quello per il proprio paese, inteso come
uno stato con una storia recente (o relativamente recente) di emancipazione
dalle potenze straniere, del quale hanno con sé bandiere e, negli smartphone,
immagini di uomini politici e di guerriglieri.</div>
<br />
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<br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgvVKc42iWlae0umy22NhQ_FSBaofFhechuLvEiHAJIp5Z2l73evdCyfmewmcxq16gOedpg6B_IIpK2nGOdY3M2buF1YgENC5O7FPG3ClwDS8GzScGm2RMt_aOfsyLZ_AxfkKRuqska8o/s1600/6.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgvVKc42iWlae0umy22NhQ_FSBaofFhechuLvEiHAJIp5Z2l73evdCyfmewmcxq16gOedpg6B_IIpK2nGOdY3M2buF1YgENC5O7FPG3ClwDS8GzScGm2RMt_aOfsyLZ_AxfkKRuqska8o/s640/6.JPG" width="480" /></a></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div>
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<br />
<div style="line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: center;">
<i><span style="color: #783f04;">Residenza Fersina, Trento
(2016): il comandante Massud, eroe afghano della resistenza contro i Sovietici.</span></i></div>
</div>
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: inherit;"><br /></span></span></span></span></span></span></span></span></span></span></span></span></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie6xGfUYQq1x6gbQ6yDyf9fzubRH0abBJJYv09rcGqmIKITQa4rfuEKiuJ-CwyWbNc-F8bqjESZ058ws0U16qOkOVmYOmIsopIMCXhei61Maf_-mJJJLy22WLQLs8YFCdGZXDs7JL62O0/s1600/IMG_2996.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie6xGfUYQq1x6gbQ6yDyf9fzubRH0abBJJYv09rcGqmIKITQa4rfuEKiuJ-CwyWbNc-F8bqjESZ058ws0U16qOkOVmYOmIsopIMCXhei61Maf_-mJJJLy22WLQLs8YFCdGZXDs7JL62O0/s640/IMG_2996.JPG" width="480" /></a></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div>
<br />
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<br />
<div style="line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: center;">
<i><span style="color: #b45f06;">Residenza Fersina, Trento
(2016): Muhammed Alì Janah, fondatore del Pakistan moderno (1948)</span></i> </div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
Molti, soprattutto i più giovani, hanno portato con sé abiti
ordinari, festivi ma anche dei profumi e dei trucchi (gli uomini Afghani e
Pakistani usano la matita per gli occhi) per poter affrontare, come riferito da
loro stessi, un futuro nel quale poter sviluppare non solo questioni legali o
professionali ma anche relative ad un certo tipo di vita sociale.</div>
<br />
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<br />
<div style="line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: center;">
<i><span style="color: #b45f06;">Residenza Fersina, Trento
(2016): matita per gli occhi di un profugo pakistano</span></i></div>
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: inherit;"><span style="color: black; font-size: 16.0pt;"><span style="font-size: xx-small;"><span style="color: #b45f06;"><i> <span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span></span></span></i></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkbBahmdKXtRN2Rce-u81Z2PvLC4cCqTb6fB19WFuqmEuXIWdOPkbuyjh_uG2ef6yVQHSkexpegzhn653ZzEk4yn0DYXmcOob5dmukKshSD8I3buASEBj8Y9TaqvTS04jpR6B2mWHRapY/s1600/IMG_2895.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkbBahmdKXtRN2Rce-u81Z2PvLC4cCqTb6fB19WFuqmEuXIWdOPkbuyjh_uG2ef6yVQHSkexpegzhn653ZzEk4yn0DYXmcOob5dmukKshSD8I3buASEBj8Y9TaqvTS04jpR6B2mWHRapY/s640/IMG_2895.JPG" width="480" /></a></span></span></span></span></span></span></span></span></span></span></span></span></span></span></div>
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<div style="line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: center;">
<i><span style="color: #b45f06;">Residenza Fersina, Trento
(2016): vestito di un profugo afghano</span></i></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<br /></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
Lo stesso vale per la musica, spesso di artisti provenienti
dai paesi d’origine, che molti ascoltano dagli smartphone.</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
Considerando l’emergenzialità della situazione, le risposte messe
in atto dalla Provincia Autonoma di Trento rispondono molto bene alle questioni
messe in luce in precedenza.</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
Nella Residenza Fersina è presente una piccola moschea per i
Musulmani, mentre i Cristiani escono e pregano nelle chiese di Trento, dove
hanno iniziato ad intessere delle relazioni con alcuni parroci.</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
Nel piazzale antistante l’edificio è stato organizzato un
piccolo campo da calcio (sport seguito, con accesi dibattiti, anche nella sala
tv), mentre Afghani e Pakistani hanno provveduto loro stessi ad improvvisare un
campo da cricket dove sfidarsi nei lunghi pomeriggi estivi.</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
L’utilizzo di una wi-fi lenta ma fruibile è forse una delle
cose più apprezzate e quella che più delle altre occupa i migranti, che con lo
smartphone possono connettersi al web e comunicare con grande sollievo, spesso
via face book, con amici e parenti.</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
La presenza di una serie di corsi di italiano permette a chi
lo vuole di imparare la lingua per potersi preparare a vivere e lavorare in
Italia.</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
Le pratiche di accoglienza predisposte combaciano quindi con
quelle che possono essere le esigenze dei migranti anche se sfuggono due
questioni, difficilmente risolvibili in situazioni di emergenza: riuscire a
superare il carico di dolore dato dalle difficoltà del viaggio e attendere l’esito
non scontato della richiesta d’asilo.</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
Sindrome da stress postraumatico (relativa soprattutto a chi
è passato per la Libia) e angoscia per il futuro sono stemperate nelle piccole
pratiche sociali quotidiane e nello storytelling affidato ad una serie di
quadri realizzati da due giovani pittori - un ragazzo nigeriano e uno pakistano
- in un atelier improvvisato in una delle stanza di Residenza Fersina.</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
In due splendidi cicli di acquarelli, esposti in diverse sedi
(anche esterne al circuito dell’accoglienza), i due artisti hanno rappresentato
tutte le difficoltà del viaggio affrontato, utilizzando l’arte, oltre che in
funzione storica, anche in chiave psicoanalitica: un processo che ha aiutato i
migranti (e gli artisti stessi) a rielaborare lutti ed esperienze difficili da
raccontare, altrimenti destinati a rimanere nelle coscienze dei singoli.</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
<a href="http://lucapisoni.blogspot.it/2016/09/viaggio-per-immagini-dal-sahara.html">http://lucapisoni.blogspot.it/2016/09/viaggio-per-immagini-dal-sahara.html</a> </div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
La prima conclusione della presente ricerca è quella di
sottolineare come uno screening antropologico degli ospiti può certamente
favorire e orientare le pratiche da mettere in atto per la loro accoglienza.</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm; mso-add-space: auto; text-align: justify;">
In secondo luogo è possibile notare come le grandi strutture,
che ospitano consistenti numeri di richiedenti asilo, rendono certamente più
difficoltosa l’organizzazione generale ma permettono agli ospiti di poter
confrontarsi con un più ampio numero di persone che vivono la loro stessa
situazione, aumentando così le possibilità di confronto e favorendo le pratiche
sociali di storytelling, condizione essenziale per iniziare il percorso di
integrazione.<br />
Un'ultima riflessione riguarda i risultati generali della ricerca. Gli oggetti indicano come i migranti abbiano portato con sè valori e passioni (religione, famiglia, arte, sport) largamente condivisibili con quelli di noi Europei. <br />
</div>
</div>
</div>
</div>
Luca Pisonihttp://www.blogger.com/profile/10196345288384629507noreply@blogger.com0tag:blogger.com,1999:blog-4099951627253782921.post-20258193983872482072016-09-19T02:29:00.000-07:002016-09-21T22:51:53.723-07:00Viaggio per immagini dal Sahara all'Europa<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: justify;">
Sule Hamza è un ventiseienne artista e pittore nigeriano. </div>
<div style="text-align: justify;">
Diplomato in Arte al politecnico di Auchi, la sua città natale, è giunto in Italia nel gennaio del 2016 come rifugiato richiedente asilo.<br />
Durante una calda mattina di luglio mi ha concesso una breve intervista nel suo atelier: una stanza della residenza Fersina, la ex caserma gestita da Cinformi (PAT) che a Trento sud ospita i profughi richiedenti asilo.</div>
<div style="text-align: justify;">
Convinto che l'arte sia il mezzo migliore per comunicare, dipinge e disegna moltissime opere, spesso di carattere autobiografico.</div>
<div style="text-align: justify;">
Nel ciclo di acquarelli ritratti in questo post, che mi ha gentilmente permesso di fotografare e riprodurre, ha voluto rappesentare il viaggio che ha intrapreso per raggiungere l'Italia.</div>
<div style="text-align: justify;">
Sule, come racconta lui stesso nell'intervista a piè pagina, è partito dalla Nigeria e ha iniziato la traversata del Sahara su un pick up che navigava a tutta velocità tra le dune, rischiando, come realmente accaduto a molti, di cadere nella sabbia e di essere abbandonato nel deserto.<br />
Passata la prima notte in una grotta infestata da scorpioni e serpenti, il viaggio sui foristrada è proseguito nei giorni seguenti e, dopo aver attraversato una serie di valli rocciose, lo ha portato finalmente in Libia.<br />
La permanenza nell'ex colonia italiana è stata, per Sule e per tutti i migranti subsahariani, un'esperienza terribile della quale pochi parlano.<br />
In assenza di uno stato di diritto garantito da un governo centrale stabile, le angherie nei confronti dei profughi (furti, violenze e anche omicidi) sono tutt'altro che infrequenti.<br />
Dopo l'imbarco su un gommone Sule ha iniziato, insieme ad altri, la traversata del Mediterraneo, fino a quando una nave della Guardia Costiera Italiana ha incrociato l'imbarcazione e salvato i migranti.<br />
Guardando le opere di Sule Hamza è difficile non accorgersi di come uno dei pregi maggiori sia quello di saper comunicare, senza retorica e con grande empatia, le condizioni terribili del viaggio. <br />
Come già per le Guerre Mondiali l'arte svolge qui, oltre ad una testimonianza storica di una questione poco presente nei media europei, anche un'importante funzione psicoanalitica, aiutando nel percorso di rielaborazione dei lutti e delle esperienze traumatiche, altrimenti destinati a rimanere confinati nelle coscienze dei singoli migranti.<br />
Come rilevato infatti da Medici Senza Frontiere e da altre organizzazioni che si occupano della salute, anche mentale, dei profughi, i migranti fanno fatica a parlare di ciò che gli è successo, provano un senso generale di vergongna e spesso, come accaduto ai reduci della Shoah, temono di non essere creduti.<br />
<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1x61osgVSu8m3VESlEAnvMihV-qLA11i642FG6fvnwN7f83maYPSH8d6TawMz1gQZ92rq9dv6u8RwUag33YnATAQ0XBMiDmZw_I157jqH3eOz0iiksbVPvTM1DcyHQQxutZ3xOurF4Ro/s1600/1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="392" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1x61osgVSu8m3VESlEAnvMihV-qLA11i642FG6fvnwN7f83maYPSH8d6TawMz1gQZ92rq9dv6u8RwUag33YnATAQ0XBMiDmZw_I157jqH3eOz0iiksbVPvTM1DcyHQQxutZ3xOurF4Ro/s640/1.JPG" width="640" /></a></div>
<div style="text-align: center;">
<span style="color: #b45f06;">Sule Hamza<i>, Sahara-Italia: partenza</i>, 2016 </span></div>
<div style="text-align: center;">
<span style="color: #b45f06;">(foto: Luca Pisoni)</span></div>
<div style="text-align: left;">
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitu1ZS7gFSw2LV5bMN9ATawzmPHK0SoxLsPie_7gUSm4qDrxY6O0lY8q99u8vkOPFzT2LBC4HCYHcEW7PECoiXdTYzjUte965cYEJVoTA76wQSMgTY76QAZ1E8-eevKOJYIaRDW8M_YoA/s1600/IMG_3008.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="402" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitu1ZS7gFSw2LV5bMN9ATawzmPHK0SoxLsPie_7gUSm4qDrxY6O0lY8q99u8vkOPFzT2LBC4HCYHcEW7PECoiXdTYzjUte965cYEJVoTA76wQSMgTY76QAZ1E8-eevKOJYIaRDW8M_YoA/s640/IMG_3008.JPG" width="640" /></a></div>
<div style="text-align: center;">
<span style="color: #b45f06;">Sule Hamza<i>, Sahara-Italia: la grotta</i>, 2016 </span></div>
<div style="text-align: center;">
<span style="color: #b45f06;">(foto: Luca Pisoni)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsMJJPzWL-_Psmto5N2BhUKg96ErCsiyYnlcFc7vK6hpkmsHUTmbwdTrl5HZlHbWEprnjsEr1YTKcFFcqs32luqI5gWxnFCSrzxY6mSDBI2q8W32HoCsJaz-8TA_x51sdWE3Cx-Wkr4_g/s1600/IMG_3009.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="402" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsMJJPzWL-_Psmto5N2BhUKg96ErCsiyYnlcFc7vK6hpkmsHUTmbwdTrl5HZlHbWEprnjsEr1YTKcFFcqs32luqI5gWxnFCSrzxY6mSDBI2q8W32HoCsJaz-8TA_x51sdWE3Cx-Wkr4_g/s640/IMG_3009.JPG" width="640" /></a></div>
<div style="text-align: center;">
<span style="color: #b45f06;">Sule Hamza<i>, Sahara-Italia: cadere e perdersi nel deserto</i>, 2016 </span></div>
<div style="text-align: center;">
<span style="color: #b45f06;">(foto: Luca Pisoni)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM1bW69LCEVZ4_XotSwi9JEIHN0-GckBLs1QRBIaAZFX1ZkNf2K97Hjgfk5hnOl4A1F1AsObPa66c0WFR6MeJmXdi54FY-CckzUG-rF8SjtCW1DCfylb1RnD0bvgUBuvA5HIoB2ZDw9QQ/s1600/IMG_3010.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM1bW69LCEVZ4_XotSwi9JEIHN0-GckBLs1QRBIaAZFX1ZkNf2K97Hjgfk5hnOl4A1F1AsObPa66c0WFR6MeJmXdi54FY-CckzUG-rF8SjtCW1DCfylb1RnD0bvgUBuvA5HIoB2ZDw9QQ/s640/IMG_3010.JPG" width="640" /></a></div>
