http://amaraterra.blogspot.com/2011/03/le-origini-e-la-fine-del-tarantismo.html Aracne, the Great Mother and the Archetype in Tarantism" ByFrancis April/February 15, 2011/Wise/Leave a comment Aracne, the Great Mother and the Archetype in Tarantism Tuesday 21 December 2010 In the research carried out by Maurizio Nocera in "The bite of the spider. To the origins of Tarantism "(Capone Editore), a whole series of tarantels have been developed in South Italy and also in Tuscany. Research focuses on and analyzes the phenomenon that we are very concerned about, namely, Tarantism Salentino, the phenomenon of Pizzica. On page 6 of the book "The Bite of the Spider" is Nocera himself writing "The phenomenon, understood as a therapeutic rhythm, was one of the many natural ways of liberation from the negative energies of the body." At the basis of the Pizzica, it is possible to identify contradictory elements which, at the same time, can be complementary. And it is precisely their existence at the same time, contradictory, in man to create the phenomenon of Tarantism. At the basis of the phenomenon, genetics (like genesis and more to develop, but not here) of the transe. A state of psychological dissociation that Jung derives from the possible imbalance that in one subject comes into being between elements of individual history and elements belonging to that unconscious history of humanity codified as archetypes, ideal models. The model that is identified as an archetype is in this case the myth of the spider, which in recent times assumes a double connotation, often related to the religious aspect expressed through the figure of Saint Paul. Contrasting aspects at the base of the crisis that is being liberated in the trance of the tarantas as a cathartic event. Just as it happens in the passage of the Salento tradition "Santu Paulu" that concludes with "There is tarant lax dance / there is cacciala malincunia fore" to "hunt" out the evil of living through the act of dance. But the obsessive repetition of dance is the same instrument for the catharsis and the attainment of the trance as it was in China, eighteen centuries before Christ, through dances and repetitive songs that led to the transept, and yet the Baal prophets who leaped for hours around or the insistent repeated repetition of the nuns by the Druids to the modern hypnosis techniques that by the fixed repetition of some words or gestures lead to the hypnotic trance causing a crisis in the hypnotized subject. The animal that distinguishes this is the spider and Nocera's analysis moves to the extreme, at the origin, creating a point of union between the Greek Oistros and the spider's sting that is made out, instigating , possession and rhythm of music takes on a cathartic, liberating role. From here, the therapeutic value of Tarantism is born. The Spider / Oystros with his bite comes to possess the body, Nocera writes, "the possession of a body by the spider, is to represent the difficulties of life." Interesting is the quote that Nocera made of "De Sensu Rerum et Magia" by Tommaso Campanella, Frankfurt 1620, in which Campanella wrote: "The Tarantulates expel the spider's poison through the sweat caused by the dance, generated in turn by the rhythm of music "to indicate how the therapeutic / liberating power of the tarantula dance was hired. Even Maurizio Nocera from "The Bite of the Spider" makes us note that "It is embezzled - offending it (bite and re-bite) with its oistros of an individual's body, inevitably opposing a deity such as Athena of the Greek world and Minerva in antiquity. [...] Salento people in general have a particular veneration for the Virgin (Aracne is a young virgin) and at the same time for the Great Mother (Atena-Minerva is at the same time the virgin par excellence, but also a Great Androgynous mother). Probably this archetypal belief lies in its roots in the most remote ages, up to the Neolithic and perhaps even the Paleolithic Salento. The Venus of Parabita (Paleolithic) and the pictogram of the Great Tridactic Mother in the Porto Badisco Deer Grotto, are perhaps indicative of some origin of this belief structure among the locals. " An example of this series of contrasting elements is the iconography of the fresco of Saint Paul at Patu, Hundred Stones, where the Saint is depicted with the sword around which two snakes are wrapped and a caduceo (to the left of the painting) first symbol of Mercury, then brought back to the figure of Ermete Trismegisto); The toad, the scorpion and the spider are also represented. The spider who, as it is said, Nocera dates back to the myth of Aracne narrated in Metamorphoses of Ovid, but dating back to the Greek era, in which the young virgin Aracne, very skilled in the tile, dared defy the goddess Athena so much that the latter offended by the behavior of the young man turned her into a spider, forcing her to spin from her mouth for the rest of her life. If we add to this the hypothesis launched by Nocera that it is possible to suppose that the cult of the Virgin, even here in Salento, dating to the neolithic or even the Palaeolithic as a cult of the Great Mother, of the Earth, of Fertility, in virtue of ancient pre-historic civilizations of matriarchal structure, fits in that - in my hypothesis - in that concept of archetypes as elements of unconscious history - according to Jung's definition - that contribute to the contrast, to the imbalance, to a given period and to a series of people, in that Christian context for which a subversion of the paradigm is realized by transmuting pre-historic matriarchal civilization into a society Christian patriarchal; by virtue of this it is possible to think of contrasting elements that break the psychic balance in man, as the exhausting crossing between the old paradigm - assimilated as archetype - and a new paradigm seeking and trying to impose - and comes and is imposed - on those unconscious criteria that govern the "genetic" development of man. The contrast that occurs in the displacement of the archetype substitution contributes or generates the element of disruption, imbalance, conception, tarantism, which binds to it, generating the breaking element of the new patriarchal paradigm that overlaps to the matriarchal one generates imbalance, unconscious break in the generations and society to come. -- Francesco Aprile https://translate.google.com/translate?hl=en&sl=it&u=https://faprile.wordpress.com/2011/02/15/aracne-la-grande-madre-e-larchetipo-nel-tarantismo/&prev=search
The Tarantula, image and cult of mother goddess... a wonderful reflection between Jung and salento By Gabriella Petrelli
