Paige Santarcangelo holds the coloring book
logo and map she created for the Bennington 250th Anniversary Committee during her time at the Southwest Tech graphic arts program
When Paige Santarcangelo started a class in graphic arts at Southwest Tech
she had no idea how much that choice would affect her direction in life
BENNINGTON — When Paige Santarcangelo started a class in graphic arts at Southwest Tech
Now continuing her education at Community College of Vermont
where she is studying marketing and communications
Santarcangelo reflected on projects she worked on related to the area’s upcoming 250th historical anniversaries – and on skills she developed through the graphic arts program
The upcoming 250th anniversaries begin in 2025 with the planned Expedition to Fort Ticonderoga by Ethan Allen and the Green Mountain Boys
marking the 1775 capture of the fort from the British at the start of the American revolution
marking the 250th anniversary of the Declaration of Independence
and will culminate in 2027 with the 250th anniversaries of the founding of the independent republic of Vermont and the Battle of Bennington in 1777
The regional Bennington 250th Committee reached out to Betsy Kane
to be involved with a project to have students create a 250th logo and a kindergarten through Grade 3 coloring book related to the Battle of Bennington
"Integrating real-world experiences into the Southwest Tech Graphic Arts program is crucial for preparing students to navigate the dynamic and competitive creative industries,” Kane said
"By engaging with community-based projects like Bennington250
our student designers gain valuable professional experience while developing a deeper understanding of how their work can make an impact beyond the classroom.”
“These opportunities not only allow students to refine their technical and interpersonal skills but also foster confidence
and a sense of purpose in their creative pursuits
Getting Southwest Tech students' design work out into the community provides them with real-world feedback and exposes them to the collaborative nature of the design process
emphasizing the importance of meeting deadlines
Students in the program provided several logo ideas for the 250th coloring book
and Paige’s design was chosen as the winner
“We were really impressed by the quality of all of the student logo ideas” said Jonah Spivak
chair of the Bennington 250th Anniversary Committee
"Paige’s logo idea showed excellent graphical skills and did a great job of embodying the spirit and history of the project and ended up being the chosen design.”
In addition to being used on the coloring book
he said the committee plans to use the logo for other educational related materials as well
“Including students in this work of commemorating history is extremely important” Spivak said
“We could not be more pleased with Paige’s work and the work of Betsy Kane and the SWT Graphics Program."
I like the Town of Bennington logo and it gave me inspiration with the circle and monument,” she said
“I feel like in designing I was really good at making balance in the designs
but I just liked how the circle tied everything together.”
“I went to Molly Stark elementary,” she said
“so I knew about John Stark because of his wife
and I used to visit the Monument with my Nana and visited the statues there and thought the one of Stark pointing was cool."
Santarcangelo’s work is also included in the coloring book itself
along with that of classmates Kylan Glaski
Paige’s contributions included a map of Vermont that includes historic locations and images that are iconic for the state and a Green Mountain Boys flag
The coloring book includes 10 pages and a cover. A PDF of the book is available on the <a href="https://www.bennington250.org/resources" target="_blank">website</a>
“I took the intro graphics program at the suggestion of my guidance counselor
I didn’t want to be a graphic artist before I took it
It showed me a different version of art and I liked it a lot.”
it gave me lots of opportunity to practice and exposure for my designs
I use what I learned in the program all the time
She is hoping to find work after college in magazine publishing
More information about the upcoming 250th historical anniversaries and on how to be involved in the effort is available on the <a href="http://bennington250.org">bennington250.org</a> website.
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Volume 8 - 2014 | <a class="ArticleLayoutHeader__info__doi" href="https://doi.org/10.3389/fnbeh.2014.00224">https://doi.org/10.3389/fnbeh.2014.00224</a>
Hypnotizability, or hypnotic susceptibility (<a href="#B17">Green et al., 2005</a>), is a good predictor of the response to suggestions in and out of hypnosis (<a href="#B39">Meyer and Lynn, 2011</a>). It can be measured by scales (<a href="#B52">Sheehan and McConkey, 1982</a>) allowing to classify subjects as high (highs)
and low (lows) hypnotizable by indicating the individual ability to modify experience and behavior according to the suggestions&#x00027; content and to feel that this occurs independently of will
higher dopaminergic tone could be sustained in highs by other mechanisms such as different receptors density/distribution/sensitivity
and catabolism by the Mono-Amino-Oxidase system
Schematic view of hypnotizability-related differences in the brain activity
*Structures and connections (arrows) possibly involved
Sensori-motor integration in not hypnotized highs not receiving any suggestion
The experience of involuntariness in hypnotic responding has been attributed by neo-dissociative theories to dissociation between experience or executive control and behavior, and by socio-cognitive theories to deep absorption in mental images associated with high expectancy of behavior congruent with the suggestions content (<a href="#B33">Lynn and Green, 2011</a>)
It is well-known that imagined and physically- induced perceptions as well as imagined and real voluntary movements activate the same neural circuits, although to different extent (<a href="#B25">Jeannerod, 2001</a>; <a href="#B31">Kosslyn et al., 2001</a>; <a href="#B40">Moulton and Kosslyn, 2009</a>; <a href="#B41">Munzert et al., 2009</a>; <a href="#B20">H&#x000E9;tu et al., 2013</a>)
Several observations suggest a more effective activation of these circuits in highs
but we did not have any objective evidence of involuntariness
In another study, during imagery of procedural leg pain (<a href="#B50">Scattina et al., 2012</a>)
that is while imagining that &#x0201C;the surgeon is taking out some pebbles from the left calf
he cannot avoid tearing away small pieces of flesh&#x02026; unfortunately there is no anesthetic&#x02026;,&#x0201D; only highs exhibited a postural response (larger and faster body sway with respect to rest
displacement of the Center of Pressure (CoP) toward the site opposite to the imagined nociceptive stimulation) congruent with the suggestion administered and reported it as involuntary
Covariate analysis showed that their body displacement was not completely accounted for by the vividness of imagery
absorption in the task and perceived pain intensity; in fact
the CoP displacement toward the opposite side was independent of all these factors
again our findings challenged the hypothesis that absorption/expectation may be sufficient to account for the observed motor response
participants may have been aware that pain in one leg induces a displacement toward the other leg and/or remember similar real situations
thus again we had no evidence of involuntariness
In contrast to the imagery of rotated head, which consists of an entirely imagined sensory context, the obstructive suggestion of anesthesia, which requires only the ability to attenuate/abolish the perception of a physical stimulation, reduces the amplitude of the VR earliest component in both groups (<a href="#B48">Santarcangelo et al., 2010</a>), as observed for the suggestion of analgesia during nociceptive stimulation (<a href="#B47">Santarcangelo et al., 2013</a>)
on the basis of the observed hypnotizability-related capacity to transform mental images into sensori-motor physiological conditions
highs may represent the upper extreme of a continuum in the ability to modulate neural conditions through imagery
Impaired performance at cerebellar tests during suggestions of anesthesia had suggested a cerebellar involvement in the motor response to sensory suggestions, but hypnotic relaxation may have influenced the performance (<a href="#B58">Wallace and Hoyenga, 1981</a>). It has been also shown that overactivity in the cerebellum and in the parietal cortex is associated with the misattribution of actions to an external source (<a href="#B1">Blakemore et al., 2003</a>)
but this report did not consider a possible real
In the cerebellum NO acts also as a negative regulator of granule cell precursor proliferation, promotes survival and differentiation of these neurons and regulates bidirectional plasticity at parallel fiber-Purkinje neuron synapses (<a href="#B10">Contestabile, 2012</a>)
NO could be responsible for different functional properties
highs and lows may exhibit NO-dependent different activation of sensory and associative regions such as those belonging to the salience and executive circuits
our findings allow to include hypnotizability among the individual traits responsible for part of the variability in postural control and indicate that it may be involved in the construction of individual sensorimotor selves
They suggest a key role of the cerebellum in hypnotic responding and go beyond psychological theories by suggesting that the involuntariness in action reported after a few sensori-motor suggestions can be real rather than merely experienced
The author declares that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest
Manzoni for his advice on vestibulo-cerebellar physiology and to E
Scattina for her enthusiastic collaboration
The discussed research was funded by the Italian Space Agency (ASI)
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Citation: Santarcangelo EL (2014) New views of hypnotizability
Received: 25 April 2014; Accepted: 04 June 2014; Published online: 24 June 2014
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Santarcangelo chalices returns to the center of Santarcangelo di Romagna for its twenty-sixth edition
an interesting event for lovers of good wine
the show will take center stage in the marvelous medieval village
with the promotion of local wines through tastings offered directly by the farms
In Piazzetta Monache you can find the &#8220;La Bol: bubbles in Santarcangelo&#8221; space where you can try and taste a curated selection of high-level bubbles
The two evenings of Calici Santarcangelo will be enlivened by the presence of jugglers
amateur astronomers and theatrical performances that will provide two magical days of celebration
The Santarcangelo scoresheet: Goi 10, Giovannelli 4, Vandi 3, Ronci 5, Macaru, Benzi 7, Rossi none, Bedetti 11, Mari 10, Frisoni none, Lombardi 5, Saltykov 12. Coach: Serra.