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<span style="color: #b45f06;">Sule Hamza<i>, Sahara-Italia: Duruku</i>, 2016 </span></div>
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<span style="color: #b45f06;">(foto: Luca Pisoni)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTM1rjbt1S4tEeL32gNNESfOasgCjcVB8wuRrD3AlRzZxwUHrARwmgtN92sTayvs66qZAJfrQtqu7t4WQOaCRFfhbBlq2eDCZy-Np_wUaCvAvUUDIxcBykDysFvFYr8EU_WdMNNULY5hw/s1600/IMG_3011.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTM1rjbt1S4tEeL32gNNESfOasgCjcVB8wuRrD3AlRzZxwUHrARwmgtN92sTayvs66qZAJfrQtqu7t4WQOaCRFfhbBlq2eDCZy-Np_wUaCvAvUUDIxcBykDysFvFYr8EU_WdMNNULY5hw/s640/IMG_3011.JPG" width="640" /></a></div>
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<span style="color: #b45f06;">Sule Hamza.<i> Sahara-Italia: l'arrivo in Libia</i> 2016 </span></div>
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<span style="color: #b45f06;">(foto: Luca Pisoni)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxkMlaoEEAgUcPGzOULWn-J8mOsceuZFlN063_QHCbplKQTKpUHS1gw5TuH1gv24II1g6e8UMxdg-Z42_OJL7KzGMsH_LsWkBbsPuLqdhx-6Mafqm23ZcNOYJZ25R4y81LbucJ4uE7qF4/s1600/IMG_3012.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="458" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxkMlaoEEAgUcPGzOULWn-J8mOsceuZFlN063_QHCbplKQTKpUHS1gw5TuH1gv24II1g6e8UMxdg-Z42_OJL7KzGMsH_LsWkBbsPuLqdhx-6Mafqm23ZcNOYJZ25R4y81LbucJ4uE7qF4/s640/IMG_3012.JPG" width="640" /></a></div>
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<span style="color: #b45f06;">Sule Hamza<i>, Sahara-Italia: la traversata del Mediterraneo</i>, 2016 </span></div>
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<span style="color: #b45f06;">(foto: Luca Pisoni)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtv5M9sSukyfPsD_YPkYQzmyFt6JvD_FgsJxRQyjabLjt0sFaMhsou1_bX8VgHXPePVZ7ofs-d1gZTFA85lOGWnYjVXIhIfmMMpQL_995xAlW9E6T3N1-HSlQYtb4yDRbpy4VeKWtojC4/s1600/IMG_3013.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtv5M9sSukyfPsD_YPkYQzmyFt6JvD_FgsJxRQyjabLjt0sFaMhsou1_bX8VgHXPePVZ7ofs-d1gZTFA85lOGWnYjVXIhIfmMMpQL_995xAlW9E6T3N1-HSlQYtb4yDRbpy4VeKWtojC4/s640/IMG_3013.JPG" width="640" /></a></div>
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<span style="color: #b45f06;">Sule Hamza<i>, Sahara-Italia: i soccorsi italiani</i>, 2016 </span></div>
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<span style="color: #b45f06;">(foto: Luca Pisoni)</span><br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dxdHDA3-tY5bn8oUAgPxZdwqz0b6ammsj79MPYfXC2eyzsnyCc64X5qz_2gMd01ANiFVnAH1fezoBYgxuOKow' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
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<span style="color: #b45f06;">Luca Pisoni<i>, intervista a Sule Hamza,</i> Trento (Italy), 22 luglio 2016 </span></div>
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Luca Pisonihttp://www.blogger.com/profile/10196345288384629507noreply@blogger.com0tag:blogger.com,1999:blog-4099951627253782921.post-73289835378792916642015-08-05T13:15:00.002-07:002023-03-08T04:14:01.567-08:00Cosa mi porto in Europa?<div dir="ltr" style="text-align: left;" trbidi="on">
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: large;"><b style="mso-bidi-font-weight: normal;">Progetto di ricerca sulla cultura materiale dei migranti tra sud e nord del Mediterraneo</b></span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><b style="mso-bidi-font-weight: normal;">Autore: </b>Luca Pisoni, e-mail: pisoni.gaetano@gmail.com</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><b style="mso-bidi-font-weight: normal;">Obiettivi: </b>indagare il
rapporto tra migranti e cultura materiale</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><b style="mso-bidi-font-weight: normal;">Luogo di svolgimento: </b>stazioni
ferroviarie di Bolzano e del Brennero</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><b style="mso-bidi-font-weight: normal;">Durata</b>: estate
2015</span><br />
<span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><b>Presentazione risultati</b>: </span><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;">Current Ethnoarchaeology, 25/26/27 Novembre 2015, Roma<b> </b></span><br />
<span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><b>Media</b>: </span><span style="background-color: white; font-size: large;"><b><i><a href="http://www.radio3.rai.it/dl/portaleRadio/media/ContentItem-85803152-095e-4ae1-acfd-471fcd5576e0.html#">Intervista a Radio 3 Mondo del 25/3/2015</a></i></b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqgXVW7HkOYI-VEuq-Vj96ArUe50U-mGNPisQj_Knt3ZPQR4CJCxLfV9SaaKYByJf_3kPmWUFyjTEahGJz8GW77c_Fp7RX1iCfb0al6EeaG2DpFL7hmttAqaYtzzJjTUqtAmYRLGOb3FI/s1600/Senzanome.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="40" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqgXVW7HkOYI-VEuq-Vj96ArUe50U-mGNPisQj_Knt3ZPQR4CJCxLfV9SaaKYByJf_3kPmWUFyjTEahGJz8GW77c_Fp7RX1iCfb0al6EeaG2DpFL7hmttAqaYtzzJjTUqtAmYRLGOb3FI/s400/Senzanome.jpg" width="400" /></a></div>
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<b><span face=""arial" , "helvetica" , sans-serif">La ricerca</span></b></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: small;">Cosa portare con sé in un viaggio costellato da
immani tragedie, grandi speranze e profonda commozione per l’abbandono della
propria terra e dei propri cari? </span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: small;">L’umanità intera, se costretta a passare per un
“collo di bottiglia” costituito dalle ristrettezze di un posto in piedi su un
barcone o su un motoscafo, reagirebbe probabilmente allo stesso modo.</span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: small;">Ne sono prova i materiali conservati presso il Museo delle Migrazioni
di Lampedusa e Linosa e gli oggetti che i profughi portano con sè presso un secondo “collo di
bottiglia”: il passo del Brennero, che li condurrà in quell’Europa dove
sognano di trovare cittadinanza e lavoro.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZw1myrm0ZWWJGyWaEYkX6MUIZCPW_RN6688-rRfnpdEQloydLAQLvbsxUPPfP-bDQrBWpaP_8C93nDf4YpaxY2CFGFJFOXii8srCgWNgq3Hh2qQ-KElB0vKkqCqXLaX-vHqJy41-jPhc/s1600/fig.+1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="468" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZw1myrm0ZWWJGyWaEYkX6MUIZCPW_RN6688-rRfnpdEQloydLAQLvbsxUPPfP-bDQrBWpaP_8C93nDf4YpaxY2CFGFJFOXii8srCgWNgq3Hh2qQ-KElB0vKkqCqXLaX-vHqJy41-jPhc/s640/fig.+1.jpg" width="640" /></a></div>
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<span face=""arial" , "helvetica" , sans-serif"><span style="color: #b45f06;"><span style="font-size: small;">Le principali rotte dei migranti</span></span><br /> </span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: small;">Il progetto “Cosa mi porto in Europa?” si è svolto
nell’estate 2015 nella stazione ferroviaria di Bolzano, nonché
sui treni di passaggio, con l’obiettivo di indagare il
rapporto tra migranti e cultura materiale. Ho intervistato circa 50 profughi,
in gran parte eritrei cristiani, chiedendo loro di mostrarmi gli oggetti che
avevano con sé negli zaini e nelle borse. Del bagaglio di partenza era rimasto
ben poco, in quanto la maggior parte di loro era stata derubata lungo il tragitto e
aveva conservato solo gli effetti personali più stretti (fotografie e oggetti
di carattere religioso) e talvolta lo smartphone. A questo punto ho realizzato la
documentazione fotografica e le interviste, nelle quali ho chiesto loro di ricostruire
la <i>biografia</i> delle cose che si portavano appresso (nel senso di <span style="mso-ascii-font-family: Calibri; mso-bidi-font-weight: bold; mso-hansi-font-family: Calibri;">Kopytoff 1986).</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKDJ-5GdJm4XfRJQ-s6BZoe1tTwIOiE4dkFmwi0wtr5MyivMkkFgqrgltQ2FhgllbIm6vDl30MtAh1HvXCA4nwQxmxHOw379tu8jdkhXw53Oz8lKzAViUtc9LNBE55FZ-3IXMH0fCX_sI/s1600/fig.+2.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKDJ-5GdJm4XfRJQ-s6BZoe1tTwIOiE4dkFmwi0wtr5MyivMkkFgqrgltQ2FhgllbIm6vDl30MtAh1HvXCA4nwQxmxHOw379tu8jdkhXw53Oz8lKzAViUtc9LNBE55FZ-3IXMH0fCX_sI/s640/fig.+2.JPG" width="480" /></a></div>
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<span style="color: #b45f06;"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-weight: bold; mso-hansi-font-family: Calibri;">Croce in legno con medaglione (foto: L. Pisoni)</span></span></span></div>
<span face=""arial" , "helvetica" , sans-serif"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-weight: bold; mso-hansi-font-family: Calibri;"><span style="font-size: x-small;"> </span> </span></span></div>
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<span face=""arial" , "helvetica" , sans-serif" style="font-size: small;">Se, come sostiene Daniel Miller (Miller 2008), gli
oggetti sono attivi contemporaneamente in senso sociale, funzionale e
ideologico, è possibile considerare come siano soprattutto gli ultimi due aspetti
ad essere maggiormente enfatizzati dalle cose che i migranti portano con sè.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYvs8vDw4bFzdL-C7xbZC5zqXlQCBEbx6LsFfvhmFEAN-TQSr2PojwCmP6HY6YQ81f8EW55fcBk_m6judJDDsXACJFlemscWKqNYw2c6TtpR7CJiWCqYFwj9uK2TvzWGDEwXEFyPUPAD8/s1600/arcangeli.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYvs8vDw4bFzdL-C7xbZC5zqXlQCBEbx6LsFfvhmFEAN-TQSr2PojwCmP6HY6YQ81f8EW55fcBk_m6judJDDsXACJFlemscWKqNYw2c6TtpR7CJiWCqYFwj9uK2TvzWGDEwXEFyPUPAD8/s640/arcangeli.jpg" width="640" /></a></div>
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<span style="color: #b45f06;"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;">Medaglione eritreo in legno. Da un lato l'Arcangelo Gabriele, dall'altro l'Arcangelo Michele (foto: L. Pisoni)</span></span></div>
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<span face=""arial" , "helvetica" , sans-serif">Alla dimensione logistica appartengono infatti del cibo e
l’immancabile <i style="mso-bidi-font-style: normal;">smartphone,</i> col quale
contattare, via facebook, casa, amici e quelli che, già arrivati in Europa, possono dare preziose informazioni sul viaggio.</span></div>
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<span face=""arial" , "helvetica" , sans-serif">Alla sfera ideologica si riferiscono invece le foto di famiglia, i testi e i simboli religiosi (Bibbia, Corano, croci, ecc.) e la musica che lo <i style="mso-bidi-font-style: normal;">smartphone</i> manda attraverso le cuffiette,
che va considerata, più che una passione o un passatempo, un importante elemento di
resistenza.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Tn19p0UqqBCclL770ZKW8dBKo90-lJnIGTCwB-f3XPbjVACDrAj7IYH9hS7DDQkqHBBhNjkDofwRHzPS8M-WoiIIiweG0sQ9hvbyRuMgonh1tFYJz84l1ryfqXeGjwSpBOetxPv9PzM/s1600/fig.+4.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Tn19p0UqqBCclL770ZKW8dBKo90-lJnIGTCwB-f3XPbjVACDrAj7IYH9hS7DDQkqHBBhNjkDofwRHzPS8M-WoiIIiweG0sQ9hvbyRuMgonh1tFYJz84l1ryfqXeGjwSpBOetxPv9PzM/s640/fig.+4.JPG" width="640" /></a></div>
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<span style="color: #b45f06;"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;">Una bibbia eritrea scritta in tigrino (foto: L. Pisoni) </span></span></div>
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<span face=""arial" , "helvetica" , sans-serif">Uno studio analogo a quello presentato qui, condotto sul
flusso illegale dei migranti tra Messico e Stati Uniti, ha dato gli stessi
risultati (<span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: VectoraLH-Roman; mso-hansi-font-family: Calibri;">De León 2011)</span>. Vestiario
adatto alla traversata del deserto, telefono e agendina con contatti da
chiamare una volta giunti a destinazione, fotografie di parenti e santini del
Bambin Gesù di Atocha, protettore dei viandanti, sono le cose che i clandestini
portano con sé.</span></div>
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<span face=""arial" , "helvetica" , sans-serif">Emerge quindi come gli oggetti siano una fonte
preziosissima per illuminare quei black-out informativi che pensiamo
inesistenti in una società dove qualsiasi avvenimento sembra inesorabilmente
destinato ad incappare nelle registrazioni audio o video di qualche webcam o
cellulare.</span></div>
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<span style="color: #b45f06;"><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;">Migrante eritrei con croci tatuate sulle spalle (foto: L. Pisoni)</span></span></div>
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<span style="color: #b45f06;"><span face=""arial" , "helvetica" , sans-serif">A sinistra un tatuaggio con la scritta <i>I love you mother</i> (mother scritto in tigrino); a destra un tatuaggio con la scritta <i>Mia Madre </i></span><span face=""arial" , "helvetica" , sans-serif" style="font-size: small;">(foto: L. Pisoni)</span></span></div>
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<span style="color: #b45f06;"><span style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif">L'arrivo alla stazione di Bolzano del treno con i migranti: mi chiedono <i>This is Bolzano ?</i></span></span></span></div>
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<span style="font-size: small;"><span face=""arial" , "helvetica" , sans-serif"><span lang="EN-GB" style="line-height: 150%;">Kopytoff, I.</span><span lang="EN-GB" style="line-height: 150%;"> 1986. The Cultural Biography of Things:
Commoditization as a Process. In <span style="mso-bidi-font-style: italic;">The
Social Life of Things: Commodities in Cultural Perspective</span>, edited by A.
