This publication features important essays by authors who address various themes and aspects of the figure of the storyteller over the decades. Gian Paolo Borghi, author of countless scholarly contributions, has for many years devoted himself to ethno-historical and ethno-anthropological studies, as well as contemporary history. In his essay (From the Postwar Period to the Years of Urbanization: The Rural World in the Contrasts of Storytellers from Emilia and Romagna), he examines the processes of industrialization and agricultural mechanization that impacted traditional peasant society, which gradually suffered repercussions that produced their first disintegrating effects as early as the early decades of the 20th century. G. P. Borghi's analysis of a historical process fundamental to Italian peasant civilization and to Italy's evolution into an industrial nation.
Mauro Geraci, full professor of Ethnology at the Department of Ancient and Modern Civilizations at the University of Messina. A storyteller himself, he has written extensively on this topic, and his book Voices and Stories: Knowledge, Projects, and Tasks of Storytellers from the South, from Yesterday to Today, from the "True" to the "Last."
In this text, he decries the oleographic representation that has developed in recent years, whereby popular entertainment, folk art, the author, and especially the popular singer, or cantora, are transformed into priests of anti-consumerism, effectively making them more "consumable," in a sort of heterogenesis of ends, "under the banner of archaic, local, populist, folkloristic, and 'politically correct' logics that, while displaying projects of study and preservation, end up neutralizing the very critical, if not subversive, thinking that has historically distinguished storytellers with their heretical eclecticism."
Tiziana Oppizzi, a storyteller herself, is interested in popular culture and music. A former contributor and editor of the magazines "FB FolkBulletin" and "Il Cantastorie," she is active in several choirs. In her essay, "A Storyteller Tells Herself." Experiences, struggles, and resistance in stories and pamphlets, in addition to narrating their own experiences, raises crucial questions, first and foremost that of whether the ballads' content is truthful. "Facts, data, and novelties, even those that are false and fabricated, have a decisive impact on people's lives through the increasingly pervasive and proliferating media. It is precisely from this epochal change, widely recognized by anthropologists and sociologists, that I would like to begin to rethink the figure of the contemporary folk bard." T. Oppizzi, founder of the cultural association 'Il Cantastorie on line', along with Claudio Piccoli, who is also interested in popular culture and music, contributes the essay "Tradition and Modernity of the Storyteller: Differences and Similarities." Claudio Piccoli's essay revisits the history of storytelling, both in print and digital, with pertinent observations, such as the observation that the conditions of musical communication have allowed the storyteller to evolve from a traveling chronicler, a follower of Homer, but equipped with a microphone, into the more global dimension of the street performer.
Franco Schirone, a freelance researcher on anarchist themes and the author of several works, introduces us to Storie, Ballate e Fogli Volanti: il Canto Anarchico e i Cantastorie (Stories, Ballads, and Flying Sheets: Anarchist Song and the Storytellers), a powerful essay, illustrated with illustrations of flying sheets and texts from the Paris Commune (1871) to the present day, that explores the identification, or rather, the assimilation, of popular song to social song. The author's overview proves to be of the utmost documentary importance, managing to produce almost unknown texts on Giovanni Passannante and Sante Caserio, as well as previously unpublished works on Gaetano Bresci. F. Schirone's review is packed with insights, news, and creative inspiration, bringing together diverse works and authors, from pamphlets and street singers of yesteryear to modern storytellers, niche songwriters, and popular singers, all connected by the red and black thread of anarchic influence.
And let's not forget the lively introductory essay by Pardo Fornaciari, a late storyteller who introduces us to the tradition of improvised poetry in ottava rima and sing-a-long in general, which still survives in a few areas of Italy.
Published by Edizioni Colibrì, the volume was edited by the 'Pietro Gori' Cultural Association of Milan and the 'Il Cantastorie on line' Cultural Association, 270 pages, EUR17.00.
Anteo
https://umanitanova.org/cantare-la-piazza-differenze-e-analogie-nelle-politiche-dei-cantastorie/
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Source: A-infos-en@ainfos.ca
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