Jun 30, 2023 | <a href="https://www.schodack.k12.ny.us/category/district/" rel="tag">District</a>, <a href="https://www.schodack.k12.ny.us/category/middle-school/" rel="tag">Maple Hill Jr. High School</a>, <a href="https://www.schodack.k12.ny.us/category/high-school/" rel="tag">Maple Hill Sr. High School</a>
families and faculty/staff meeting him soon
I taught Social Studies for just over 10 years and mid-way through that
I became the Teacher Leader of the Social Studies Department
I oversaw the transition to the new New York State Social Studies standards
I eventually left the classroom to be an administrator when I became the Dean of Students and then eventually the Assistant Principal at Cohoes High School
Little did I know that all the steps I’ve been taking along the way would lead me here
and that is truly what drew me to apply for the Maple Hill Principal position
and innovative ideas that permeate Maple Hill made it an environment I was eager to be a part of
welcoming atmosphere that I encountered each step of the way
and then even more so as I started meeting and getting to know more of the amazing people here
My main goal is to learn as much as I can about the inner workings of Maple Hill and acclimate myself to the Schodack community at large
I will be learning a lot during the next couple of months and I&#8217;m eager to get going on that front
In terms of the first few weeks when everyone returns
my main goal is to get to know our students and faculty/staff as much as I can
I&#8217;m not a &#8220;behind-the-desk&#8221; kind of person
so I want to be visible and as much of a presence as I possibly can be when everyone is back
I&#8217;m a firm believer that education is the noblest of professions and I strongly believe that it&#8217;s my job to uphold the integrity that comes with being an educator
I am someone who is willing to do whatever is needed to ensure students and employees are cared for and feel supported
I strive every day to have a positive impact on those around me and wholeheartedly want to improve my own abilities so I can better serve those who have entrusted me to be their principal
I have been given the opportunity to lead Maple Hill and I take that to heart
My life outside of school is centered around being a father and husband
who is in first grade and Delilah who is in pre-school
traveling to visit family and spending as much time together as we can
1477 South Schodack RoadCastleton-on-Hudson
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<a href="en/news/cat/52438/" class="external">FESTIVALS / AWARDS</a> <a href="en/tag/?tag=Italy" class="external">Italy</a>
by&nbsp;<a href="en/author/?author=Davide%20Abbatescianni">Davide Abbatescianni</a>
16/09/2024 - The fantasy-horror movie The Wait and the sci-fi comedy Darla in Space have each scooped an Award for Best Director
The 7th edition of <a href="https://www.notfilmfest.com/">Nòt Film Fest</a> has now wrapped
having unspooled between 6 and 11 September in Santarcangelo di Romagna
Artistically directed by Alizè Latini and Giovanni Labadessa
the gathering showcased a rich selection of works – no less than 100 titles - hailing from the global film landscape
During the awards ceremony held on 11 September in Santarcangelo di Romagna’s evocative open air cinema
Latini and Labadessa were keen to express their affection for all the guests and participants
underlining the important role played by Nòt Film Fest when it comes to creating space for independent film
Nicola Smith and Greg Reitman were responsible for assessing the films in competition
Nell Williams and Fridtjof Ryder loaned their expertise to the Shooting Star Features line-up
The Shooting Star Features section saw <a href="https://cineuropa.org/film/467233/">The Accident</a> by Italian director Giuseppe Garau awarded Best Film
the film follows a woman called Marcella who is in the middle of losing everything: her job
Forced to wrestle with a cynical world which sees her losing hope
Marcella buys herself a tow truck to try to remedy the situation
Eric Laplante and Susie Moon earned themselves the Best Director prize within the same section
thanks to their sci-fi comedy Darla in Space (USA)
The full list of this year’s victors is as follows:
Best DirectorF Javier Gutierrez– <a href="https://cineuropa.org/film/451040/">The Wait</a>&nbsp;[+see also: <a href="en/newsdetail/453190/">film&nbsp;review</a><a href="en/interview/453606/">interview: F Javier Gutiérrez</a><a href="en/film/451040/">film&nbsp;profile</a>] (Spain)
Best PerformanceChase Joilet – Grapefruit (USA)
Best Film<a href="https://cineuropa.org/film/467233/">The Accident</a> - Giuseppe Garau (Italy)
Best PerformanceGiulia Mazzarino – The Accident
Special MentionsEco Village - Phoebe Nir (Italy/USA)The Complex Forms - Fabio D'Orta (Italy)
Best FilmIf You’re Happy - Phoebe Arnstein (UK)
Best DirectorAnnika Birgel – Porcelain (Germany)
Special MentionOfficer Stanley - Scottie Cameron (USA)
Best FilmPiss on Patriarchy - Lena Fakler (Germany)
Best DirectorAlberto Accettulli – Under the Influence(r) (USA)
Best PerformanceLove You Forever - Alexandrea Meyer (USA)
Special MentionsUnder the Influence(r) - Alberto AccettulliSwollen - Roxy Sophie Sorkin (USA)
Best FilmHunger - Natalie Spencer (UK/Italy)
Best FilmMarguerite (Sheebaba) - Océane Maître (Luxembourg) (music video)
Special MentionThrough the Stew - Sal Redpath
Best FilmLos cautiverios - Silvia Jiménez (Mexico) (short film)
Special MentionYou Don’t Mess With James - Weston Auburn (USA)
Best FilmAll You Hear is Noise - Ned Castle
Special MentionShadow - Kamell Allaway (USA)Thursday - Bren Cukier (Poland)
Best FilmAmidst - Pia Andell (Finland) (short film)
Special MentionId Est - Shayda Frost (USA) (short film)
Best FilmThe Blood Crown - Federico G Cesaroni (Italy) (short film)
Best FilmI sogni vivono solo di notte - Christian Dei (Italy) (short film)
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<a href="en/newsdetail/476977/">30/04/2025goEast 2025 – Awards</a>
<a href="en/newsdetail/476977/">Holy Electricity comes out on top at goEast</a>
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<a href="en/newsdetail/477099/">Cannes 2025 Marché du Film</a>
<a href="en/newsdetail/477099/">AFCI runs its second annual Global Film Commission Network Summit at Marché du Film</a>
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first of all I would like to ask you what pronouns I can call you by and where you stand regarding your identities
As I&#8217;m going to be talking in English
Often when there is a change of the spoken language a question comes with
as different idioms are dealing very differently with these matters
I propose that we exercise the non-binary possibilities
My relation to it is a continuous practice of hacking
escaping or deviating the identity somehow
So the pronouns would be a way of treating myself and who I am
It&#8217;s also an invitation to the many nuances of what it means: gender assignments
Between the binaries there is so much happening
I position myself as someone that is in transition
and I don&#8217;t know exactly where this transition is going to bring me
I expose myself in transition while simultaneously asking what does that mean or what it could be
How did this affect the creation of <a href="https://www.santarcangelofestival.com/show/zona-de-derrama-first-chapter/">zona de derrama</a>
which you presented at Santarcangelo Festival 2024
starting with the choice of the people on stage with you
We are people that have different positionalities
and that experience the world with curiosity to unlearn and to learn together what this does in our living
We experience the world through the body that we carry
We come “into form” and navigate life with it
with all the changes that traverse us through time… with our daily lives
For me it&#8217;s impossible to imagine that this would be just an influence
because I don&#8217;t think we can dissociate
We try to study in the body how these experiences and memories are taking form&#8230; we search to dance with it all
We are also people that have a strong relation to pleasure and joy
How did the creation take place materially
The creation happens while being in the studio together
while hanging out and for me at more lonely times to write down “guidance words” that frame some of our movement practices and investigations
We spent 3 weeks living together in Nyon (CH) at the far° Festival 2023 to create this first chapter of the work
This informs a lot how material comes to be composed
“zona” is a principle of dealing with this idea that dance is something you cannot capture
An image that brings a sensorial aspect with it: in zona de derrama we imagine an area where overflowings are announced and happening
We perceive that there is something about to happen around us and that we will need to negotiate with