Appadurai, pp. 64–91, Cambridge, UK</span></span></span></div>
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Comfort of Things, Cambridge, Polity Press</span></span></span></div>
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Luca Pisonihttp://www.blogger.com/profile/10196345288384629507noreply@blogger.com0tag:blogger.com,1999:blog-4099951627253782921.post-1433652510010212862015-08-05T02:45:00.001-07:002015-08-05T06:20:59.808-07:00<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: x-large;">Di chi è l’orso?</span></div>
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Conferenza-dibattito<br />
di Luca Pisoni</div>
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Domenica 9 agosto ore 18.00 </div>
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Bar Ristorante Malga Montagna Granda<br />
Loc. Panarotta, Pergine Valsugana (TN)</div>
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In Trentino, dopo la reintroduzione dell’orso, si è sviluppato un vivissimo dibattito dove si riflettono le immagini che l’uomo, nel corso dei secoli, ha elaborato del suo alter-ego selvatico: da Re della Foresta nel Medioevo, a fenomeno circense nell’Ottocento, ad animale protetto nel Novecento.<br />
Ma che posizione occupa oggi l’orso nella nostra società? Chi ha più titolo nel parlarne? Questi gli interrogativi ai quali tenterà di dare risposta l’incontro-dibattito.</div>
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Luca Pisonihttp://www.blogger.com/profile/10196345288384629507noreply@blogger.com0tag:blogger.com,1999:blog-4099951627253782921.post-3309835215968852982014-05-28T03:54:00.000-07:002014-05-28T03:56:09.643-07:00SUMMER SCHOOL 2014: LE SCRITTE DEI PASTORI<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #504e4e; font-family: inherit; font-style: inherit; font-weight: inherit; text-align: justify;">La pratica plurisecolare della pastorizia ha lascia¬to nelle valli di Fiemme e di Fassa, sulle rocce del monte Cornón, migliaia di scritte, realizzate dai pastori con un’ocra rossa reperita nelle miniere locali. Le iscrizioni raffigurano iniziali, sigle, date, nomi, simboli, conteggi del bestiame, figure di uomini, animali, immagini sacre, messaggi di salu¬to e brevi annotazioni diaristiche. Questa attività scrittoria si colloca tra la seconda metà del ‘600 e la prima metà del secolo scorso. </span></div>
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A partire dal 2006 il Museo degli Usi e Costumi della Gente Trentina ha condotto un’indagine tra i pastori della valle superstiti per fornire un’inter¬pretazione del fenomeno delle scritte e per rico¬struire gli ultimi 300 anni di pastoralismo di que¬ste valli.<br />
A sette anni dall’inizio della ricerca su queste scritte, il Museo si pone come obiettivo quello di cominciare a far conoscere, a specialisti e appas¬sionati, i siti graffitati delle valli di Fiemme e Fassa, per quanto essi hanno da offrire di spettacolare, di evocativo, e anche di molto strettamente affine al graffitismo rupestre di epoca pre- e protostorica.<br />
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La Summer School, che si tiene <b style="margin: 0px; padding: 0px;">dall'1 al 6 settembre</b> a cura di <b style="margin: 0px; padding: 0px;">Giovanni Kezich</b>, <b style="margin: 0px; padding: 0px;">Marta Bazzanella</b>e <b style="margin: 0px; padding: 0px;">Luca Pisoni</b>, si svolge a <b style="margin: 0px; padding: 0px;">San Michele all’Adige</b> presso il Museo degli Usi e Costumi della Gente Trentina, in via Mach 2, da lunedì 1 a mercoledì 3 settembre e nelle <b style="margin: 0px; padding: 0px;">valli di Fiemme e Fassa</b> da giovedì 4 a sabato 6 settembre.<br />
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Tra i docenti:<br />
<b style="margin: 0px; padding: 0px;">Craig Alexander</b>, <b style="margin: 0px; padding: 0px;">Francesco Carrer</b>, <b style="margin: 0px; padding: 0px;">Nathalie Magnardi</b>, <b style="margin: 0px; padding: 0px;">Edoardo Micati</b>, <b style="margin: 0px; padding: 0px;">Mara Migliavacca</b>,<b style="margin: 0px; padding: 0px;">Mauro Nequirito</b>, <b style="margin: 0px; padding: 0px;">Daniela Perco</b>, <b style="margin: 0px; padding: 0px;">Ausilio Priuli</b>.<br />
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Il corso è a numero chiuso e diretto a: laureandi / laureati in etnografia, antropologia, etnoarcheologia, archeologia, cultori della materia nonché appassionati di graffitismo alpino.<br />
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Vitto e alloggio sono a carico del partecipanti. La Segreteria del Museo è a disposizione degli interessanti per la prenotazione alberghiera.</div>
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Per ulteriori informazioni:<br />
<a href="mailto:info@museosamichele.it" style="border: 0px; color: #6c3d3c; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;" target="_self">info@museosamichele.it</a><br />
<a href="mailto:m.bazzanella@museosanmichele.it" style="border: 0px; color: #6c3d3c; font-family: inherit; font-style: inherit; font-weight: inherit; margin: 0px; padding: 0px; vertical-align: baseline;" target="_self">m.bazzanella@museosanmichele.it</a><br />
Tel. 0461 650314 (dott.ssa Marta Bazzanella)</div>
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Luca Pisonihttp://www.blogger.com/profile/10196345288384629507noreply@blogger.com0tag:blogger.com,1999:blog-4099951627253782921.post-21512646866068305572012-02-08T23:38:00.000-08:002012-02-08T23:38:40.163-08:00Archaeology of a fugitive<div dir="ltr" style="text-align: left;" trbidi="on"><br />
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<a href="http://traumwerk.stanford.edu/archaeolog/2012/01/archaeology_of_a_fugitive_the.html">http://traumwerk.stanford.edu/archaeolog/2012/01/archaeology_of_a_fugitive_the.html</a></div>Luca Pisonihttp://www.blogger.com/profile/10196345288384629507noreply@blogger.com0tag:blogger.com,1999:blog-4099951627253782921.post-75779055938516368732011-07-28T00:30:00.000-07:002016-04-20T03:29:36.763-07:00African-European Archaeology: cultura materiale e rivendicazioni sociali dei lavoratori africani di Rosarno (RC, Italia).<div dir="ltr" style="text-align: left;" trbidi="on">
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</span><span style="font-family: "arial" , "helvetica" , sans-serif;">Questo contributo nasce dalla convinzione che per una piena e matura comprensione dei meccanismi che regolano le società contemporanee si debba riconoscere allo studio degli oggetti - e quindi all’archeologia, all’etnoarcheologia e ai cosiddetti material culture studies - un ruolo di pari importanza a quello delle più “normali” fonti di informazione, come le testimonianze orali, i documenti scritti, le fotografie e i filmati.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Inoltre, secondo l'esperienza della scuola di Stanford (http://archaeography.com/photoblog/about.shtml), proprio filmati e fotografie possono essere usati come una specie di fonte archeologica da utilizzare per lo studio degli oggetti.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Partendo dalle premesse esposte sopra, l’obiettivo di questa ricerca è quello di indagare le dinamiche sociali, comprese dei relativi esiti materiali, sviluppatesi tra il 2008 e il 2010 nella comunità di lavoratori africani di Rosarno (RC).</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Lo studio si è articolato in due parti. La prima, più archeologica, si è soffermata sulla presenza, all’interno dei luoghi occupati dai migranti, di elementi riferibili al contesto culturale africano, costituiti da numerosi focolari a tre pietre utilizzati per scaldarsi e cucinare. La seconda, più antropologica, si è concentrata sull’organizzazione e sulle azioni attuate dai migranti in reazione agli affronti e agli attacchi che giungevano dal contesto locale.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Essendo</span> questa una ricerca che non ha goduto di alcun finanziamento, non mi sono potuto recare a Rosarno; mancano dunque informazioni fondamentali, che sarebbero potute venire dall’incontro con gli stessi migranti. Ho quindi cercato di supplire con due interviste ed un fitto scambio di mail con Giuseppe Pugliese (Osservatorio sui Migranti di Rosarno) e Piervincenzo Canale (caporedattore del giornale on-line Africanews), che hanno svolto diverse inchieste su campo nei luoghi di permanenza degli Africani; numerose informazioni sono inoltre state riportate da Antonio Mangano su un libro di recente edizione.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Il tema dei movimenti migratori, apparentemente lontano dal target di una ricerca archeologica, è invece al centro di diversi filoni di ricerca, il più importante dei quali è costituito dalla cosiddetta African-American Archaeology, che ha tra i suoi obiettivi quello di studiare la diaspora avvenuta tra il Seicento e l’Ottocento dal continente africano verso l’America centrale e settentrionale.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Recentemente (estate 2010), l’archeologia è stata utilizzata per documentare il fenomeno migratorio in corso tra il Messico e l’Arizona, prendendo in considerazione gli oggetti rinvenuti nei luoghi di sosta dei clandestini sudamericani presso la frontiera USA (UCLA University, Los Angeles, Migrant Material Culture Project - Ethnoarchaeology of Undocumented Migration).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Fig. 1. UCLA University, Los Angeles, Migrant Material Culture Project Ethnoarchaeology of Undocumented Migration </span><span style="font-family: "arial";">(from <a href="http://www.archaeology.ucla.edu/programs/past-programs/2009/programs/north-america/u.s.-arizona-migrant-material-culture-project%20ethnoarchaeology-of-undocumented-migration/program_instructor">http://www.archaeology.ucla.edu/programs/past-programs/2009/programs/north-america/u.s.-arizona-migrant-material-culture-project%20ethnoarchaeology-of-undocumented-migration/program_instructor</a>)</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Hanno invece a che fare con i cosiddetti material culture studies i contributi contenuti in uno dei volumi della rivista Mobilities (Migrant Worlds, Material Cultures 2008), lo studio di Faida Abu-Ghazaleh sull’identità degli immigrati palestinesi negli USA e il progetto Migration and Material Culture, focalizzato sugli arredi domestici relativi alle etnie extraeuropee dell’Olanda contemporanea.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Gli studi che forse più di tutti si avvicinano al presente contributo sono costituiti dagli articoli pubblicati nel quinto volume dell’Annuario di Antropologia, dedicato al tema dei rifugiati e dei campi profughi.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Fig. 2. Campo profughi con focolari a tre pietre (Kenya)</span></div>
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<b closure_uid_7c9co1="118" closure_uid_r19rv8="160"><span style="font-family: "arial" , "helvetica" , sans-serif;">2. Rosarno: arrivo, permanenza ed “espulsione” dei migranti africani</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Come è noto, l’immigrazione nella piana di Gioia Tauro e di Rosarno è legata soprattutto alla raccolta delle arance, che avviene durante la stagione invernale.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Il flusso di lavoratori stranieri nella piana - così come nelle altre zone del sud Italia, ad esempio la Puglia, in quel caso legato alla raccolta dei pomodori - ha avuto inizio nei primi ani Novanta, con l’arrivo di cittadini provenienti dalla Polonia.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Ai polacchi si sono poi sostituiti gli Africani - maghrebini, ma soprattutto sub sahariani - divenuti la maggioranza della forza lavoro fino alla “rivolta” del gennaio 2010 (The Guardian, January 11, 2010), dopo la quale sono stati soppiantati dai Bulgari (inverno 2011).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Come racconta Antonio Mangano, il primo episodio di protesta fu quello del dicembre 2008, quando, a seguito del ferimento a colpi di pistola di un ventunenne ivoriano, gli Africani marciarono pacificamente per le vie di Rosarno, chiedendo il rispetto della popolazione locale e il miglioramento delle condizioni di vita.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Il 9 agosto 2009 una delegazione di lavoratori africani di Rosarno partecipò a Messina alla manifestazione contro la costruzione del ponte sullo stretto, rivendicando il diritto ad un regolare permesso di soggiorno.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In seguito ad altri episodi di violenza anche gravi, tra cui un nuovo ferimento a colpi di arma da fuoco avvenuto il pomeriggio del 7 gennaio 2010, diversi cortei di immigrati marciarono nuovamente su Rosarno, ingaggiando scontri con la polizia e con i residenti e causando diversi feriti da entrambe le parti; al momento non è stato chiarito il ruolo della ‘ndrangheta nella vicenda.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Il clima dei giorni successivi si fece più pesante (spedizioni punitive e gambizzazioni verso i migranti), tanto che le forze dell’ordine, che a fatica erano riuscite a tenere a bada la situazione, decisero di allontanare gli Africani, trasferendo i clandestini nei centri di identificazione ed espulsione di Bari e Napoli. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Il 31 gennaio 2010, le persone non avviate ai CIE hanno costituito a Roma I’Assemblea Lavoratori Africani di Rosarno (ALAR), con l’intento di regolarizzare la propria posizione e di ottenere il permesso di soggiorno.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Infine, è doveroso sottolineare come i rapporti con il contesto locale non abbiano avuto risvolti esclusivamente negativi; infatti, molti singoli e molte associazioni si sono adoperati per aiuti concreti (materassi, coperte, cibo, ecc.), dibattiti informativi e iniziative comuni.</span></div>
