WORLD WORLDWIDE ITALY News Journal Update - (en) Italy, FDCA, il Cantiere #23: Exodus - Reverend (ca, de, it, pt, tr)[machine translation]

 "Everything is alright, so we are going to walk alright, through the

roads of Creation, we're the generation, trod through great tribulation,
Exodus" ---- "Everything will go right, so we will set out with a sure,
long step the paths of Creation, we are the generation that has gone
through great tribulations, Exodus" ---- These are some of the prophetic
verses of Bob Marley, lyrics of the super hit Exodus, released in 1977
(an excellent year in many respects), on the self-titled album, an L.P.
which will remain forever, in heavy rotation, in our hearts and in our
headphones. Verses which, it is easily deduced, are inspired by readings
and passages from the Old Testament and which testify to the
tribulations of the people of Israel; in that case they were bent, by
the artist, to the miserable life of Jamaicans in the slums of Kingston
Town.

As I write these lines, the inhabitants of Gaza are making "their"
Exodus. Thousands of people who in the darkest night and chased by
bombs, pack up the four rags they have and leave. And every man knows
that having a house, no matter how miserable it is, will never be like
not having one.

The story is cruel and paradoxical. How much the desperate people of
Gaza resemble those Jews who fled the European pogroms, bringing with
them poverty and the musical instruments indispensable to their culture.
Mind you: musical instruments that could be transported, i.e. violins,
clarinets, mandolins, trumpets, accordions, everything that could be
packaged, the same instruments used by gypsies and Roma from all over
the world, others without land, others murdered in concentration camps .
All Jewish music is imbued with the profound pain of a landless people,
persecuted and driven away. The platforms of Auschwitz were full of
musical instruments abandoned next to suitcases. And today, without a
doubt, that music would be an appropriate soundtrack for Palestinians.
And these Jewish musicians would play well alongside the powerful and
sharp, sweetly melancholic and high-pitched voices of the Arab singers,
and those instruments would sing well, those people would dance, they
would meet on the scores, they would dialogue between the notes, they
would compete with each other with mastery of the instrument , with
words of heartbreaking dirges.

How well the lyrics of Arab poets such as Adonis, Jabra Ibrahim Jabra,
Khalil Gibran would stand out, on the melodies of Gabriele Cohen,
Kletzmatics, John Zorn and so on ad infinitum. But why can't it be like
this, by whom and when was it decided that men should slaughter each
other instead of meeting and re-knowing each other, perhaps through
poetry and notes?

Who composes and updates this musical of destruction and death, bombings
and pogroms, that is, the same score that is always presented to us, on
different latitudes, but always the same and despairing?

Man's pain is the same for all men, like poetry, like music. But there
is something greater in man: there is an inspiration crushed, crushed,
reduced to a small light, a small flame that must resist.

The Apulian pianist Francesco Lotoro dedicated part of his life to
transcribing and saving from oblivion the music composed in the
concentration camps, clearly including those coming from the Dachau and
Borgermoor concentration camps, but not only those of the Jews involved
in the Holocaust.

Beyond the artistic value of the operation, what violently emerges is
the enormous human depth that it represents. It means preserving and
sheltering that flame of humanity and brotherhood, that glimmer of
testimony that those music express. It means that even in the darkest
moments, exactly like the ones we find ourselves experiencing, it is
always possible to express the radical value of every single life
against the monstrous machine of war and oppression that surrounds us,
that hope is not a panacea for defeated, it is not only a theological
virtue, but it substantiates and defines us.

Tomorrow we will listen to the music and why not, the rap composed
during the dark night in Gaza, during the Exodus, as for all Exoduses.
This Greek word which means "out in the streets", when will we
understand that it is our condition as men, when will we accept that it
alone breaks down walls, that it means revolution?

Tomorrow, but today and forever we will shout: two peoples no nation.

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