Shifting is another of the principles we deal with
the word “derrama” (overflowing) relates more with the erotics of transpassing
it&#8217;s this image of a container that overflows itself
It&#8217;s a process of transformation and change
and these moments allow us to talk and tell stories in different ways than in the working studio
These moments allow personal-transpersonal processes to appear
I&#8217;m fascinated by the negotiation that we do in between intimate and public when performing
zona de derrama is your first group choreography
What attention did it required and what surprises did it bring
To guide a choreography there is something very special to search to be listening to
what could be the curiosity about the people that are meeting
And to trust that the process is going to teach us something and that it&#8217;s going to take a form
There is a lot of trust and I think this trust reciprocates between me
I think all of us involved in this project
as in its continuation (arrebentaçao &#8211; zona de derrama last chapter) are willing to be together and to also process things together through the body
to the energies and to trust that everything is already there
I think there is a lot of admiration and love that guides how we come together
At Santarcangelo Festival you presented your two previous works
la peau entre les doigts in 2022 and Clashes Licking in 2023
how would you summarize the points of contact and difference between the two
But all the pieces have something very similar in the process
I often write a lot of words that create a certain map of images and poetry that would guide the creation
But they all have a different visual or a different aesthetic manifestation
In the other solo I have a frontal relation to the audience
And the first chapter of zona de derrama it&#8217;s a piece for outdoor spaces
They all have a repeated fascination with a quite “physical” way of dancing
I&#8217;m always concerned and working through referring to the body as a complex of the spiritual
the physical and the cultural inseparability of it
Which manifest the falsehoods of body-mind division that was created to make the modern/colonial-capitalist society to develop on the basis of separability
I&#8217;m not concerned about how it&#8217;s going to look like when I am in the creation of it
But I&#8217;m very inspired by the feeling of dancing
There is always something about dislocation when I make choreographic decisions
How does the audience influence your creations
both in design and in staging and execution
I often dance in the studio already imagining that there is somebody watching me
I enjoy playing with the idea that someone is there
This brings a lot of information for the moments to frame the choreography
simultaneously; there is always a lot of vulnerability
I’m interested in addressing some performance gestures to people that are present
The relation to the audience carries some secret on the way I engage with performing
There is a kind of magic in performing live
We deal every time with who comes to watch art and performances
While performing we watch each other in a certain way
I try to find moments to watch who is watching me in the choreographies
Your works actually opened the last three editions of Santarcangelo Festival
as if to present a “summary” of what would then be offered for viewing in the days to follow
How does zona de derrama resonate with the title-theme of the 2024 edition while we are here
I perceive the title of the festival of this year
as something that is dealing with a sort of urgency
at the same time dealing with a certain hope hidden somewhere: it&#8217;s “still” while we are here
And I think I&#8217;m dealing with that a lot in the way I work
There is always a sense of urgency or a sense of struggle
but also a big attempt and a big concern with hoping
with the challenge of how we could imagine living through different dreams
How could we have a memory of a future where we can actually be
a curiosity about how encounters happen in the international contemporary scene: when and where did Santarcangelo Festival artistic director Tomasz Kireńczuk learn about your work
at the Grütli Theater under the direction of Barbara Giongo and Nataly Sugnaux
They invited me to present the work la peau entre les doigts at the Go
That was the first time I was sharing a creation of mine in an institution
I had always worked as an interpreter in Brazil
considering that it made me decide to stay in Europe and to not to go back to Brazil
I had just finished my studies and I didn&#8217;t know exactly if I should try to stay in Switzerland or Europe
if there would be work happening for me that would make it possible to imagine that
Me and Tomasz had a cafe together in Geneva after he watched my performance
It was his first year directing Santarcangelo Festival
The first time I was at the festival I was quite fresh for the European context
I had the pleasure to come back the two following years
It&#8217;s very important to imagine that we
can be followed in longer terms by institutions
The pieces are normally a part of a huge journey
we deal with the art market and with the needs that working in capitalist society brings
I feel very lucky to have been invited to show different works there at the Festival
but very important that we can have more places of conversations with institutions and festivals and people that work with programming
That we can try not only to think about the “piece product”
but that we are also part of a process that has very different formats and very peculiar moments and that it&#8217;s a life project
Like the development of collaborations and artistic language it&#8217;s something that it&#8217;s not solved by one piece and it&#8217;s also not something that can be summarized just with a project
It&#8217;s very precious to be able to go back places
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Hoping to leave a legacy of hope for our daughters and future generations
the organizers of Not My Daughter… find a cure now
say they will continue to support efforts to find a cure for breast cancer while assisting women fighting the disease
the not-for-profit organization held its annual luncheon
attracting more than 500 members of the community who participate annually to raise funds in support of the mission
The luncheon was held October 24 in Broward
just weeks after members of the group were recognized during the Miami Hurricanes&#8217; Pink Game on October 8 for their ongoing support of Sylvester Comprehensive Cancer Center
a part of UHealth – University of Miami Health System
The Pink Game is held annually in recognition of Breast Cancer Awareness Month
recognizing Not My Daughter&#8217;s generous $300,000 donation to Sylvester
bringing the volunteer-run organization’s total giving to an impressive $703,000
president and founder of Not My Daughter; Jody Sternfield and Debi Weisman
vice presidents; and Melissa Messana and Jen Freeman
presented a ceremonial check to University of Miami President Julio Frenk and Sylvester Director Stephen Nimer
The idea behind Not My Daughter… find a cure now
developed after Hostig recovered from an aggressive form of breast cancer
The mother of three and her best friends were determined to help find a cure so that the next generation
While Not My Daughter continues to support cancer research
it has expanded its efforts to include providing essential support services to breast cancer patients and funding a screening program for patients at elevated risk of developing breast cancer
Recognizing that some ancillary services are not covered by insurance
Not My Daughter felt it was vital to create a welcoming and comforting place where breast cancer patients can receive nutritional counseling
or whatever support services they need to make their path to survivorship easier
Not My Daughter opened its first Patient Support Services Center at Sylvester Plantation in 2019
and a portion of their latest donation will help build a second one at Sylvester at Deerfield Beach
Their pledge will also benefit Sylvester’s pioneering
medical director of the Braman Family Breast Cancer Institute at Sylvester at Plantation
Sylvester is South Florida’s only NCI-designated cancer center
and it is the only nationally ranked cancer hospital
a part of our mission is to reduce the human burden from cancer
and Not My Daughter is certainly helping in that effort,&#8221; said Dr
who is also the Oscar de la Renta Endowed Chair in Cancer Research and executive dean of research at the Miller School
“We are extremely grateful for their support and partnership
The vision and commitment of this passionate group of women in creating patient support services have vastly improved the patient experience at Sylvester Plantation
They will soon do the same for our patients in Deerfield Beach.”