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<b closure_uid_7c9co1="122"><span style="font-family: "arial" , "helvetica" , sans-serif;">3. Rosarno: esiti materiali della presenza africana</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Gli esiti materiali della presenza africana non sono oggi più rilevabili, in quanto le aree di permanenza dei migranti sono state abbattute, bruciate o riqualificate.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I dati relativi alla cultura materiale, che scaricato dal WEB, sono costituiti esclusivamente dai filmati e dalle fotografie scattate in quei luoghi da giornalisti professionisti, reporter free-lance e membri di associazioni di volontariato locale.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Secondo quanto riferitomi da Giuseppe Pugliese dell’Osservatorio sui Migranti, i luoghi dove gli Africani avevano trovato alloggio erano costituiti dalla “Rognetta” di Rosarno (400 ragazzi), dall'ex Opera Sila (900 ragazzi), dai casolari della “Collina” di Rizziconi (650 ragazzi), dalla Cartiera sulla strada di San Ferdinando (bruciata nel luglio 2009) e da una decina di posti più piccoli; è stato ipotizzato come a fine 2009 nella piana di Rosarno fossero presenti circa 2500 immigrati, costituite da uomini tra i 20 e il 40 anni provenienti prevalentemente dall’Africa centrale e occidentale.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Fig. 3. La piana di Gioia Tauro (RC) e i siti occupati dai migranti. 1. La Rognetta 2. La Cartiera 3. L’Opera Sila 4. La Collina</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Le fotografie riportate di seguito sono costituite da una serie di fermo-immagine - purtroppo di bassa qualità -relativi ai filmati caricati su youtube da Medici Senza Frontiere, da Rainews24, dall’associazione Rifondareggio, dai componenti di Stopndrangheta e dal Blog di Beppe Grillo.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Le immagini degli stabili dove hanno trovato rifugio gli Africani provengono invece da Google Earth, che nella sua funzione Street View consente di “visionare” numerosissime strade ed edifici situati in diverse parti del mondo.</span></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif;">La Rognetta (fig. 3; n. 1)</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">La Rognetta è una ex fabbrica per la lavorazione del succo d’arancia situata nell’immediata periferia nord di Rosarno.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Si tratta di un capannone di pianta quadrangolare (30mx60m) privo di tetto, luce, acqua e servizi igienici, in cui nel 2009 hanno trovato alloggio circa 400 persone, sistematesi sia nell’edificio che nel piazzale esterno.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Fig. 4. Panoramica esterna della Rognetta (RC).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Dalle immagini dei media, purtroppo di qualità troppo bassa per essere riportate qui, si potevano notare numerose tende e ripari costruiti alla meglio. Tra questi c’erano almeno sette focolari di “tipo africano” - costituiti da tre pietre disposte a 120° una dall’altra - situati sia all’interno che nel piazzale antistante l’edificio.</span></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif;">La Cartiera (fig. 3; n. 2)</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">La Cartiera - ovvero la ex Modul System Sud, nata per produrre telescriventi e bruciata nel luglio 2009 a causa di un incendio appiccato da persone estranee al circuito degli immigrati - si trova accanto alla statale che collega Rosarno al vicino paese di San Ferdinando. È formata da un grande corpo di fabbrica di pianta quadrangolare (80mX30m) a cui si affianca una piccola costruzione, anch’essa di pianta quadrangolare (30mx10m). Il tetto è presente, ma mancano luce, acqua e servizi igienici funzionanti.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Fig. 5. Panoramica esterna della Cartiera (RC).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">La sistemazione degli Africani interessava prevalentemente l’interno del capannone, dove sono state realizzate due file di casette di cartone, all’esterno delle quali si potevano osservare almeno 17 focolari di “tipo africano”; fuori dall’edificio è stata rilevata la presenza di almeno altre 4 strutture di combustione del medesimo tipo.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Tra quelli individuati all’interno, sono due i focolari che dispongono di una documentazione fotografica sufficientemente accurata per essere utilizzata in questo contributo.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Il primo, dietro al quale ce ne sono altri tre, è costituito dalle consuete tre pietre e dalla presenza di legni piuttosto lunghi, infilati nel fuoco sono per la punta; il ragazzo che siede lì accanto sembra intento a cucinare (Fig. 6).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Fig. 6. Focolare a tre pietre, la Cartiera (RC).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Il secondo è del tutto simile al primo sia per la disposizione delle pietre che per l’utilizzo del legname, infilato poco alla volta nel punto di combustione (Fig. 7).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Fig. 7. Focolare a tre pietre, la Cartiera (RC).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Pur non essendo stati ripresi in primo piano, anche i quattro focolari esterni, seppure spenti, sono praticamente identici a quelli visti fino ad ora (Fig. 8).</span></div>
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<a closure_uid_4g7hr0="113" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7vJTrtxuDTrXXRpaXaYkDZ42f01bImZWtciDp_npjPQjbSU6fzoQZHqrvC1ZYBAdxB0dbLJdztnAthOICB2QhT782OL19pPBMBS2PZa9GysBSYl50F_5wVmi-9e1bny0TM8dTESoypO4/s1600/Rosarno_lavoro_nero_20+-+Copia.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7vJTrtxuDTrXXRpaXaYkDZ42f01bImZWtciDp_npjPQjbSU6fzoQZHqrvC1ZYBAdxB0dbLJdztnAthOICB2QhT782OL19pPBMBS2PZa9GysBSYl50F_5wVmi-9e1bny0TM8dTESoypO4/s320/Rosarno_lavoro_nero_20+-+Copia.jpg" t="" true="" width="320" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Fig. 8. Focolari a tre pietre situati all'esterno della Cartiera (RC).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Di un certo interesse per questa ricerca è la presenza, su un muro della fabbrica, della scritta “FREEDOM AND JUSTICE”, realizzata utilizzando un pennarello (Fig. 9).</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn5YU1AQXa5vC29-904icdYi_XTmOxr5r9xE1RkJkftARLNE7wvmgsSqO5fknw1lH7xiiqf8syn2zGj6JYk3Zgh8H4H1EuToAcMTARIk2xiEeGBbO7Cj0bkNA_bHb9d81vbKTE9fn18wM/s1600/freedom+and+justice.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn5YU1AQXa5vC29-904icdYi_XTmOxr5r9xE1RkJkftARLNE7wvmgsSqO5fknw1lH7xiiqf8syn2zGj6JYk3Zgh8H4H1EuToAcMTARIk2xiEeGBbO7Cj0bkNA_bHb9d81vbKTE9fn18wM/s320/freedom+and+justice.jpg" t="" true="" width="320" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Fig. 9. Scritta “FREEDOM AND JUSTICE”, la Cartiera (RC).</span></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif;">L’Opera Sila (fig. 3; n. 3)</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">L’Opera Sila (ARSSA o ESAC) è uno stabilimento per la raffinazione dell’olio abbandonato da anni, situato sulla statale 18 che collega Rosarno a Gioia Tauro.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4-1hqlvf_n-9D68cGxvmZtoxIwjV91ejaY-sAnL3eikfqHpye_jml4Uyc6mx95AKjJrmjKY1m0nmIkndKyvmpTy8xkfPTb_l-Fmqm2W6NCPOtONff6PK91Ofy8OyCO-qX_D6gaYK2-64/s1600/opera+sila.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4-1hqlvf_n-9D68cGxvmZtoxIwjV91ejaY-sAnL3eikfqHpye_jml4Uyc6mx95AKjJrmjKY1m0nmIkndKyvmpTy8xkfPTb_l-Fmqm2W6NCPOtONff6PK91Ofy8OyCO-qX_D6gaYK2-64/s320/opera+sila.jpg" t="" true="" width="320" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Fig. 10. Panoramica esterna dell'Opera Sila (RC).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">L’area, dove hanno trovato rifugio 900 ragazzi, ospita alcuni grandi silos e una serie di cinque costruzioni (senza luce né acqua), la più grande delle quali è caratterizzata da una pianta quadrangolare di 70m x 30 m. Le immagini riprese dai mezzi di informazione hanno messo in luce la presenza di numerose tende e di ripari attrezzati in modo precario; i sistemi di riscaldamento e di cottura del cibo erano affidati prevalentemente a gas da campeggio o a piccole cucine economiche; per questo, forse, i focolari a tre pietre sono poco rappresentati, fatta eccezione per quello situato nel piazzale antistante agli edifici, su cui si trovava un grande calderone di metallo (Fig. 9).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Fig. 11. Calderone sospeso su un focolare a tre pietre, Opera Sila (RC).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Molto interessanti sono invece alcune scritte, realizzate su uno dei silos e sul muro esterno di un edificio. Nel primo caso si possono leggere “ONE LOVE” e “JAH GUIDE” (presumibilmente scritti da un ragazzo che dormiva lì dentro e che ha intonato una canzone reggae per le telecamere di un blog), rispettivamente i titoli di due note canzoni di Bob Marley e Peter Tosh (Figg. 12-13).</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh91jv8KmCV39fyDlYDs2RKf5cOT6dT04MG-ioGcfl-AjjAyT6H5xsAbMU59HjDW6KV2w7ecr0wzvEfmb1B6AN9ocSAnFiZ4inNhP4nAedaq8n2EMxii8k8AVJejyTQifYNRpLU7ajcpjY/s1600/img114.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh91jv8KmCV39fyDlYDs2RKf5cOT6dT04MG-ioGcfl-AjjAyT6H5xsAbMU59HjDW6KV2w7ecr0wzvEfmb1B6AN9ocSAnFiZ4inNhP4nAedaq8n2EMxii8k8AVJejyTQifYNRpLU7ajcpjY/s320/img114.jpg" t="" true="" width="320" /></span></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Fig. 12. <span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><span closure_uid_7c9co1="314">Il silos per l’olio su cui si possono leggere i titoli delle canzoni di Bob Marley (ONE LOVE) e Peter Tosh (JAH GUIDE).</span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Fig. 13. Il<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><span closure_uid_7c9co1="322"> ragazzo che abitava nel silos intona una canzone raggae per le telecamere, mostrando il medaglione verde/giallo/rosso dell’Africa.</span></span></span></div>
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<span closure_uid_7c9co1="334" style="font-family: "arial" , "helvetica" , sans-serif;">L’altra scritta riporta la frase <span closure_uid_7c9co1="333" style="mso-ansi-language: IT; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT; mso-hansi-theme-font: minor-latin;">“AVOID SHOOTINGS BLACKS. WE WILL BE REMMBER!WE NEWER FORGET THIS” </span>(Fig. 14).</span><br />
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<img border="0" dda="true" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwxu5F7kWbBiOFX5xbibk891B6ysCIal_LYxO9DnG4ES5mSP1axw8xrouKeRVldtxctnOUrTchBjoaaolaCD0AJ9ioB6-Ttsvx7eKsHvzOJC1BuI3R8qUk_xHj-E4q80xX5cO3ylLOITw/s320/1cfcd2121fcf1a6739a7542ce858df4b_medium.jpg" width="320" /></div>
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<span closure_uid_koz838="105"><span style="font-family: "arial" , "helvetica" , sans-serif;">Fig. 14. La scritta <span closure_uid_7c9co1="339" style="mso-ansi-language: IT; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT; mso-hansi-theme-font: minor-latin;">“AVOID SHOOTINGS BLACKS. WE WILL BE REMMBER!WE NEWER FORGET THIS” su uno dei muri dell'Opera Sila (Foto I.Russo).</span></span></span></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif;">La “Collina” di Rizziconi (fig. 3; n. 4)</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Nei pressi di due casolari abbandonati in località “la Collina” (alle porte dell’abitato di Rizziconi) hanno trovato posto circa 650 ragazzi, parte dei quali alloggiati in tende da campeggio all’esterno degli edifici. La documentazione fotografica che sono riuscito a recuperare è caratterizzata soprattutto da larghe panoramiche delle costruzioni, tanto da rendere impossibile l’individuazione di eventuali scritte o particolari relativi alle piccole sistemazioni architettoniche (come ad es. i focolari).</span></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif;">Nardò (LE)</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Come testimoniano le immagini relative alle campagne pugliesi di Nardò, è interessante notare come la riproposizione di architetture africane in terra italiana non sia un fenomeno attestato esclusivamente a Rosarno. In questo caso i migranti provengono soprattutto da Sudan ed Eritrea e sono impegnati da maggio a settembre nella raccolta di angurie e pomodori.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Fig. 15. Particolare di uno dei focolari di Nardò (LE).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">La figura si riferisce ad uno dei numerosi focolari a tre pietre realizzato tra le tende piantate in un campo di ulivi di Nardò (LE), nell’estate 2009. Anche qui il legname è costituito da lunghi tronchi infilati nel fuoco poco per volta.</span></div>
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<b closure_uid_4g7hr0="227"><span style="font-family: "arial" , "helvetica" , sans-serif;">4 African-American Archaeology, African-European Archaeology</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Sull’onda del Movimento per i Diritti Civili sviluppatosi negli USA, l’African-American Archaeology si proponeva di affrontare il tema della schiavismo a partire da un punto di vista inedito: quello della cultura materiale.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">L’archeologia riuscì a dare un contributo certamente più concreto e meno pregiudiziale della storiografia, dato che uno degli obiettivi principali che la nuova disciplina si proponeva fu quello di indagare i cosiddetti slave quarters, gli insediamenti in cui erano confinati gli schiavi neri della East Coast, di cui erano disponibili solo pochi documenti scritti e alcune immagini pittoriche.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Nel 1969 prese così il via il primo scavo - condotto nella Kingsley Plantation da Charles Fairbanks dell’Università della Florida - di una cosiddetta slave cabin, una delle caratteristiche dimore utilizzate dagli schiavi delle piantagioni di cotone e tabacco della Virginia e del South Carolina.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Il proseguire delle ricerche permise di mettere in luce come una parte del bagaglio culturale africano sopravvisse al trauma della deportazione andando poi ad interagire con la preesistente cultura degli Indiani e con quella quantitativamente marginale degli europei. Tutto questo fu facilitato dal fatto che in alcuni stati (es. South Carolina) gli Africani costituivano la netta maggioranza della popolazione e trovavano qui molte somiglianze con l’ambiente naturale d’origine (umidità, vegetazione rigogliosa, ecc.), tanto che le loro conoscenze pratiche risultarono utili e vincenti, facendo degli schiavi i veri pionieri di quella prima America selvaggia.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Secondo Leland Ferguson, le radici africane delle condizioni materiali degli schiavi sono ravvisabili soprattutto nell’architettura e negli oggetti di ambito domestico, sopravvissuti fino a metà Ottocento, quando la fine della schiavitù e il crescente flusso di merci occidentali indebolirono e soppiantarono la cultura materiale di tradizione africana. Si tratta di mortai per la macinazione dei cereali, di ceramica nota col nome di colono ware e dei focolari a tre pietre, spesso realizzati all’esterno delle slave cabins.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Se negli USA si parla di African-American Archaeology, perché non chiamare provocatoriamente col nome di African-European Archaeology il filone di studi, a cavallo tra Archaeology of the Contemporary Past e material culture studies, che si interessa della migrazione in corso tra il sud e il nord del bacino Mediterraneo?</span></div>