For more on Not My Daughter’s mission, click <a href="https://www.notmydaughter.org/" target="_blank" rel="noreferrer noopener">here</a>
The department obtained the prestigious ISRS certification of excellence for stereotactic radiosurgery treatments of brain disorders
Nimer’s commitment to mentorship and excellence infuses the culture and established Sylvester's collaborative environment
The professor and chair of the DeWitt Daughtry Family Department of Surgery has devoted his career to surgical teaching innovation
Copyright &copy; 2025 University of Miami Health System
SANTARCANGELO: Goi 9, Giovannelli 8, Vandi 7, Ronci 2, Macaru 7, Benzi 9, Rossi none, Bedetti 12, Mari, Frisoni none, Lombardi 4, Saltykov 21. Coach: Serra.
MONTEGRANARO: Foresi 3, Spernanzoni none, Savelli 10, Dichiara none, Passarini 2, Kanturek 20, Carpineti, Strappa none, Felicioni 13, Abbate 4, Razzoli 9, Errera 9. Coach: Cervellini.
Referees: Bastianelli and Avaltroni.Partial: 21-19, 48-40, 68-56.
i begin Serie C playoffs e Santarcangelo is the forerunner to a round that will then continue in its entirety on Sunday 27th. The race of the Angels by coach Serra with Montegranaro it was supposed to be played tomorrow, but it was brought forward to this evening due to the day of sports suspension on Saturday, the day of Pope Francis' funeral.
So tonight at PalaSgr, with tip-off at 21pm (referees Bastianelli from Pesaro and Avaltroni from Fano), a trap series is on for Dulca, who won both games against Sutor this season (+12 and +21) but who cannot let their guard down. Keep an eye on the big player born in '97 Herrera, which in the last month is becoming an even more important factor, but also at play Federico Savelli and to the Czech guard Luke Kanturek.
Santarcangelo, despite Rivali's injury, has a solid team structure that can count on pillars such as Luca Bedetti (dad again with the new arrival Giovanni) and Ilya Saltykovin addition to Alexander Vandi in the point guard position and to the group of young players expected to face the playoff exam.
Game 2 is scheduled for Wednesday 30th at the 'Bombonera' in Montegranaro, the possible third will be played again in Santarcangelo on Saturday 3rd May. Whoever wins will face the winner between Fossombrone and Pisaurum. On the other side of the scoreboard the challenges are Forlimpopoli-Jesi and Urbania-Porto Sant'Elpidio. The winner of the final will participate in a concentration of four teams from which three promoted to Serie B Interregionale will emerge. The carousel begins.
In overtime, Santarcangelo takes a decent lead and maintains it, Bologna scores a triple for -1 with 5'' to go and Ciancarelli makes 2/2 free throws. It ends 95-92, with Cevolani's final desperate attempt that fails to hit the target.
The scoreboard of the Angels Santarcangelo: Almasi 6, San Martini 2, Bracci 2, Ciancarelli 19, Tassani 8, Ronci 29, Trevisani ne, Tura 6, Gnepa, Arcangeli ne, Altini 8, Ricci 15. Coach Brugè. Clementini still in sole command of the group.
and the volunteers at the Bennington County Foster Care Closet
BENNINGTON — A brand-new clothing closet inside a Bennington church’s basement will provide much-needed clothes to growing children in the foster care program here in Bennington County
The program kicks off later this month and will provide
new or gently-used clothing for foster kids ages 2-12 and for their families in the local area
with emergencies where kids needed clothes right away,” said Pamela Santarcangelo
oversee the facility now called the Bennington County Foster Care Closet
“They were looking for help after a similar facility closed on Main Street
DCF called out to as many people as they could find for a host or a location or somebody willing to take on this kind of place
and we started gathering clothes in December.”
quickly realized that the demand for these kids was greater than just on an emergency basis
We’re focusing on opening it to families to come in and shop
social workers would come into the old facility at all hours and take clothes for the families during emergencies
with an access code so that they could come in and grab what they needed
Pamela and her crew realized that not every situation of need constituted an “emergency,” but those foster families still needed a place to come for clothes
DCF estimates there are approximately 63 licensed foster care homes with about 85 to 100 kids in the program
all within Bennington County – 19 in Manchester
“I used to be a seventh-grade school teacher,” she explained
“And a colleague of mine – an eighth-grade teacher – she’s now donating to us because she’d hear stories about kids in foster care
just listening to the kids talking who were in foster care and foster care homes
Sometimes those kids would tell heartbreaking stories.”
Pamela explained some of the disheartening situations she’s witnessed
that’s all the foster care kids have,is a small plastic bag,” Pamela said
The teachers call them ‘throwaway kids.’ That stuck with me.”
or ill-sized because they’re coming out of some very chaotic homes,” she continued
if we can do something to help DCF and help kids break that cycle
made fun of because their clothes are not fitting right
it will help them feel better in the long run.”
Pamela hopes that foster care homes will take advantage of the new program
John and Pamela plan on doing outreach to children’s clothing companies such as Oshkosh-B’gosh and Carter’s
they are accepting donations of new or gently-used
clean clothes for kids anywhere from newborn to age 12
They are also in need of toiletries like toothpaste and soap
The closet invites foster families to shop for free
but that frequency will depend on several factors
They hope to someday expand their offerings to include personal items
“We hope down the road to be in a storefront on Main Street,” John said
“Like down at one of the smaller storefronts near Ocean State
whatever a growing family of kids would need
We would like to be able to supply all of those items.”
“We’re organized enough that at least we can get this part open
The church is footing the bill for us to be here
Pamela and the volunteers joke about a song they came up with to the tune of “Monday
there was dead silence,” Pamela said with a laugh
Pamela just feels like she and John are doing their part for Bennington-area children
“This is just something we can do,” Pamela said
“It’s a way we can give back to the community
Jesus tells us to go out and serve the community
This is what we can do to make a small difference.”
The Bennington County Foster Care Closet officially opens on Thursday
It is located on the ground floor of the Missionary Alliance Church at 198 Crescent Street in Bennington
or visit the Missionary Alliance Church’s Facebook page
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Reading the phone book in Santarcangelo di Romagna
She shared that observation with the City Council last week
while urging councilors to approve a "Friendship City" agreement between the cities
"Italian families from many regions of Italy immigrated here starting in the late 1800s," said Garganta
whose mother was born in Santarcangelo di Romagna
"Many of these families came from the same di Romagna area of the country."