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<b><span style="font-family: "arial" , "helvetica" , sans-serif;">5 Dinamiche di resistenza e di affermazione sociale I: il punto di vista immateriale</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">L’assenza di una vera e propria campagna di interviste rende impossibile delineare in modo chiaro ed approfondito le dinamiche sociali sviluppatesi all’interno delle aree occupate dai migranti. Tuttavia, gli elementi a nostra disposizione sono significativi e diversificati, tali da permettere di proporre alcune considerazioni.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Le nazionalità di provenienza dei migranti erano numerose (almeno una ventina) e riconducibili all’Africa centrale e occidentale. Gli individui erano giovani di sesso maschile tra i 20 e i 40 anni d’età che utilizzavano l’inglese per comunicare tra di loro.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Si tratta quindi di un quadro piuttosto frammentato, dove l’assenza di nuclei famigliari permette di escludere che la parentela, come invece accaduto in diversi campi profughi, abbia giocato un ruolo di primo piano.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Anche le questioni nazionali, secondo le interviste che ho realizzato a Pugliese e Canale, non hanno costituito un elemento di aggregazione o di divisione significativo. Più in generale, nei luoghi occupati dagli Africani la convivenza è stata piuttosto pacifica e civile e non si sono registrati episodi spiacevoli.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Fig. 16. <span closure_uid_5lmh6c="115" closure_uid_um1rlh="166" style="mso-ansi-language: IT; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT; mso-hansi-theme-font: minor-latin;">La “Cartiera di Rosarno” festeggia l’arrivo delle coppe vinte al torneo di Catulonia (RC)</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">(da http://www.youtube.com/watch?v=uqcuomFEuDI&feature=related).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Sono invece emersi una serie di elementi ricollegabili ad un livello di comune e generalizzata coscienza della propria posizione di lavoratori irregolari, talvolta discriminati dal punto di vista razziale.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Gli episodi (descritti sopra) della marce di Rosarno e di Messina indicano come la cosiddetta rivolta del 7 gennaio 2010 non sia da considerare come un episodio estemporaneo e isolato, ma fanno invece pensare ad una lunga e complessa elaborazione della propria condizione, che ha poi trovato forma compiuta nella nascita dell’Assemblea Lavoratori Africani di Rosarno (ALAR).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Inoltre, si devono considerare le scritte di protesta, come “FREEDOM AND JUSTICE”, e di aperto confronto, come “AVOID SHOOTINGS BLACKS. WE WILL BE REMEMBER, dove quel “ci ricorderemo” suona quasi come una sfida.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Ci sono poi i riferimenti all’ideologia Rastafari: le scritte con i titoli delle canzoni di Bob Marley (One Love) e Peter Tosh (Jah Guide; Fig. 12), la canzone raggae intonata da un ragazzo alle telecamere di un blog (Fig. 13), e la frase “Respect Respect Rastaman” che un giovane grida al reporter di Africanews, mentre alza la coppa vinta ad un torneo di calcetto (Fig. 16).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Se la canzone One Love invita le persone ad unirsi e collaborare per il bene comune, Jah Guide si rivolge alla guida divina - Jah Guide, appunto - indicando la fede come la via da percorrere per resistere alle difficoltà e alle persecuzioni verso i neri. Per alcuni versi, infatti, il <span style="font-family: "arial" , "helvetica" , sans-serif;">movimento Rastafari si è contraddistinto proprio per le prospettive di lotta contro le ingiustizie perpetrate ai danni della diaspora africana (Fig. 17).</span></span><br />
<span style="font-family: "arial" , "sans-serif"; font-size: small;">Infine, i rapporti tra i migranti la comunità locale (che si è distinta per aver saputo saputo allacciare un dialogo con loro, portando ad azioni concrete di solidarietà continua; cfr http://www.facebook.com/group.php?gid=17372039969) hanno portato ad un reciproco riconoscimento, concretizzatosi nell’organizzazione di numerose serate informative, dibattiti e di un torneo di calcetto, svoltosi a Catulonia il 3 agosto 2009 e vinto dai “residenti” della Cartiera di Rosarno.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Fig. 17. A sinistra Bob Marley e Peter Tosh autori delle canzoni "ONE LOVE" e JAH GUIDE". In alto il ragazzo che all'Opera Sila intona una canzone raggae per le telecamere. In basso Hailé Selassié, al secolo Tafarì Maconnèn, Negus d'Etipoia.</span></div>
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<b closure_uid_81jm25="177"><span style="font-family: "arial" , "helvetica" , sans-serif;">6 Dinamiche di resistenza e di affermazione sociale II: il punto di vista materiale</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Come si è detto nell’introduzione, gli studi sui rapporti tra migranti e cultura materiale hanno fino ad ora riguardato le grandi migrazioni storiche e contemporanee, quali ad esempio la diaspora irlandese o i flussi che dal mediterraneo portano verso l’Europa.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Il formarsi di grandi comunità di immigrati, come ad esempio la Berlino turca o la Marsiglia magrebina, hanno fatto sì che all’interno di queste si venisse a creare un microcosmo denso di richiami alla madrepatria, dove negozi “etnici” vendono cibi ed oggetti provenienti quei luoghi; in questi casi, è chiaro quindi che la cultura materiale della terra d’origine è legata all’importazione commerciale.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I luoghi dell’esclusione sociale, come ad esempio le zone industriali nei dintorni di Rosarno, sembrano invece aver costretto i migranti a produrre cultura materiale, che in alcuni aspetti si riferisce al contesto africano.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Dovendo assolvere ai bisogni primari, come cucinare e costruirsi un riparo, gli Africani hanno riutilizzato e assemblato oggetti in ferro, plastica e cartone, e, in assenza di gas da campeggio o di cucine economiche, hanno usato pietre e lunghi bastoni per realizzare i focolari a tre pietre, diffusissimi in tutta l’Africa centrale.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Un po’ com’è successo anche negli insediamenti degli schiavi neri americani, l’assenza di mezzi economici e la paradossale libertà d’azione, dentro spazi di reclusione forzata o indotta, spingono gli individui ad organizzarsi autonomamente, riutilizzando oggetti abbandonati e, in certi casi, attingendo alle proprie conoscenze artigianali.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In accordo con i material culture studies (cfr. supra), la cultura materiale va però pensata come una categoria strettamente correlata alla società che la circonda.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In questo casso, i processi che ruotano attorno al focolare sono due: la preparazione del cibo e lo svolgersi di piccole relazioni sociali, difficili da cogliere in assenza di una ricerca più approfondita (es. interviste).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Come è noto, uno dei pezzi forti della cucina africana sono i bolliti di carni e verdure; in realtà anche in Europa, perlomeno fino a non molto tempo fa, il bollito era un piatto piuttosto diffuso.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Entrambe le culture fanno ricorso a grandi recipienti di metallo dove cuocere gli alimenti in acqua, ma differiscono nel modo di disporli sul fuoco.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In Europa, prima dell’avvento delle cucine moderne, venivano usati dei pentoloni a tre piedi (che garantivano un ottimo equilibrio) e dei calderoni dotati di manico, che stavano sospesi sopra le braci, agganciati alla catena da camino (Fig. 18).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Fig. 18. Focolare a terra con calderone agganciato alla catena del camino (foto 1912, Ammerland, Bassa Sassonia, da Benker 1987)</span></div>
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<span closure_uid_7f5tl5="124" style="font-family: "arial" , "helvetica" , sans-serif;">In Africa è invece in uso il sistema del focolare a tre pietre, su cui vengono appoggiati i recipienti, che rimangono in perfetto equilibrio sopra il fuoco.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Fig. 20. Focolare a tre pietre, Tanzania</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Fig. 21. Focolare a tre pietre, Tanzania</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In relazione al modo di alimentare la fiamma, in Europa si è spesso fatto ricorso a legna di dimensioni contenute, mentre in Africa vengono utilizzati dei tronchi piuttosto lunghi, infilati nel fuoco poco alla volta; per questo motivo i focolari africani non possono essere costituiti da un circolo di pietre - che impedirebbe l’ingresso dei tronchi - ma devono essere dotati di aperture.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In assenza di interviste, non è chiaro quale fosse la dieta dei migranti e se il ricorso al focolare a tre pietre fosse legato al consumo di cibo bollito; in ogni caso, il tipo di focolare e di alimentazione della fiamma appaiono come un elemento riferibile al contesto culturale africano, riproposto tale e quale Rosarno.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Secondo alcuni, la cultura materiale si trova al centro dei processi di costruzione sociale (tra cui quello dell'identità), e, in particolari situazioni (ostili), può divenire la sede privilegiata della negoziazione o della resistenza rispetto alla cultura dominante. Come fa notare Mariassunta Cuozzo, diversi studi hanno messo in luce come le strategie di “resistenza materiale” si possano dividere in due casi.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Il primo è costituito da una dimensione quotidiana (che non comprende necessariamente il confronto diretto), attuata tramite forme di conservatorismo culturale o di rifiuto nell’aderire ai costumi della cultura dominante. A Rosarno sopravvivono i focolari a tre pietre e il modo di alimentare il fuoco, mentre ad esempio, nelle piantagioni USA si trovano gli stessi focolari, le slave cabins, i mortai per la macinazione dei cereali e la ceramica detta colonoware (cfr. supra).</span></div>
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<span closure_uid_rzi2s1="122" style="font-family: "arial" , "helvetica" , sans-serif;">Il secondo tipo di resistenza è invece più conscio e attuato quotidianamente in forma di lotta politica. In Calabria i migranti hanno inscenato manifestazioni, realizzato scritte antirazziste e si sono più volte riferiti all’ideologia dei Rastafari (cfr. supra); negli USA le azioni delle diverse componenti del Movimento per i Diritti Civili ebbero i risultati che tutti conosciamo.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b closure_uid_7f5tl5="120">7. Conclusioni</b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In sede di conclusione, vengono ripresi e sintetizzati gli elementi principali emersi sopra. </span></div>
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a.<br />
I numerosissimi focolari a tre pietre rappresentano un segmento di “catena operativa” africana riproposto in Italia dagli immigrati sub sahariani.</span><br />
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b. <br />
Quanto è stato detto a proposito di chi vive nei campi profughi - cioè che anche in situazioni molto difficili si vengono comunque a creare reti sociali e azioni politiche (cfr. Van Aken 2005) - vale anche per i luoghi occupati stagionalmente dai lavoratori clandestini.</span><br />
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c.<br />
Gli elementi che alcune scuole di pensiero identificano come azioni di resistenza o di affermazione sociale si colgono a Rosarno sia dal punto di vista materiale che da quello immateriale. Al primo caso appartengono il sopravvivere e il riprodursi di elementi appartenenti alla cultura africana (focolari); al secondo i sentimenti di indignazione (graffiti e riferimenti al movimento Rastafari) e le azioni di protesta (cfr. ad es. la cosiddetta rivolta) contro lo sfruttamento, le violenze ed il razzismo.</span><br />
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d.<br />
I numerosissimi episodi in cui migranti e cittadini di Rosarno si sono identificati rispettivamente come dignitosi lavoratori e generosi ospiti fanno pensare ad un elaborato e maturo processo di reciproco riconoscimento.</span><br />
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e.<br />
Dal punto di vista più strettamente metodologico ed etnoarcheologico è possibile considerare come, per rispondere ai bisogni primari (un riparo e del cibo), gli individui che vivono una situazione di precarietà economica e sociale sono spinti ad occupare spazi marginali e a “produrre” cultura materiale, riutilizzando e assemblando oggetti abbandonati e facendo ricorso ad elementi che fanno parte del proprio background culturale (focolari).</span><br />
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f. <br />
Infine, questa ricerca conferma come, in accordo con la scuola di Stanford, le immagini e i video possono essere utilizzati come un particolare tipo di fonte archeologica (<a href="http://archaeography.com/photoblog/about.shtml">http://archaeography.com/photoblog/about.shtml</a>).</span> </div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Ringraziamenti</b></span></div>
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<span closure_uid_7f5tl5="122" style="font-family: "arial" , "helvetica" , sans-serif;">Ringrazio vivamente Giuseppe Pugliese e Piervincenzo Canale per le informazioni che mi hanno dato sulla vicenda dei Lavoratori Africani di Rosarno e per la solidarietà e il coraggio (non così scontati al nord, da dove scrivo) che hanno contraddistinto le loro battaglie ; Jacopo Zannini per le indicazioni bibliografiche.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Giuseppe Pugliese e i ragazzi di Africalabria Rosarno - Osservatorio Migranti</span></div>
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Luca Pisonihttp://www.blogger.com/profile/10196345288384629507noreply@blogger.com2tag:blogger.com,1999:blog-4099951627253782921.post-4617282637176855282011-06-30T01:43:00.000-07:002014-03-09T12:13:17.705-07:00C'è vita alla Sloi<div dir="ltr" style="text-align: left;" trbidi="on">
In questa pagina una parte del reportage fotografico che ho realizzato nell'aprile 2010 alla ex Sloi, fabbrica abbandonata alla periferia nord di Trento, rifugio di migranti e senzatetto.<br />
Tra i capannoni abbandonati, tracce di vita quotidiana come pentole, bottiglie di alcolici, rifiuti e focolari organizzati alla meglio.<br />
I murales sono probabilmente da riferire all'occupazione simbolica avvenuta negli anni scorsi da parte di un gruppo di artisti per sottolineare i gravi problemi relativi al degrado civile e ambientale dati dalla fabbrica.<br />
Una ricerca che difficilmente rimane confinata nei limiti dell'Archeologia del Presente o dell'Archeologia Postmedievale ma che ha strettamente a che fare con i Material Culture Studies e con l'antropologia sociale e culturale che si occupa di luoghi, oggetti e cose.<br />
Le cose, che danno titolo a questo blog, sono uno dei più formidabili mezzi di comunicazione non scritta quotidianamente utilizzati da milioni di persone, fonte preziosa di informazione anche per epoche che, solo apparentemente, sono dominate dal portato informativo di tweets e video.<br />
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Stanza attrezzata con tende di stracci. In basso a sinistra un pupazzo di peluche</div>
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Focolare realizzato all'interno di un bidone di latta situato nella stanza ritratta nella foto precedente.</div>
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Bottiglia di super alcolico</div>
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Sloi: panoramica #1</div>
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Focolare a terra con i resti bruciati di cavi elettrici e di un trave</div>
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Resti di un focolare in mattoni</div>
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Sloi: panoramica #2</div>
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Sloi: panoramica #3</div>
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Esiti materiali di convivialità: due pentole e due sedili in mattoni</div>
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Sloi: piazzale intenro</div>
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Sloi: cumuli di rifiuti</div>
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Murales: c'è vita alla Sloi</div>
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Luca Pisonihttp://www.blogger.com/profile/10196345288384629507noreply@blogger.com0tag:blogger.com,1999:blog-4099951627253782921.post-70573978689992976862011-04-27T00:22:00.000-07:002015-08-05T06:39:37.234-07:00Summer School di Antropologia Alpina<div dir="ltr" style="text-align: left;" trbidi="on">
San Michele all'Adige, 4 - 8 luglio 2011 <br />