Before the council unanimously approved the Friendship City agreement Monday night
which now just needs a signature from Alice Parma
Garganta explained the groundwork was started almost a decade ago by Ugo Riciputi
"We would love to reward him with this gift," she told the Portsmouth councilors
"Our two beautiful cities have much in common
It reminds me very much of Portsmouth years ago and we are excited to be able to share the best of both with each other."
The friendship agreement calls for international cooperation
shared heritage and development of friendly relations
Garganta said a Skype meeting is planned for late November or early December
when locals will hold signs with their family surnames for their Italian counterparts to see from their side of the Atlantic
Riciputi grew up in Portsmouth's North End
which ceased to exist after demolition from urban renewal in the largely Italian neighborhood
His brother Dan retired from the Portsmouth Department of Public Works and his brother Remo
Riciputi retired as an engineer at Portsmouth Naval Shipyard and
"I was reading the local newspaper and it blew me away," Riciputi said
"It was like reading the paper in Portsmouth
the population is identical and the square footage is the same." He said it's one municipality made of several villages
"But you have to walk 200 yards before you get your bathing suit wet," he explained
Riciputi said when he lived in the Italian city
the mayor at the time gave him a letter of invitation for Portsmouth to become a "twin city."
Advocating for the Friendship City agreement since then
Riciputi said benefits would include student-exchange programs and trade agreements
He said one of his dozens of Italian cousins runs a winery and is now doing business in Florida
"That could be Portsmouth instead of Florida," he said
Riciputi said he's hosted friends from the Italian city on the Seacoast
said they're "seafood addicts" and were dazzled during a trip to Prescott Park when the Memorial Bridge span was lifted to let a tourist boat pass beneath
"That's all they talked about for the next three hours," he said
'Did you see that thing go up and down?' We kept them hopping
Garganta said she's been to Santarcangelo twice
another time with her brother Mike Pesaresi
After traveling around the countryside and seeing similarities
He opened the York Harbor Motel and Cottages
and Mario's Market on Market Street in the 1930s
Wayne Semprini of Portsmouth has been to Santarcangelo three times when he saw the Semprini hotel in Rimini
a town that's part of Santarcangelo di Romagna
and the Semprini mercantile shop in the heart of Santarcangelo
"A number of Portsmouth families came from there
My grandfather made a number of trips here before going back to get his wife and they ended up here in Portsmouth."
Mike Pesaresi of Stratham said at last count
there were 37 family surnames that originated from Satarcangelo and surrounding towns
Semprini said the mercantile shop with his surname had small appliances for sale on one side and the other side was "very much like a Peavey's" hardware store that operated on Portsmouth's Market Street until sold by Charley Beatty in 2004. In June 2017, the old Portsmouth hardware store went on the market as a <a href=https://www.seacoastonline.com/news/20170605/preserving-peaveys-hardware-condo-hits-market>renovated condominium</a> for $2.8 million
Semprini said when he walked into the Santarcangelo office
comparable to the local chamber of commerce
he saw a photo of the Portsmouth Italian Republican Club at a gathering spot that's now the Portsmouth Elks Lodge
His niece Danielle Semprini visited last year and among her travel photos is an image of the G
Portsmouth lawyer and former mayor Tom Ferrini said he looks forward to the cultural exchange the Friendship City agreement would offer
"I'm extremely excited and I appreciate the hard work of Ugo and Donna for making it happen."
The Santarcangelo di Romagna City Council is scheduled to meet in late November and vote on whether to authorize the mayor to sign the agreement with Portsmouth
Garganta said the Skype meeting will follow
she hopes with a large Portsmouth contingency
they can see someone with a representation of their name," she said
Riciputi said he'd like to be part of it and see his friend Giuseppe "Peno" Zangoli
who works for the Italian group comparable to the local chamber of commerce
"I know they're all hot to trot," Riciputi said
Portsmouth Mayor Jack Blalock said Monday night that he visited the area as a college student and "can't wait to go back." He said a subcommittee of a new Blue Ribbon Committee on Sister Cities will be charged with developing the ongoing relationship with Santarcangelo
PORTSMOUTH — About 50 descendants of immigrants from Santarcangelo di Romagna
gathered in City Hall Wednesday to Skype with their Italian counterparts and toast to a new "Friendship City" agreement endorsed by Mayor Jack Blalock
In the front row on Portsmouth's side was Ugo Riciputi
who grew up in the North End and moved to Santarcangelo di Romagna in 2008
after retiring from Portsmouth Naval Shipyard
Riciputi wore a jacket that said "Italia" and held a card with his family's surname
When the Sykpe connection didn't fail one of many times
he saw his friend Giuseppe “Peno” Zangoli in an Italian library on the Skype screen
Riciputi is credited with bringing the Friendship City idea back home to Portsmouth
Brothers Kevin and Wayne Semprini were on hand and when someone asked what Italian phrases he recalled
Kevin Semprini said he remembered hearing his relatives say to him in Italian
Portsmouth’s Donna Garganta was asked how many Christmas raviolis she made this year
She answered 540 before blowing a two-handed kiss at the electronic connection to her family's homeland
Her husband Manny said he and their granddaughter Ada helped make the raviolis
which are frozen and saved for Christmas when they're cooked in his wife's chicken and beef broth
<a href=https://www.seacoastonline.com/news/20191102/portsmouths-italian-connection-creating-friendship-city>Garganta spoke in favor</a> of the Friendship City agreement at the Oct
“Reading the phone book in Santarcangelo di Romagna
Blalock sent a letter to his Italian counterpart
inviting her city to formalize the relationship
The arrangements were delayed while Santarcangelo held municipal elections
Parma was reelected and she was on the other end of Wednesday's often-disconnected Skype connection
Blalock read a proclamation saying in part
share similar goals of international cooperation
and believe it to be in their collective interest to broaden and strengthen ties between the two cities." He said he will sign the declaration and send a copy to Parma for her endorsement
"I think it's great," said Dorothy Pesaresi
who visited Santarcangelo di Romagna in the 1970s and attended Wednesday's ceremony
"Never in a million years," she said about the live internet connection with Italy
attended the celebration that included a Wednesday morning toast with sparkling grape juice
where a simultaneous toast was made at 4:40 p.m
Also in attendance was Library Director Steve Butzel, who reminded the public library has an online archive of the history of the city's once-predominantly Italian North End at <a href=http://portsmouthexhibits.org/>Portsmouthexhhibits.org</a>
said managing Sister and Friendship City relationships is part of her responsibility and she
"can tell this one's going to be the most active."
Portsmouth also has Friendship City agreements with Portsmouth
They are described as a way for Portsmouth to "initiate relationships on a less formal municipal government basis than through an official Sister City relationship
Friendship Cities focus primarily on promotion of cultural and commercial ties."
At the conclusion of Wednesday's ceremonial signing
the Americans posed for a group photo and said "formaggio."
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Italian graffiti artist&nbsp;<a href="http://www.eron.it/www.eron.it/HOME.html" target="_blank" rel="noopener">Eron</a>&nbsp;(<a href="https://www.thisiscolossal.com/2015/05/ethereal-bird-murals-on-the-streets-of-riccione-by-eron/">previously</a>) creates poignant spray painted interventions which speak to humanitarian and social issues
Recently he created a stunning piece titled Tower to the People in Santarcangelo
Italy which converted a simple brick tower into a monumental painting celebrating the power of non-violence
The work features a raised fist that is constructed from a mass of lush roses painted in a classical chiaroscuro technique
The contrast between the fragility of the flowers and the power of the symbol they create speaks to the combined strength of individuals when united for a common cause
the artist used spray paint to create an illusion of depth
as if the fist was erected with the tower itself
each with hearts near the top and bottom corners
A press release about Tower to the People explains that the work is a tribute to &#8220;the strength of gentleness
and the desire for freedom and peace among the people all over the world.&#8221;
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gravel riding takes us to the Romagna region in Italy discover the ancient art of pressing fabrics with wheeled mangles
This article was produced in association with Orbea
There's something magic and groundbreaking about wheels
wheeled machines were used to shape raw clay into ceramic
the Greeks found a way to use the power of running water in mills to grind
roll and hammer different products and materials
The ancient Romans would go on to use the same technology – wheels – for various other purposes
like when you cycle long distances that are almost unreachable by foot
are also the improbable trait d'union between another incredible wheel - the mangano (mangle) - and Pachamama
Orbea's effort to safeguard cycling's deepest essence: cycling with Mother Nature at heart
the Antico Mangano of the Print House Marchi in Santarcangelo (Emilia Romagna
Italy) uses the power of wheels to smooth and compress fabrics like linen
But unlike older versions of the technology that required many men to be used
this one – which dates back at least to 1633 and has been used ever since – only needs a single individual's power
It's little surprise that the Stamperia Marchi's Mangano was a breakthrough innovation
since Leonardo Da Vinci's genius was behind the historic improvement
With a new balance and proportions between the wheel and its big axle (together
Leonardo could use a single person's weight to activate the heavy wood of the wheel gears.After the fabric is chosen and washed
making the warp and the weave of the canvas smooth and soft
the work of the Marchi family is not finished
as they're first and foremost a historic print house which uses a dye you likely haven't heard of
"The fabric is now ready to be hand printed," explains Alfonso Marchi
third-generation artisan and the Print House Marchi (Stamperia Marchi)
"But what has distinguished the print in Romagna is the magic of a colour: iron dust."And while rust is bad news if it starts building on your chain
the opposite is the effect for historic print houses
which used it as the primary shade for their products
"Iron dust gives a colouring which is very strong on the fabric
And that's why the ancient dyers said this was a magical colour
and remembers the bread fresh from the oven
It remembers everything that's sunny," he explains
The Marchi family still uses old patterns the farmers used for their oxen blankets
Their work has always served not only the local community but also travellers and traders from the nearby Valmarecchia
Marchi's print house and mangle almost disappeared during WWII
Alfonso's family needed wood to sustain the family's needs
and it seemed that no one required the mangle anymore
But the then eight-year-old Alfonso implored his grandfather to save it
The older man couldn't resist his grandson – the only reason the historic machinery is still working today
clients were scarce and not knocking at the door any longer
They had to go to local markets and display their products in order to survive
Among the things that helped a historical activity and machine survive was another wheel
"My grandfather used to go with his bicycle to Sogliano
and San Leo when the markets were held," says Alfonso Marchi
third generation artisan and the Print House Marchi (Stamperia Marchi)
"And he did this regularly because looking for a job and finding a job to do wasn't like today when they bring it to you at home
So you had to go and get it."That effort paid off
as it helped the family and the mangle to survive
and which has never been modified or restored," says Alfonso
Alfonso's son Gabriele is still active in the old family's tradition and is the fourth generation of the family to work at the print house."Ever since I was a child
I learned the ropes by playing," says Gabriele
Not only because being an artisan requires many hours and sacrifices these days
But also because keeping the family mangle fit and safeguarding it for the future is extra work on its own
But it is something he would not change for anything else in the world
"It's a responsibility but also a pleasure," says Gabriele
"When people come to our workshop and see what we can do
the similarity with cycling is a close one
<a rel="nofollow" href="https://experience.orbea.com/en/pachamama_cycling?utm_source=press&amp;utm_medium=rouleur&amp;utm_campaign=pachamama_roubaix&amp;utm_term=" target="_blank">Learn more about Pachamama at Orbea</a>
<a href="https://www.orbea.com/gb-en/bicycles/road/terra/?utm_source=press&amp;utm_medium=rouleur&amp;utm_campaign=pachamama_roubaix&amp;utm_term=" target="_blank">To learn more about Orbea Terra gravel bike featured in this article click here</a>
<a href="https://experience.orbea.com/en/orbea-rider-connect?utm_source=press&amp;utm_medium=rouleur&amp;utm_campaign=rider_connect&amp;utm_term=" target="_blank">To find out Orbea's availability and to find a Terra click here</a>
Rouleur takes a look at the contenders to win the Maglia Rosa in Italy this month
Alexander Vinokourov's team are making the impossible rather quite possible
All the essential information about the first Grand Tour of the year
While the former Olympic and World champion is relishing new ventures in retirement
she is keen to ensure more support is in place for those..
From SD Worx-Protime's continued success to Canyon-SRAM's disappointment
Rouleur takes a look at how each squad performed at the Spring Classics
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Four paintings by Guido Cagnacci (Santarcangelo di Romagna
one of the greatest painters of the 17th century
are returning to the artist&rsquo;s hometown
a large company active in the field of products and services for public administration: the entrepreneur decided to display them in his restaurant,Osteria La Sangiovesa
so as to show them to anyone who wants to see them
This is his stated intent: &ldquo;I have always wanted to have a Cagnacci,&rdquo; Maggioli said
&ldquo;of course I imagined keeping it at home but then I thought that by doing so I would enjoy it alone
So I thought it wiser to bring the Cagnacci (which later became four) back to Santarcangelo so that the people of Santarcangelo could enjoy it as well
has always existed.&rdquo;The works purchased by Maggioli are the Penitent Magdalene from around 1640
an oil-on-canvas study for the Benedictine altarpiece in Urbania
another Penitent Magdalene made around 1640-1642
and the Saint Bernardine of Siena from around 1640-1645
all the works were also exhibited at the major exhibition on Cagnacci held in 2008 at the San Domenico Museums in Forl&igrave;
The operation was presented Wednesday by Vittorio Sgarbi
who stressed that &ldquo;to return to Santarcangelo
interpreting Tonino Guerra&rsquo;s desire and pleasure
some spiritually sensual works by Guido Cagnacci
is a precious and inevitable decision when will
love and care sustain a place of the soul like La Sangiovesa
And this happens thanks to the constant attention of Manlio Maggioli