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Summer School di Antropologia Alpina. I caratteri fondamentali <br />
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Programma: I caratteri fondamentali dell’insediamento umano in ambito alpino. Costrizioni eco-ambientali e variabilità culturale. Demografia storica in prospettiva antropologica. Usi civici, autonomie locali e formazioni politiche dell’arco alpino. Etnologia alpina: lingue, culture, religioni, minoranze linguistiche. Il sistema agrosilvopastorale e la sua cultura materiale. Il ciclo della vita: riti di passaggio e riti dell’anno. Metodologia della ricerca sul campo. Museografia alpina e lessicografia dialettale. Narratologia: fiabe, leggende, creature leggendarie.<br />
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Docenti: John W. Cole (University of Massachusetts at Amherst); Brunamaria Dal Lago Veneri (Bolzano); Andrea Foches (Trento); Luciano Gottardi (Trento); Jon Mathieu (Università di Lucerna); Antonella Mott (MUCGT); Mauro Nequirito (Servizio Beni Librari e Archivistici P.A.T.); Cesare Poppi (Università di Trento); Emanuela Renzetti (Università di Trento); Gianbattista Rigoni Stern (Comunità Montana Reggenza Sette Comuni); Giuliana Sellan (Università di Verona); Paolo Sibilla (Università di Torino); Pier Paolo Viazzo (Università di Torino).<br />
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Coordina: Giovanni Kezich (MUCGT).<br />
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Il corso è diretto a laureandi e laureati, dottorandi e dottorati in antropologia e discipline affini; cultori della materia; operatori culturali in ambito alpino.<br />
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La partecipazione è limitata a 40 posti. È consigliata la conoscenza della lingua inglese.<br />
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La quota di iscrizione è di € 80 (ottanta euro).<br />
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Vitto e alloggio saranno a carico del partecipante. La Segreteria del Museo è a disposizione degli interessati per la prenotazione alberghiera. Il Museo si riserva di operare, in base al numero delle iscrizioni, alcune facilitazioni in ordine alle spese vive.<br />
Programma<br />
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Lunedì 4 luglio 2011<br />
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ore 15 Pier Paolo Viazzo (Università di Torino), Comunità alpine: ambiente, popolazione, struttura sociale nelle Alpi.<br />
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ore 17 Paolo Sibilla (Università di Torino), La ricerca antropologica in ambito alpino.<br />
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Martedì 5 luglio 2011<br />
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Ore 9 John W. Cole (University of Massachusetts), The Hidden Frontier: ecology and ethnicity in an Alpine valley. The aftermath of a classic study.<br />
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Ore 11 Giuliana Sellan (Università di Verona), Metodologia della ricerca sul campo.<br />
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Ore 14 Cesare Poppi (Università di Trento), Il paesaggio morale: classi d’età, gender politics, riti dell’anno.<br />
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Ore 16 Emanuela Renzetti (Università di Trento), Saperi medici ed eterodossie popolari in prospettiva etnoantropologica.<br />
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Ore 18 Film: Mondent. Il lavoro della malga di Gianfranco Dusmet e Giovanni Kezich, 2007, 48'<br />
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Mercoledì 6 luglio 2011<br />
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Ore 7 Escursione sul territorio: Pejo e le sue malghe, con Gianbattista Rigoni Stern (Comunità Montana Reggenza Sette Comuni), Ecologia della malga: cotiche erbose, carico zootecnico, lavorazioni casearie e quadro normativo.<br />
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Cena sociale<br />
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Giovedì 7 luglio 2011<br />
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Ore 9 Jon Mathieu (Università di Lucerna), The Third Dimension: Comparative History of Mountains in the Modern Era.<br />
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Ore 11 Mauro Nequirito (Servizio Beni Librari P.A.T.), Le autonomie storiche dell’arco alpino: il caso delle comunità di valle del Trentino.<br />
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Ore 14 Andrea Foches (Trento), Luciano Gottardi (Trento), Il racconto della leggenda alpina oggi, dalla multimedialità all’azione scenica.<br />
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Ore 16 Brunamaria Dal Lago Veneri (Bolzano), Narratologia alpina.<br />
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Ore 17.30 Film: 3 carnevali e ½ di Michele Trentini, 2007, 57' e Carnival King of Europe / Carnevale Re d’Europa di Giovanni Kezich e Michele Trentini, 2009, 22'<br />
Venerdì 8 luglio 2011<br />
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Ore 9 Antonella Mott (MUCGT), Metodi e strumenti della lessicografia dialettale in ambito etnografico.<br />
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Ore 10.30 Film: L’alfabeto delle cose. Appunti di documentazione etnografica presso la raccolta di Camillo Andriollo a Olle di Michele Trentini e Antonella Mott, 2006, 35'<br />
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Ore 11 Giovanni Kezich (MUCGT), Il Museo degli Usi e Costumi della Gente Trentina e l’opera di Giuseppe Šebesta.<br />
Il programma di cui sopra è suscettibile di cambiamenti.<br />
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Nel caso non si raggiunga un numero minimo di iscritti, l’attività verrà sospesa.<br />
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Luca Pisonihttp://www.blogger.com/profile/10196345288384629507noreply@blogger.com0tag:blogger.com,1999:blog-4099951627253782921.post-55798618237939841072010-11-20T04:40:00.000-08:002011-06-23T09:57:38.969-07:00Una sepoltura di cane connessa a un edificio di abitazione della seconda età del Ferro recentemente scavata a Laion/Lajen – Gimpele I (Bolzano)<div dir="ltr" style="text-align: left;" trbidi="on"><div style="text-align: justify;"><br />
<strong>Luca Pisoni, Umberto Tecchiati</strong>, <br />
Atti del V Convegno Nazionale di Archeozoologia, Rovereto TN, 2006</div><div style="text-align: justify;"></div><div style="text-align: justify;"></div><div style="text-align: justify;"><strong>Riassunto/Summary</strong></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Durante lo scavo del sito archeologico di Laion Gimpele I (BZ) sono venuti alla luce i resti di un’unità abitativa datata tra il III e il I sec. a.C., costituiti da tre muri perimetrali in pietre a secco. I piani d’uso interni hanno restituito una considerevole quantità di ceramica da mensa e da fuoco appartenente alla Cultura di Fritzens-Sanzeno, mentre dal calpestio esterno provengono 6 frammenti di fili d’oro. Lo studio dei resti carpologici e antracologici ha messo in luce la presenza di cereali, leguminose, frutta e carboni appartenenti a diverse specie arboree. Dentro l’abitazione, posto in una piccola fossa, è stato rinvenuto uno scheletro di cane ancora in connessione anatomica. Le cattive condizioni di conservazione delle ossa hanno impedito di verificare l’eventuale presenza di traumi ai quali imputare la causa della morte. Stratigraficamente la sepoltura è da attribuire alla fase di abbandono dell’abitazione, che, data l’assenza di tracce relative ad incendi o a distruzioni violente, deve essere avvenuto in maniera pianificata. La sepoltura può quindi essere interpretata come l’ultimo atto, fortemente simbolico, della vita della casa.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">On summer 2002, during the archaeological excavations at Laion/Lajen-Gimpele I (BZ), a dwelling unit dated to the second Iron Age (III-II a.c). The surveys allowed to dig only a part of the building, i.e. three perimetral walls formed by a single row of stones, tied together with clay. The floors have given back a remarkable quantity of meal pottery (Fritzens type, Sanzeno type, and with S-like profile), cooking pots, ceramic scretched by alphabetical acronymus while, from the external tramp floor come six gold threads fragments. The more interesting discovery during the excavation is represented by a dog burial: in a small pit, an adult dog skeleton, still in anatomical connection, has been recovered. The bad state of preservation of its bones hasn’t permitted to verify traumas that might have caused death of this animal. By a stratigraphical analysis, the burial is contemporaneous to the latest settlement phase of the house, when it has been abandoned. In this point of view the burial could be interpreted as the last act - strongly symbolic - of the building’s life.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><strong>Introduzione</strong></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Nei pressi dell’abitato di Laion/Lajen, alla confluenza della val Gardena nella val d’Isarco, si trova l’area archeologica di Gimpele I (1077 m). Qui, durante la campagna di scavo 2002 - condotta dall’Ufficio Beni Archeologici della Provincia di Bolzano e diretta da uno degli scriventi (UT) - sono venuti alla luce i resti di un’unità abitativa, al centro della quale è stata rinvenuta la sepoltura di un cane. L’approccio interdisciplinare e i confronti effettuati con diversi contesti protostorici italiani ed europei hanno permesso di ampliare la conoscenza delle pratiche rituali relative all’area retica.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><strong>Lo scavo: l’edificio e la sepoltura del cane</strong><br />
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</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;">Fig. 1. L’abitazione di Laion Gimpele I. Al centro, evidenziato dall’ellisse, il luogo della sepoltura del cane. In basso, tazze e scodelle appartenenti alla Cultura di <i style="mso-bidi-font-style: normal;">Fritzens-Sanzeno</i> rinvenute nella struttura (da sinistra a destra: tipo <i style="mso-bidi-font-style: normal;">Sanzeno</i>, con <i style="mso-bidi-font-style: normal;">profilo a S</i>, tipo <i style="mso-bidi-font-style: normal;">Fritzens</i>).</div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; text-align: justify;"><br />
</div><div style="text-align: justify;">Lo scavo dei piani di calpestio interni alla struttura - ultima di 6 costruzioni, una delle quali dotata di un pozzo, realizzate una sopra l’altra mantenendo il medesimo orientamento - ha portato al recupero di una notevole quantità di ceramica appartenente alla Cultura di Fritzens-Sanzeno (fig. 1), che data la frequentazione dell’edificio al La Tène C-D1 (III-I sec. a.C.). I campioni di sedimento inviati al laboratorio dei Musei Civici di Como contenevano i resti carpologici di numerosi cereali (miglio, panico, orzo, farro), leguminose (pisello, lenticchia ed ervo) e frutta (vinaccioli, frammenti di gusci di nocciole), oltre che 6 frammenti di fili d’oro. I numerosissimi resti antracologici fanno ipotizzare la presenza, all’interno dell’edificio, di un focolare (o di un luogo di accumulo delle braci) che non ha lasciato tracce strutturate. Le analisi archeozoologiche hanno permesso di individuare una cospicua quantità di ossa animali, tra le quali vi sono numerose coste, tagliate ad una misura standard di 5 cm, da interpretare come resti di pasto. Nei livelli di abbandono, deposto in una fossa ricavata accanto ad una grossa pietra, è stato rinvenuto lo scheletro di un cane adulto, di sesso probabilmente femminile, ancora in connessione anatomica (Fig. 1, luogo indicato dall’ellisse nera). Il cattivo stato di conservazione, che riguarda soprattutto il cranio, ha permesso di misurare solo alcune delle ossa appartenenti allo scheletro (Tab. 1). Dalla GL del femore (192,0), del radio (169,3) e della tibia (196,0) sono state calcolate le altezze al garrese, i cui valori medi, a seconda del coefficiente utilizzato, misurano 565,09 (Koudelka) e 572,10 mm (Harcourt). In ambito atesino, l’unica misura disponibile per il confronto è quella di un astragalo da Bressanone- Dominik (BZ; Riedel 1986), la cui GL misura 26,6 mm contro i 30,0 di Laion. La WHR del cane di Santorso (VI), calcolata in base alla GL di un radio, si avvicina molto a quella di Laion (568 mm secondo coeff. Koudelka; 563 mm secondo coeff. Harcourt; Cassoli, Tagliacozzo 1991, p. 190 ). Il cane di Castelrotto (VR) è più piccolo se si prende in considerazione la GL di due MT IV (61,5 mm e 70 mm di Castelrotto; 80,0 mm di Laion) e uguale se si considera la GL di un MT V (71,0 mm di Castelrotto; 70,0 mm di Laion; Riedel 1985, p. 92). Nell’insediamento di Ramsautal sul Dürrnberg, le altezze al garrese, calcolate con coefficienti di Harcourt, variano da un minimo di 516,1 mm a un massimo di 638,9 mm; la media è di 587,1mm (Pucher 1999, p. 60). La WHR del cane dell’oppidum di Manching, calcolata per mezzo di un GL di un’ulna, corrisponde a 500 mm (Boessneck J. et al. 1971, p. 89). </div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><strong>Sepolture di cani nella Protostoria italiana ed europea</strong></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Nella Protostoria europea, le sepolture di cani, oggetto di numerosi studi, si possono ricondurre ad almeno tre ambiti distinti: funerario, legato ai riti sacrificali e connesso alla fondazione delle cinte murarie difensive. Ai cani erano affidati dei compiti pratici e dei ruoli simbolici, che talvolta, come nel caso del cane-guardiano, coincidevano. Tale simbologia emerge in tutta chiarezza dalle deposizioni in ambito funerario che riguardano l’Europa continentale e la Penisola italiana (De Grossi Mazzorin, Minniti 2001; De Grossi Mazzorin, Tagliacozzo 1997; Salari, Sardella 2006; Méniel 2006; Behrens 1964), dai riti sacrificali connessi alla costruzione delle cinte murarie di Arimiunum, Fidenae e Paestum (De Grossi Mazzorin, Minniti 2006), e da quelli legati all’abbandono dei bothroi e dei luoghi di culto di Torre di Satriano, dell’Heraion alle foci del Sele e del tempio A di Pyrgi (De Grossi Mazzorin, Minniti 2006). Sembra invece essere limitato al solo ambito mediterraneo il complesso di credenze, legate ai momenti di passaggio e di purificazione, testimoniato dalle fonti e dai rinvenimenti di ossa di cane nei depositi del Lapis Niger, delle aree sacre di S. Omobono e di Satricum (Wilkens 2006; De Grossi Mazzorin, Minniti 2006). Per quanto riguarda l’arco alpino centrale e orientale, la scarsa presenza del cane nei luoghi di culto noti col nome di Brandopferplätze (Gleirscher 2002), fa escludere che esso fosse considerato una figura di primo piano nella sfera sacrale.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><strong>Conclusioni</strong></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Lo studio delle case retiche, le caratteristiche costruzioni della Cultura di Fritzens-Sanzeno, ha messo in luce come molte di esse siano costituite da edifici nei quali si svolgevano diverse attività, talvolta difficili da identificare (cottura cibi, lavorazioni artigianali, conservazione derrate, etc.; Migliavacca 1996). Nel nostro caso, la presenza di resti di pasto e gli indizi del focolare rendono lecito ipotizzare una frequentazione a scopo residenziale. Tuttavia, numerosi elementi, quali l’ininterrotta frequentazione dell’area, il rinvenimento di una cospicua quantità di ceramica da mensa, la presenza dei fili d’oro e la deposizione del cane contribuiscono ad attribuire all’edificio anche una connotazione simbolica, analogamente a quanto proposto per le strutture di epoca lateniana dei Montesei di Serso (TN; casa 2; Perini 1966) e di Castelrotto (VR; struttura R; Salzani 1982). La sepoltura di Laion, che può essere interpretata come l’esito di un rito di abbandono dell’abitazione, evoca la simbologia del cane-guardiano, tanto più che, considerando solo gli strati successivi alla vita dell’edificio, le ossa di cane costituiscono il 41% del totale (escluse quelle della deposizione).