guardian of tradition and perfect interpreter of my thought.&rdquo;
Cagnacci&rsquo;s works can be seen during the restaurant&rsquo;s opening hours, and it will be possible to learn more about their history with special guided tours. For information, you can go to the <a href="http://www.sangiovesa.it" target="_blank">Osteria La Sangiovesa website</a>
PORTSMOUTH — Portsmouth has sister-city relationships with cities around the globe in countries as varied as England
Mayor Eric Spear and former Mayor Tom Ferrini
whose ancestors immigrated to America from Santarcangelo
announced at a gathering of Italian-Americans at the public library on Saturday that the city is officially filing paperwork to forge a sister-city relationship with the city in the province of Rimini
Spear said other partnerships were forged for political or historical reasons
but this one holds a special place because many of Portsmouth's Italian immigrants came from Santarcangelo and surrounding towns
"This is a special one for me because it's a living relationship," he said
who continued to work on the sister-city connection even after deciding not to seek re-election to the City Council last fall
greeted the dozens of people of Italian heritage who attended the social gathering on Saturday
Ferrini said it was a "privilege" to work on developing the sister-city connection
who grew up in Portsmouth's old North End and now lives in Santarcangelo
for forging the idea of a sister-city connection
Riciputi is visiting the city this week and was in attendance
"He's really been the impetus for re-establishing this relationship," Ferrini said
Ferrini and Spear unveiled a framed picture Riciputi sent the city of a work by famous Italian artist Tonino Guerra
The colorful picture was for a spring arts festival in Santarcangelo and was signed by Guerra
Ferrini said the picture will be prominently displayed somewhere in the city at a location to be determined
Riciputi said he was happy to hear news of the sister-city connection during his visit to the city
He said he also was glad to see so many people interested in preserving the history of Portsmouth's Italian immigrants
who lost their North End homes during urban renewal in the 1960s and '70s
"Everything that I've been looking for is now happening," he said
The gathering was also an opportunity for locals of Italian heritage to share stories and pictures of the past
Mary Ciotti of Portsmouth was eager to show Riciputi photographs she had of her aunt's old restaurant
"That's where my mother grew up," she said
who is working to preserve Portsmouth's immigrant history by collecting stories and photographs
said she was pleased to see so many people sharing anecdotes about the past
Everybody's talking to somebody," she said
Sono questi i palcoscenici scelti da Igor Cardellini e Tomas Gonzalez per il loro L’Âge d’Or(al Santarcangelo Festival dal 13/07)
Un progetto iniziato qualche anno fa che mira ad analizzare e riproporre la complessità dell’era contemporanea attraverso il linguaggio teatrale
Strutturato come un vero e proprio tour guidato
Centri commerciali, uffici e banche. Sono questi i palcoscenici scelti da Igor Cardellini e Tomas Gonzalez per il loro L’Âge d’Or(al <a href="https://www.santarcangelofestival.com/" target="_blank" rel="noreferrer noopener">Santarcangelo Festival </a>dal 13/07)
L’Âge d’Or vuole svelare allo spettatore le dinamiche nascoste che muovono la società immergendolo nei luoghi che ne sono la massima materializzazione
In occasione di Santarcangelo il duo ha scelto di portare gli spettatori alla scoperta di un centro commerciale di Rimini
città che ha fatto del turismo di massa la colonna portante della sua economia
Eliminando le distanze tra performer e pubblico e facendo propri alcuni principi dell’antropologia e delle scienze umane
L’Âge d’Or esplora quei luoghi presenti in ogni città per sviluppare un nuovo sguardo su di essi e sulla società che li ha creati
Guendalina Piselli: L’Âge d’Or is a project about architecture
Igor Cardellini: We started a few years ago – I would say four years ago – to have the idea of the project
those that we don’t pay attention to but that still materialize ideals and forces guiding our societies in a way or another
This is the reason we decided to choose three types of buildings (shopping centers
to tackle three central areas of our capitalistic societies: consumption with shopping centers
wage labor with office buildings and capital/finance with the banks.&nbsp;
Tomas Gonzalez: We consider these as three pillars of capitalism as we still know it today
IC: We premiered the first guided tour in office buildings one year ago in Lausanne
Then we created the shopping center tour and we will write the bank tour soon
GP: I know it’s the easiest link I could make but L’Âge d’Or is the title of one of the most iconic surrealist film
A masterpiece by Luis Bunuel with the collaboration of Salvador Dalì about and against social conventions of their time
TG: L’Âge d’Or is a surrealistic film so there is no direct connection
I mean the critical aspect of course is a part of what we do as well but there is not a direct connection
We are referring to what is called in France “the glorious 30s” after the Second World War – when abundance seemed at hand
We also make a link to the myth of the Golden age as a part of the Greek and Roman mythologies and the idea of a timeless prosperity in a world of infinite resources
we try to put people in a situation that allows them to have slightly different look at places they frequent in their everyday life without really looking at them
We are trying to create a kind of process of estrangement
so you end this experience with a different point of view.&nbsp;
banks and offices could be related to the idea of nonluoghi as Marc Augé defined theme
Places where you are just supposed to produce and consume…
IC: We are definitely attached to this vision but we also refer to a concept theorized by Michel Lussault which is hyper places
The mall fits well with this definition of a hyper place
a hyper place is also a place that condenses different scales
it’s a kind of simulacrum of the globalized city and it contains a sort of artificial multilayered version of the world.&nbsp;
Why is this the right place for your work?&nbsp;
IC: Rimini is a really interesting place because it is a touristic destination and the city’s economy is really oriented towards mass tourism
L’Âge d’or is a theater performance in which we play with the codes of the guided tours
which is an activity that has been developed a lot through mass tourism
The phenomenon of mass tourism and the image of beaches go also with the mall and consumption and a certain vision of how you enjoy life
And leisure is often associated with consumption
Seaside destinations such as Rimini embody this quite well
TG: We toured a few shopping centers in Rimini and San Marino before choosing this one
There are keys aspects that we always need to find to keep the performance with the content that we want to bring and this one was fitting all of them
GP: So L’Âge d’Or is a play staged outside of the theatre
What is the role of actor/ess in this context
IC: The actor/ess is the guide who leads the performance and the tour
There is the narrative one that is given by spoken words
and there is also the performative thread which unfolds during the whole tour and provides another possible story or experience
spectators are asked to perform small acts
So they become actors/esses as well.&nbsp;
TG: We also wanted to avoid a kind of “zoo effect” where the clients of the mall would be looked down upon by the spectators of the performance
a theater audience is coming to a shopping center and meets with a more popular audience
to undo what could be a problematic situation
people are asked to wear hats and this gives to the group a huge visibility
This kind of device rebalances the relationship.&nbsp;
IC: The role of the performer is also to bring attention to the theatrical aspect of the space around
TG: What is really interesting is that in the mall you have many little scenes
GP: What is normally the reaction of the generic public
The one not participating to the performance
Sometimes people come and ask “what is this?” and “what is going on?”