</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><strong>Bibliografia</strong></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><strong>Behrens H. 1964</strong>. Die neolotisch-frühmetallzeitlichen Tierskelettfunde der Alten Welt. Veröffentlichungen des Landesmuseums für Vorgeschichte in Halle, Heft 19.</div><div style="text-align: justify;"><strong>Boessneck J. et al. 1971</strong>. Die Tierknochenfunde aus dem Oppidum von Manching. Römisch-Germanische Kommission des Deutschen Archäologischen Instituts zu Frankfurt am Main, Band 6, Wiesbaden</div><div style="text-align: justify;"><strong>Cassoli P. F., Tagliacozzo A. 1991</strong>. La fauna degli scavi 1983-1986 a Santorso, Vicenza (Età del Ferro). Preistoria Alpina, 25: 165-216</div><div style="text-align: justify;"><strong>De Grossi Mazzorin J., Tagliacozzo A. 1997</strong>. Dog remains in Italy from the Neolithic to the roman period. Anthropozoologica, 25-26: 429-440.</div><div style="text-align: justify;"><strong>De Grossi Mazzorin J., Minniti C. 2001</strong>. Caratterizzazione archeozoologica: le sepolture di cani. In Paola di Manzano (a cura di) Ad deverticulum. Scavi archeologici lungo la bretella Nomentana-GRA, Roma, pp. 81-93.</div><div style="text-align: justify;"><strong>De Grossi Mazzorin J., Minniti C. 2006</strong>. Dog Sacrifice in the Ancient World: a ritual passage ?. In L. M Snyder and E. A. Moore (eds.) Dogs and People in Social, Working, Economic or Symbolic Interaction, 9th ICAZ Conference, Durham 2002, pp. 62-66</div><div style="text-align: justify;"><strong>Gleirscher P. 2002</strong>. Alpine Brandopferplätze. In L. Zemmer-Plank (a cura di) Culti nella preistoria delle Alpi, Collana della Comunità di lavoro regioni alpine Arge Alp, Bolzano, pp. 591-634.</div><div style="text-align: justify;"><strong>Méniel P. 2006</strong>. Le chien en Gaule. In D. Vitali, A. Curci (a cura di) Animali tra Uomini e dei, Archeozoologia del mondo preromano, Atti del Convegno Internazionale, Ravenna 8-9 novembre 2002, Università di Bologna, Dipartimento di Archeologia, pp. 42-52</div><div style="text-align: justify;"><strong>Migliavacca M. 1996</strong>. Lo spazio domestico nell’Età del Ferro. Preistoria Alpina, 29: 5-161.</div><div style="text-align: justify;"><strong>Perini R. 1966</strong>. Risultati dello scavo di una capanna dell’orizzonte retico nei Montesei di</div><div style="text-align: justify;">Serso (Pergine Valsugana - Trentino). Studi Trentini di Scienze Naturali, Sez. B, XLII, 1:148-183</div><div style="text-align: justify;"><strong>Pucher. E. 1999</strong>. Archäozoologische Untersuchungen am Tierknochenmaterial der keltischen Gewerbesiedlung im Ramsautal auf dem Dürrnberg (Salzbug). Dürrnberg-Forschungen, Band 2: 17-111 </div><div style="text-align: justify;"><strong>Riedel A. 1985</strong>. The fauna of the Iron Age site of Castelrotto (Verona). Padusa, 21: 55-98.</div><div style="text-align: justify;"><strong>Riedel A. 1986</strong>. Die Fauna einer eisenzeitlichen Siedlung in Stufels bei Brixen. Preistoria Alpina 22: 183- 220.</div><div style="text-align: justify;"><strong>Salari L., Sardella R. 2006</strong>. Il cane nella necropoli di Porte di Ferro a San Cipriano Picentino (Salerno). Società per la Preistoria e la Protostoria della Regione Friuli-Venezia Giulia, 7: 155-165.</div><div style="text-align: justify;"><strong>Salzani L. 1982</strong>. Relazione preliminare sulle campagne di scavo 1978-1981 ad Archi di Castelrotto. Bollettino del Museo Civico di Storia Naturale di Verona, IX : 359-402.</div><div style="text-align: justify;"><strong>Wilkens B. 2006</strong>. The Sacrifice of Dogs in Ancient Italy. In L. M Snyder and E. A. Moore (eds.) Dogs and People in Social, Working, Economic or Symbolic Interaction, 9th ICAZ Conference, Durham 2002, pp. 131-136.</div><div style="text-align: justify;"><br />
</div></div>Luca Pisonihttp://www.blogger.com/profile/10196345288384629507noreply@blogger.com0tag:blogger.com,1999:blog-4099951627253782921.post-88004155816402333962010-11-11T09:40:00.000-08:002011-06-23T09:58:10.232-07:00Etnoarcheologia e archeologia nella conca di Terlago. Attività economiche, viablità preistorica, economia del rame e sentieri SAT<div dir="ltr" style="text-align: left;" trbidi="on"><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; punctuation-wrap: simple; text-align: justify;"><br />
<span style="mso-bidi-font-size: 10.0pt;"><span style="font-family: Arial; font-size: x-small;">Bollettino S.A.T., Società Alpinisti Tridentini, Anno LXVI, N. 1 – 2003 I Trimestre, Pag. 26-29</span></span></div><div class="MsoNormal" style="margin: 0cm 0cm 0pt; mso-layout-grid-align: none; punctuation-wrap: simple; text-align: justify;"><br />
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<div style="text-align: justify;">Con questo contributo si intende proporre una breve panoramica riguardante le modalità insediative della conca di Terlago durante l’età del Bronzo.</div><div style="text-align: justify;">Saranno sviluppati, in particolare, gli aspetti legati al rapporto di interdipendenza tra uomo e ambiente, le cui potenzialità di sfruttamento economico, e le cui conformazioni geomorfologiche, influiscono in maniera determinante sulle forme e sulle e modalità della presenza umana, antica e moderna.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><strong>Il territorio: modalità di sfruttamento economico</strong></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">L’attenzione dell’uomo verso il territorio ha subito nel tempo profondi mutamenti legati al variare delle pratiche economiche.</div><div style="text-align: justify;">Durante il Paleolitico e il Mesolitico l’economia umana si basava sulla caccia, sulla pesca e sulla raccolta.</div><div style="text-align: justify;">Le aree d’interesse erano quindi variabili a seconda delle stagioni e comprendevano tutte le fasce dell’ambiente alpino, dal fondovalle fino alla sommità delle montagne</div><div style="text-align: justify;">Con il Neolitico e l’avvento delle pratiche agricole e pastorali si assiste ad una progressiva stabilizzazione degli insediamenti, ad una frequentazione del territorio che privilegiava prevalentemente il fondovalle, e ad un impatto ambientale di proporzioni notevoli.</div><div style="text-align: justify;">L’inedita esigenza di luoghi adatti alla coltivazione e al pascolo, si traduceva infatti in vaste opere di disboscamento.</div><div style="text-align: justify;">L’età del Rame vede due importanti innovazioni di carattere economico: l’introduzione delle tecniche di lavorazione del metallo del Rame e la lavorazione casearia del latte per la produzione di burro e formaggio.</div><div style="text-align: justify;">A differenza del periodo precedente, il Neolitico, le aree montane sono oggetto di un rinnovato interesse, sia per l’approvvigionamento del rame (in Trentino i principali giacimenti di rame, in forma di calcopirite, si trovano in Valle dei Mocheni, nella zona di Calceranica, di Pinè, in alta val di Non e in quantità minori nelle Giudicarie Interiori), che per la presenza di ampi pascoli.</div><div style="text-align: justify;">Questo processo ha una notevole accelerazione durante l’età del bronzo, dove si può parlare di vera e propria “esplosione” degli insediamenti in quota.</div><div style="text-align: justify;">La situazione odierna non è lontanamente paragonabile a quella dell’età del Bronzo.</div><div style="text-align: justify;">Tuttavia, almeno fino agli anni ’40 e ’50 del secolo scorso, l’economia rurale dell’area oggetto del nostro interesse si articolava in uno sfruttamento capillare del territorio circostante gli abitati, dove le aree migliori erano solitamente destinate all’agricoltura, mentre quelle scomode da coltivare o caratterizzate da un’eccessiva altitudine (all’incirca sopra gli 800 metri, anche se in presenza di condizioni ambientali particolarmente favorevoli o sfavorevoli, la cifra di ogni singolo caso può variare di molto) erano destinate alla fienagione o alla cerealicoltura di montagna.</div><div style="text-align: justify;">Il mutato assetto economico e sociale ha fatto sì che oggi lo sfruttamento del territorio non sia più basato su un’economia di sussistenza, ma sia improntato su una produzione specializzata di un numero esiguo di beni, destinati poi alla commercializzazione.</div><div style="text-align: justify;">Ciò ha avuto come conseguenza l’abbandono da parte dell’uomo di quelle aree, oggi ritornate bosco, non più considerate redditizie, ma che una volta erano in grado di garantire la sopravvivenza di intere famiglie.</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><strong>L’età del Bronzo in Trentino-Alto Adige (2200 a.c.-1000 a.C.)</strong></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Durante l’età del Bronzo si assiste ad un notevole aumento demografico e ad una conquista sempre più massiccia da parte dell’uomo delle grandi vallate alpine, dove, le ampie distese prative, ben si prestano ad un crescente interesse per l’economia di tipo pastorale, legata sia al consumo di carne che alla produzione di latte e formaggi.</div><div style="text-align: justify;">Le modalità insediative sono diverse a seconda dei luoghi.</div><div style="text-align: justify;">In Trentino sono infatti noti, oltre alle palafitte di Ledro e Fiavè, anche abitati d’altura e di fondovalle.</div><div style="text-align: justify;">Le specie animali allevate erano: capra, pecora, maiale e bue, con un’accresciuta importanza della capra-pecora rispetto al passato e una diminuzione di quella del maiale, mentre, per ragioni non legate all’alimentazione, si allevavano cavalli e cani.</div><div style="text-align: justify;">In campo agricolo sono da registrare numerose migliorie, le più importanti delle quali sono l’uso dell’aratro (rinvenuto a Fiavè) e la pratica della rotazione, che mirava ad alternare, in uno stesso appezzamento di terra, una stagione di coltivazione ad una di riposo.</div><div style="text-align: justify;">Le specie vegetali coltivate erano, oltre al lino, utilizzato per la realizzazione di tessuti, il grano (Triticum monococcum, dicoccum, aestivum/compactum), l’orzo (Hordeum volgare), il miglio (Panicum miliaceum), l’avena(Avena sativa), le fave(Vicia faba), le lenticchie (Lens culinaria)e i piselli(Pisum sativum).</div><div style="text-align: justify;">La dieta quotidiana poteva essere integrata in maniera esigua dalla caccia (cervo e cinghiale), dalla pesca (tinche, cavedani) e dalla raccolta di frutti spontanei quali il corniolo (Cornus mas), il nocciolo (Corylus avellana), le ghiande (Quercus sp.), il prugnolo (Prunus spinosa), la vite (Vitis vinifera), le more (Rubus fruticosus), i fichi (Ficus carica), le mele (Malus sylvestris), le susine (Prunus domestica insititia), il sambuco (Sambucus nigra e Sambucus ebulus), i lamponi (Rubus idaeus), le fragole (Fragana vesca) e le pere (Pyrus communis).</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><strong>Antiche e moderne forme di frequentazione della conca di Terlago: proposte interpretative</strong></div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Saranno ora prese in considerazione due delle molteplici problematiche legate al rapporto uomo-ambiente, quella economica e quella viaria, utili strumenti per una migliore comprensione delle dinamiche insediative.</div><div style="text-align: justify;">Durante l’età del Bronzo si assiste in tutta l’area del Trentino-Alto Adige e nella Conca di Terlago ad un sostanziale aumento del numero degli insediamenti e all’occupazione di fasce del territorio prima disabitate, probabilmente, oltre che per la spinta demografica, anche per un aumentato interesse verso l’economia di tipo pastorale.</div><div style="text-align: justify;">Nel lato occidentale della conca ciò si concretizza nell’occupazione, a partire dal Bronzo Antico, del contrafforte meridionale del Monte Mezzana (località Val del Castel, Val del Fer, e Brusadi), e, dal Bronzo Medio, della fascia pedemontana del Gazza, ad opera degli abitati dell’Ariol di Covelo, del Doss Grande e della Camosciara (o Camociara) di Monte Terlago, e nella frequentazione di aree ad evidente vocazione pastorale, quali il Passo S. Antonio e Prada di Monte Terlago.</div><div style="text-align: justify;">Il lato orientale, fatta eccezione per il Bronzo Finale, che vede la nascita dell’insediamento del Dosso della Croce, è caratterizzato invece da un’estrema stabilità del popolamento, come si può desumere dall’occupazione per tutta l’età del Bronzo dei siti del Doss Grum e del Doss. S. Elena di Cadine e della Groa di Sopramonte.</div><div style="text-align: justify;">Tale continuità insediativa, risultata vincente per più di un millennio, potrebbe essere legata, oltre che allo sfruttamento agro-pastorale del territorio circostante, anche al controllo dell’asse viario che mette in comunicazione il comparto trentino occidentale (il Basso Sarca, la valle del Chiese, le Giudicarie e la Rendena) con quello orientale (Valsugana, val di Cembra, Fiemme e Fassa), il cui tragitto passa da Maso Camponcino (sotto la Groa) e lambisce poi i pendii del Grum.</div><div style="text-align: justify;">In una situazione di questo tipo, probabilmente caratterizzata da un assetto sociale di tipo tribale, il controllo di una via di comunicazione poteva concretizzarsi nell’imposizione di dazi e in qualche caso anche in atti di vera e propria predoneria (testimonianze di questo genere ci giungono dalle fonti latine riguardo al territorio trentino appena romanizzato).</div><div style="text-align: justify;">Nonostante siano passate alcune migliaia d’anni, se confrontiamo tale situazione con quella rurale odierna, ma soprattutto con quella dei primi decenni del secolo scorso, possiamo trovare numerose analogie che riguardano soprattutto le attività economiche e il sistema viario, due aspetti legati al territorio in maniera indissolubile e per questo attuali, almeno in parte, ancora oggi.</div><div style="text-align: justify;">Sono cambiate invece le modalità insediative, che alla sommità dei colli, anche per motivi legati alla presenza dei corsi d’acqua e all’evoluzione delle attività artigianali (segherie, mulini, fucine), preferiscono le aree di versante o quelle più pianeggianti.</div><div style="text-align: justify;">L’area pedemontana del Gazza, occupata un tempo dagli insediamenti del Maso Ariol, delle Laste di Monte Terlago, e del Doss della Camosciara di Monte Terlago, è oggi occupata dai paesi di Lon, Ciago, Covelo, Maso Ariol e Monte Terlago, che sfruttano, come probabilmente già nell’età del Bronzo, le potenzialità agricole del territorio circostante l’area abitata.</div><div style="text-align: justify;">Da quest’area partono oggi, come probabilmente già nell’età del Bronzo, le greggi di animali che raggiungono i pascoli e le numerose malghe del Gazza e della Paganella (malghe di Gazza, di Ciago, di Covelo, di Terlago e di Zambana), dove, nei pressi del Passo di S: Antonio, sono stati rinvenuti numerosi frammenti ceramici relativi all’età del Bronzo Finale.</div><div style="text-align: justify;">La viabilità odierna rispecchia in parte quella di un tempo.</div><div style="text-align: justify;">Da Covelo è infatti possibile raggiungere Monte Terlago percorrendo un tratto del sentiero San Vìli, che di fatto passa proprio accanto agli insediamenti di Ariol e del Doss della Camosciara, e poi proseguire verso il Passo S. Antonio percorrendo il sentiero S.A.T 606 (probabilmente usato già a partire dall’età del Bronzo), o continuare per Prada (dove sono stati rinvenuti frammenti ceramici relativi all’età del Bronzo) per il sentiero S.A.T 682.</div><div style="text-align: justify;">Il popolamento del lato orientale della conca coincide in parte con le aree già antropizzate durante l’età del Bronzo, preferendo alle sommità dei colli (Grum di Cadine e Groa di Sopramonte) le aree pianeggianti ad essi adiacenti.</div><div style="text-align: justify;">Il ritrovamento di un falcetto in bronzo relativo all’età del Bronzo Finale (rinvenuto in una non meglio precisata località del Monte Bondone), costituisce la più antica testimonianza dell’attività di fienagione sul Monte Bondone, ampiamente praticata fino a qualche decennio fa dalle genti delle comunità che risiedevano alle sue pendici.</div><div style="text-align: justify;">La viabilità ha subito invece un cambiamento radicale.</div><div style="text-align: justify;">Infatti, la strada che attraverso il passo Camponcino collega Trento a Sopramonte, tanto importante durante l’età del Bronzo per il sistema insediativo del Doss Grum, Doss S. Elena, e Groa (oggi una strada sterrata transitabile in automobile), è stata superata dalla costruzione del tratto della Statale Gardesana che passa per il Bus de Vela.</div><div style="text-align: justify;"><br />