It also depends from the moment of the performance
There is a moment where we observe the people around us and there is also a very touching connection sometimes that happens between people being watched and the spectators
People do the tour with headphones and the guide has a microphone
so the spectators have always the guide’s voice in their hears which is quite comfortable because you don’t need to be close to the performer and at the same time there is something intimate about it
But there is a funny moment of “letting go” where we are in a shop and we put some music on
The guide starts dancing and playing with the object around and the group is invited to do the same
The result is a fun moment of togetherness… but it is also a bit perverse
as the group becomes simultaneously a bunch of living mannequins doing a videoclip just like in a commercial.&nbsp;
GP: There is theatre (in sense of art of the play) but there is also anthropology
With this project you ask the public to be a participant observer
IC: Anthropology is a lens through which I look at performance and theater today
It is also how I create pieces starting with an anthropological reflection or concepts.&nbsp;
We also use social sciences and anthropological methodologies as tools to create situations in our performances
participant observation developed by Malinowski
We also have in mind tools such as thick description theorized by Clifford Geertz who worked a lot on culture
but we’re not doing science of course even though we are interested in the transformative power of these tools
They create other frames or lenses to look through and enable to understand the world differently
GP: We normally think about guided tours as a recreational activity
But the tours you organize are created to explore a few very serious themes such as the invisible force of the society
when you asked us how we started this project there was also a kind of absurd idea of people touring around shopping centers talking about the way they were built
going around in a supermarket and finally the absurdity of doing something seemingly so trivial as putting words on what surrounds us directly
It sounds a little funny but then it becomes quite powerful and critical when you just start clearly explaining how things have been designed and thought through and start thinking at what’s their effect on us
it creates humor and it is something we are really attached to.&nbsp;
IC: For us it is critical in the sense that we are trying to understand
have all complex relationships with these spaces
Sometimes we are directly critical about them but there are also some sweet memories that come to us when we think about them
We are children from the 1980s and these are places that are kind of symbolic and characteristic of this period
We are trying to bring back this complexity
banks are going to be the next stage of the project?&nbsp;
we are going to show in Paris at La Ménagerie de Verre (end of October) a new project called Un spectacle (A spectacle) which is a sort of a continuation of L’Âge d’or
It going to be a guided tour of this specific theater
The idea is also to start from the architecture of this type of places to think about their ideology
what world views the theatre halls contain as well as what’s our relationship to them
It is basically the same type of reflection but applied to the theater hall and the white cube
spectators will stay seated most of the time
the idea of a “guided tour” becoming just a narrative trick
It’s going to be mentalized guided tour.&nbsp;
GP: With or without moving you work reminds me the process of deriva urbana…
IC/TG: Situationism is definitely a clear inspiration
Even if people are not moving most of the time
Igor Cardellini e Tomas GonzalezL’Âge d’Ordal 13 al 15 luglio h
Can you feel your own voice è il claim della 52esima edizione di Santarcangelo Festival
Un monito che assume forme artistiche ed estetiche differenti
ma che si pone sempre come pratica culturale e politica.Nel lavoro di Maria Magdalena Kozlowska la voce è elemento sociale e semantico
strumento di espressione del sé e della relazione con [&hellip;]
Can you feel your own voice è il claim della 52esima edizione di <a href="https://www.santarcangelofestival.com/" target="_blank" rel="noreferrer noopener">Santarcangelo Festival</a>. Un monito che assume forme artistiche ed estetiche differenti, ma che si pone sempre come pratica culturale e politica.Nel lavoro di <a href="http://www.mariakozlowska.com/" target="_blank" rel="noreferrer noopener">Maria Magdalena Kozlowska </a>la voce è elemento sociale e semantico
strumento di espressione del sé e della relazione con l’altro
che l’artista di origine polacca ha realizzato COMMUNE (in scena dal 9/07)una vera e propria opera teatrale che vuole reclamare i corpi delle donne nel genere
Uno spettacolo che rovescia i canoni storici
in un atto di celebrazione del corpo e della voce
In programma il primo weekend del Festival al Teatro Amintore Galli di Rimini
COMMUNE porta sul palco con seria ironia le proteste per i diritti fondamentali delle donne
Rosa Luxemburg e la performatività della musica.&nbsp;
Maria Magdalena Kozlowska ci ha raccontato il suo rapporto con l’opera e la musica dal quale nasce la sua ricerca artistica e che ha dato vita ad un’opera frenetica
Guendalina Piselli: Let’s start with an easy question
What is COMMUNE and what will the public see on the stage during the performance?&nbsp;
Maria Magdalena Kozlowska: The dictionary definition of a commune is “a group of people who live together
My COMMUNE is an attempt to reclaim women&#8217;s bodies in opera
foregrounding their unruly physiology and gaze
The work depicts an episode from the life of a gang of masked female musicians
They decide to summon the Communist Grandma
She shows them how to channel their anger through opera
portrayed by the outstanding male soprano Maayan Licht
The rest of the characters are played by classically trained musicians &#8211; flutists Teresa Costa and Beatrice Miniaci
as well as a percussionist Aleksandra Wtorek
we experimented with ways to expand the instrumentalist&#8217;s performativity
which does not equal resignation from virtuosity
On the contrary &#8211; the passion for music becomes more embodied that way
Women are not suffering here &#8211; they celebrate their unruly bodily fluids and vocalize their complex feelings.&nbsp;
GP: This is not the first that your work with opera – I am thinking about Opera to the People
What makes this kind of music so interesting to you
MMK: I’ve always seen opera as an aestheticised scream
I believe it has a great potential in terms of “redistributing the sensible”
changing the angle from which we experience power structures of our society
direct and in that sense marks the very idea of being heard
which carries a potential to bring attention to something
I started working with it through “operatic videos”
In my earlier work I was interested in celebrating the soundscape of everyday life
I always admired the acoustics of a staircase in a typical soviet block of flats
a short video about a heart broken girl in an Adidas jumpsuit
The video was exhibited by the Museum of Modern Art in Warsaw and later in Kronika Contemporary Art Centre in Bytom
but at the same time I found myself more and more attracted by music theatre
I graduated from a theatre school in Amsterdam right in the middle of the pandemic
we were looking for ways to continue working
Opera to the People came as an answer to that need
Singing from a boat guaranteed a safe distance
It allowed me to continue investigating the acoustics of urban landscapes
the encounter between the voice and bodies of water in a city
We were curious to see how public space and operatic spectacle can inform each other
Opera to the People was an invitation to renegotiate the terms of spectatorship and participation
so it was impossible to witness the whole piece
How can working on music make a difference on today’s society?MMK: Music has the power of building instant
It helps us work through our collective emotions
we often use musical vocabulary to speak of communication &#8211; “it resonates with me”
has both social and somatic properties &#8211; it comes from the body and it can influence other bodies
we say “to raise one voice” or “speak up” &#8211; the expression indicates a literal
but also refers to a gesture of making oneself part of a conversation
The voice marks self-expression and identity
It also helps us to accept a certain obscenity and otherness within ourselves
but it also immediately leaves our body and becomes part of the public domain &#8211; reverberates in a certain way
I think that through experiencing this mystery of our own voice
we can become more aware of our role in the broader context &#8211; a group
GP: In occasion of Santarcangelo COMMUNE will be performed at Teatro Amintore Galli in Rimini so a traditional space to go for opera…
MMK: I’m extremely excited about the opportunity to occupy the building for a moment
The traditional aesthetics creates a beautiful undertone for COMMUNE
we are very willing to re-think the aesthetics of an opera house
Let’s see what kind of an aesthetic dispute will emerge from the juxtaposition of those two visual worlds
We are interested in questioning the division between the audience and the untouchable
I would gladly bring the audience to the stage and create a space for them to cultivate their polyphony
Maybe that’s an idea for a new project.&nbsp;
MMK: Operatic voice has a lot to do with an outburst of laughter &#8211; it is a life force
exploding from the body and striking everybody in its range
because of its community-building potential
it’s to give a testimony of passion and energy
Authoritarian forces often find it threatening
as it brings a promise of emancipation from fear
Comedy usually bases on unexpected juxtapositions
it is born from the entanglement of pathos and the vernacular
which historically arose as a genre for “common people”
GP: In your work you deal with the main and most urgent issues of the society such as the role of women and their rights
these themes are not explicitly exposed on the stage
There is always a kind of shift both from reality and collective imagination…
which engages collective imagination and invites it to join an introspective adventure
I believe that an accurate and acute juxtaposition is more likely to be a catalyst of transformation than a moralistic effort
the political tropes are often disguised as fiction
But having a narrator and her supposedly singular story
allows me to convey political messages in a more discrete way
or sophisticated propaganda works &#8211; it makes certain values effortlessly attractive
because you fall in love with the reality built in front of you.&nbsp;
How much the situation in Poland (your country of origin) influences your artistic research
MMK: It is customary for a Polish artist to denigrate their country
I think only Austrians have a similarly dark and twisted sense of national identity
yet clever mother &#8211; it holds a firm grip over you by inspiring pity and worry for her
And so I’m obviously very concerned about the fascist government and infuriated by the despicable laws it implements against women and the LGBTQ+ community
They also managed to take control over a lot of important institutions of art
which makes it hard for me to imagine moving back there
I see some hope in the impotence and clumsiness of the party in power
They resemble those unlucky cartoonish characters
maybe that’s what actually makes them easy to identify with and fuels their popularity
I feel very connected to Polish playful sensitivity and I don’t think it will ever disappear from my work.&nbsp;
Maria Magdalena KozlowskaCOMMUNE &nbsp;Sabato 9 luglio h