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</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;">Bibliografia</div><div style="text-align: justify;"><br />
</div><div style="text-align: justify;"><strong>Bagolini B. - Pasquali T</strong>. - Pedrotti A. 1985 - Monte Mezzana (Conca di Terlago), Preistoria Alpina , 21: 268-272.</div><div style="text-align: justify;"><strong>Biasi L, 1999</strong>, Sui monti di Trento, Bondone Soprassasso Paganella, natura, storia, segreti in 17 escursioni lungo i sentieri della SAT, Panorama, Trento</div><div style="text-align: justify;"><strong>Castelli di Castel Terlago F.M. 1932</strong>, Terlago nelle sue memorie, Arti Grafiche, Saturnia, Trento</div><div style="text-align: justify;"><strong>Dalmeri G. 1985</strong>, Maso Ariòl, Preistoria Alpina, 21 1985 pag. 264</div><div style="text-align: justify;"><strong>Dalmeri G, Pasquali T., 1985</strong>, Monte Gazza, Paganella (Trento), Preistoria Alpina, 21 1985 pag. 80-82</div><div style="text-align: justify;"><strong>Di Pillo M. 1991-1994</strong>, L’area Atesina fra il bronzo medio e l’inizio dell’età del Ferro, Tesi di Dottorato in archeologia (Preistoria), VI ciclo, Triennio Accademico 1991-94, Roma.</div><div style="text-align: justify;"><strong>Ferrari D. - Pasquali T. 1985</strong>, Laste- Monte Terlago (Trento), Preistoria Alpina , 21 236-238.</div><div style="text-align: justify;"><strong>Marzatico F., Tecchiati U., 2001</strong>, The Bronze Age in Trentino and Alto Adige/SüdTirol, in Preistoria Alpina, vol. 34 (1998), Trento, pp. 27-60.</div><div style="text-align: justify;"><strong>Pasquali T. 1993</strong>, Terlago. Aggiornamenti di Preistoria. Organizzazione amministrativa ed economica nel Medioevo, a cura di T. Pasquali e Mariano Bosetti, Cassa Rurale della Valle dei Laghi, Vezzano.</div><div style="text-align: justify;"><br />
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</div></div>Luca Pisonihttp://www.blogger.com/profile/10196345288384629507noreply@blogger.com0tag:blogger.com,1999:blog-4099951627253782921.post-128540236603178102010-11-07T04:10:00.000-08:002016-08-01T13:41:02.972-07:00Seminario Permanente di Etnografia Alpina - MUCGT<div dir="ltr" style="text-align: left;" trbidi="on">
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"Le frontiere nascoste della cultura del vino" San Michele all'Adige"<br />
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12-14 novembre 2010</div>
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Aula Magna della Fondazione Edmund Mach - <br />
Istituto Agrario di San Michele all’Adige</div>
<br />
Ore 10 <br />
Archeologia Presiede: Cesare Poppi<br />
<br />
Giovanni Kezich, MUCGT<br />
Latte d’uva. Introduzione archeosemantica, con Polifemo, Noè e altri personaggi<br />
<br />
Gaetano Forni, Museo Lombardo di Storia dell’Agricoltura<br />
Le frontiere “nascoste” sono pluriformi e plurisemantiche<br />
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Asja Zec, Fondazione dei Castelli di Bolzano <br />
Traffici del vino in Dalmazia in epoca protostorica<br />
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Luca Pisoni, MUCGT; Umberto Tecchiati (Ufficio Beni Archeologici della Provincia Autonoma di Bolzano)<br />
Il vino nell’età del ferro atesina come paradigma delle diversità tra Alpi e Mediterraneo<br />
<br />
Ore 14:30<br />
<br />
Genetica Presiede: Gaetano Forni<br />
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Attilio Scienza, Università di Milano<br />
I limes culturali della viticultura europea<br />
<br />
Osvaldo Failla, Università di Milano<br />
Il vitigno: significato, origine, variabilità e onomastica<br />
<br />
Stella Grando, Fondazione Edmund Mach<br />
La genetica molecolare per ricostruire la storia dei vitigni<br />
<br />
Serena Imazio, Università di Milano<br />
Analisi di alcuni casi di studio relativi alla circolazione varietale in Europa<br />
<br />
David Maghradze, Institute of Agriculture, Viticulture and Oenology, Tblisi<br />
Georgian vinicultures: paradigms of hidden borders<br />
<br />
Coffee-break<br />
<br />
Ore 18<br />
<br />
Archetivitis, un film di Nereo Pederzolli, Attilio Scienza, Osvaldo Failla, riprese di Andrea Segatta, 32’, Italia, 2010 <br />
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Ore 19<br />
<br />
Museo degli Usi e Costumi della Gente Trentina<br />
<br />
Janos Hasur DiVino Violino! Tokaji e fuga per violino solo<br />
(prenotazione necessaria)<br />
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SABATO 13 NOVEMBRE 2010<br />
<br />
Aula Magna della Fondazione Edmund Mach - Istituto Agrario di San Michele all’Adige<br />
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Ore 9<br />
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Etnografia Presiede: Giovanni Kezich<br />
<br />
Valentina Zingari, Università di Siena<br />
Raccontare la vigna come legame al tempo, tra storia e memorie famigliari. Note etnografiche dalla Savoia alpina<br />
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Franco Castelli, Laboratorio Etno-Antropologico di Rocca Grimalda<br />
Bacco in collina. Un laboratorio etno-antropologico tra i vigneti del Monferrato<br />
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Mauro Van Aken, Università di Milano Bicocca<br />
La vita sociale della vite. Gesti, ambienti e culture della vite in Oltrepò Pavese<br />
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Italo Sordi & Giosuè Bolis, Museo etnografico dell’Alta Brianza<br />
La vite e il vino: tecniche della tradizione (film, 28’, 2002) <br />
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Coffee-break<br />
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Francesco Penner, Fondazione Edmund Mach<br />
Recupero e valorizzazione di un antico vigneto di Enantio a coltivazione promiscua<br />
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Daniele Gazzi, Daniela Perco, Museo etnografico della provincia di Belluno<br />
Il sogno dorato dei pinot tra le bianchette e le viti americane nelle prealpi bellunesi<br />
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Emanuela Renzetti, MUCGT<br />
Cuocere il vino. Le nuove frontiere di una tradizione marchigiana<br />
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Marcello Arduini, Università della Tuscia<br />
Vite intorno al vino. Operai e operaie della Cantina Vaselli di Castiglione in Teverina (con il film Alvero il capo cantiniere, 14’, 2008)<br />
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Ore 14.30<br />
<br />
Economia, società, costume Presiede: Attilio Scienza<br />
<br />
Luciano Giacchè, Università di Perugia<br />
Una frontiera temporale: il passaggio dalla coltivazione della vite all’economia del vino<br />
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Federica Corrado, Politecnico di Torino; Valentina Porcellana, Università di Torino<br />
Viticoltura di montagna e sviluppo del territorio. Il caso della Valle Susa<br />
<br />
Fabio Bertolissi, Rovereto<br />
La vite, le vite, i territori: Trentino, Bosnia, Agro pontino e romano con lo sguardo rivolto al Brasile<br />
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Coffee-break<br />
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Marco Romano, Fondo<br />
“Quell’acquosa amaritudine tedesca”: birra “contro” vino<br />
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Cristina Grasseni, Università di Bergamo<br />
Del vino buono, o non tanto. Consumo critico e co-produzione ai margini della vigna<br />
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Christian Arnoldi, Università di Bologna<br />
Prendete e bevetene tutti! Congetture per una topografia dei mondi del vino<br />
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Danilo Gasparini, Università di Padova<br />
Prolegomeni ad una retorica enoica. La narrazione del vino oggi tra storia ed epopea neoruralista<br />
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Ore 18<br />
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Presentazione del libro<br />
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Margareth Lanzinger/Edith Saurer (Hrsg.)<br />
UNGLEICHHEIT AN DER GRENZE Historisch-anthropologische Spurensuche im alpinen Raum: Tret und St. Felix.<br />
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Con una prolusione di John W. Cole, University of Massachusetts su “The Frontier Concept” e un intervento di Margareth Lanzinger, Università di Vienna<br />
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DOMENICA 14 NOVEMBRE 2010<br />
<br />
Escursione a Revò: i vigneti del Groppello<br />
(prenotazione necessaria)</div>
Luca Pisonihttp://www.blogger.com/profile/10196345288384629507noreply@blogger.com0tag:blogger.com,1999:blog-4099951627253782921.post-16723728257141656872010-10-18T13:27:00.000-07:002017-05-24T22:53:31.729-07:00Identità ed etnie nello studio della protostoria italiana<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "arial" , "helvetica" , sans-serif;">"Non tutti quelli che usano il Kalashnikov sono dei Russi" (Part # 1)</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Anche a causa delle</span> recenti vicende internazionali (Bosnia, Ruanda, ex Repubbliche sovietiche, ecc.), la questione dell’identità etnica è tornata ad essere un tema di primo piano per gli studiosi di scienze sociali.</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Sul versante dell’antropologia, gli approcci attuali sembrano considerare l’identità e l’etnia come gli esiti di processi di costruzione sociale, non sempre pienamente coscienti e vissuti talvolta in opposizione ad altre identità (contrastive identity; Fabietti<span style="mso-ansi-language: IT; mso-bidi-font-family: Times-Roman; mso-bidi-language: AR-SA; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: IT;"> 1995, Remotti 1996; </span><span style="mso-ansi-language: IT; mso-bidi-font-family: ClassicalGaramondBT-Italic; mso-bidi-font-style: italic; mso-bidi-language: AR-SA; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: IT;">Barth 1969, Amselle 1990, Amselle, M’Bokolo 2008)</span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Bisogna comunque sottolineare che una volta compiuti, tali processi risultano efficaci e costituiscono una quadro di riferimento (ideologico, simbolico, ecc.) verso cui possono convergere sentimenti di identificazione, movimenti politici, ecc. (Jourdan 2010, p. 20 in riferimento ai lavori di Banégas R.).</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Anche in archeologia i temi dell’etnia e dell’identità sono stati affrontati utilizzando, oltre al paradigma storico-culturale, orizzonti teorico-interpretativi di carattere antropologico e comparativo, che Mariassunta Cuozzo ha riassunto in un articolo di ampia sintesi (Cuozzo 2000).</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> "Non tutti quelli che usano il Kalashnikov sono dei Russi" (Part # 2)</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Come sostiene la studiosa, uno dei problemi più difficili da risolvere è quello di risalire ai processi di costruzione sociale e di ricollegarli alla cultura materiale, individuando in quest’ultima l’eventuale presenza di indicatori etnici cosa che, in buona sostanza, dipenderebbe da un’accurata ed approfondita lettura polisemica dei singoli contesti.</span><br />
<span style="font-family: "arial";">Per questo, ad esempio, gli attuali filoni di ricerca relativi ai conflitti e agli spostamenti di popolazioni (Etruschi, Celti, ecc.) nell'età del ferro dell'Italia settentrionale appaiono particolarmente spogli dal punto di vista della praparazione teorica. </span><br />
<span style="font-family: "arial";">L'eredità di Franz Boas in archeologia (il diffusionismo e le nozioni di area culturale e cronologica) non può essere utilizzata, valicato il confine del secondo millennio, come unico metodo d'analisi di situazioni instabili e conflittuali.</span><br />
<span style="font-family: "arial";">Come sostenne ormai alcuni decenni or sono Frederik Barth (Barth 1969), un gruppo etnico non è utilmente definibile in base ai criteri linguistici, territoriali, ecc., ma, al contrario, in base a quelli elaborati dagli stessi interessati per stabilire un'unione e una distinzione tra sè e gli altri. Il gruppo etnico, per interagire con gli altri, elabora una serie di criteri di autoidentificazione che consentono ai suoi membri di interagire con i membri dei gruppi che si autodefiniscono in maniera diversa.</span><br />
<span style="font-family: "arial";">Le immagini riportate sopra, volutamente provocatorie, contribuiscono a mettere in luce le approssimazioni con cui talvolta viene ancora affrontata la questione.</span><br />
<span style="font-family: "arial";">Non tutti quelli che usano il Kalashnikov sono dei Russi (possono essere anche degli Africani) potrebbe ad esempio essere tradotto come: non tutti quelli che usano il gladio sono dei Romani o non tutti quelli che usano l'armamento lateniano sono dei Celti.</span><br />
<span style="font-family: "arial";"></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Bibliografia</b></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Amselle J-L</b>., 1990, Logiques métisses. Anthropologie de l’identité en Afrique et ailleurs, Paris.</span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Amselle J.-L., M’Bokolo</b> E. 2008 – L’invenzione dell’etnia, Maltemi, Roma, 282 pp. (ed. or. Au coeur de l’ethnie. Ethnies, tribalisme et état en Afrique, La Découverte, Paris 1985)<br /><b>Barth F.</b> (a cura di), 1969, Ethnic groups and boundaries, Bergen-Oslo.<br /><b>Cuozzo M.</b> 2000 - “Orizzonti teorici e interpretativi, tra percorsi di matrice francese, archeologia post-processuale e tendenze italiane: considerazioni e indirizzi di ricerca per lo studio delle necropoli” in “Archeologia Teorica”, Terrenato Nicola (a cura di), Edizioni all’Insegna del Giglio, Firenze, 2000, pp. 323-360.</span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Fabietti U.</b>, 1995 - L’identità etnica. Storia e critica di un concetto equivoco, La Nuova Italia Scientifica, Roma, 172 pp.<br /><b>Remotti F.</b>, 1996 - Contro l’identità, Laterza, Roma-Bari, 108 pp.</span></div>
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Luca Pisonihttp://www.blogger.com/profile/10196345288384629507noreply@blogger.com0