To think about the "phenomenon" of tarantism, it means for me to go on the complex plot of lonely research and / or reappropriation not easy and not peace links with origin, with the image image of the cultural humus, the constitutive of the profound existence of the soul that brings me back Not only in family figures, (the maternal grandfather "played" for the tarantolate) but above all to the heritage of images Connessecon my roots, with the pathos of the earth land. The interpretative instruments of deep psychology and in particular of the hilmaniana vision of the psyche that places the centrality of the soul with the richness of its symbols and its diverse emotional values, allow me to search, beyond the interesting historical and social considerations, The Phenomenology of the image of the spider manifested, ago, in the ritual of tarantism. My cognitive approach, therefore, differs from a strictly symptomatic consideration of the phenomenon of hysterical disease, due to the removal of erotic impulses, which would have a privileged subject for women, which has always been subject to the of the super - individual And cultural. But the symptom, including the hysterical one, is only the surface, the isolated of a tangled and intricate tangle that links to complex relationships between individual and collective psyche, between lived and. The Tarantula, in that sense, weaves its thick canvas more like a image than the paradigm of a single symptom. In this context also the meaning of pathology does not indicate More Classifications Classifications of psychic phenomena but expresses a particular dimension of the soul that reveals the depth of its nocturnal appearance, the. To put it in the words of the same hilmann: " the archetype is an affliction; it makes us suffer. The Pathology of the psyche is an integral part of psychology because the suffering of the archetype through our complexes is an integral and necessary part of psychic life Hilmann, the myth of analysis, Ed. Adelphi, Milan 1991 p. 199.) of the archetype, acting unfolding not only in its symbolic polysemy, but also in affective ambivalence, without our analytical and selective consciousness indicating priority priorities, separation between opposing and irreconcilable poles, or still evolutionary processes towards an alleged superiority of Spirit against the unspeakable abyss of matter. The reality of the soul is the world world, it is the symbolic space where it forms the whole of the mediation of energies and opposing psychic forces, but not for this escludentesi between them. "it is the malakut, the world of the soul, the world of sensitivity sensibility, the world in which the spirits is and is the bodies" 2. (D.,,,,,,,,,,, Lecce, October 1983, p. 6.) My intention of analysis will follow the following policy and methodological lines, showing how the mythical heritage acts and interacts with our individual lives, turning into rituals and collective cults in certain historical situations. In particular, the symbolic image of the spider is attributable to female, understood as unconscious, deep, present in the psyche of all individuals and not identifiable with a particular gender. As is highlighted by the relevant documentation on the crisis and its subsequent resolution in the rite, the archetype acts in all its aspects, while retaining its own psychic opposites which can constantly trasmutarsi each other. I would like to imagine, at the beginning of my story, that they are the same goddesses, those who weave the fate of each and who are familiar with the mother - spider, to hold the line of my words, connecting and entangled the fabric of emotions, Communicated and lived in the empty spaces of the speech. Those who guide me in this path - journey, lead me to a charming image of the goddess - mother - spider who with the venom of her bite induces the victim to a state of emotional paralysis where even the body appears to be compelled, through the language Symbolic of the symptoms from a strange substance that invades and pervades the consciousness that is so captured by extraneous but seductive content. It is the all-consuming,------------ Neumann attributes this aspect aspect of the archetype to the. " the spider is a symbol of the terrible mother. Similarly, the network and tourniquet are weapons typical of the terrible power of women, of its ability to shackle and bind; and the knot is the terrible instrument of the enchantress " 3. (e. Neumann, the great mother, Ed. Astrolabe, Rome 1981, p. 234.)
It is the terrifica medusa that in the dark world of hades petrifies who dares to cross his gaze. It is the image of petrification and psychic death, that is what stops the life flow, is the mother as a womb of death. Medusa represents the whole chaotic and undifferentiated of unconscious content, which attracts the I to the psychic dissolution. The image of the spider can be considered, according to the interpretation, an "spilled mandala" 4, which from the centre center (the self) captures the most disparate psychic elements. This centre attracts and rejects until it becomes more visible during the detection. It is the moment when the psychic elements are and, joining by joining, thus creating a formless emotional world that exercises on the self, entrenched in its useless defences, an enormous power power. In this sense, the tarantula that, inoculation in its victim a powerful poison, which, once it has been placed in circulation, produces devastating effects in the psyche which then reflected in the theatre theatre. The Mandala refers to the all of origin, to the primordial elementum that in alchemy is identified by the name of "first matter". it is complex to define in a few words the richness of symbolic send of alchemy. (C.G.Jung, psychology and alchemy, Ed. Optically, Torino 1994, p. 80.)
Jung, however, speaks in terms of self-knowledge in the process. The 'first matter' is as the foundation, the principle from which, within the elements of nature, the deep-rooted research. Among the various meanings of " first matter " I would like to highlight the image of the duplex as he represents, both the aspect-chthonius aspect of Saturn and the live silver ", " the aqua permanens " of alchemists capable of cleanse The psyche from the shadows of Hades. For This Dual Nature, he is like the beginning and end of Opus Alchemic (laws of detection) as the perfect identity of opposites, heaven - earth, water - fire, male - female. Mercury is nothing more than an aspect of the whole psyche where the low coincides with the superno.
" this dark mercury is meant as an initial state, so the low of the beginning must be conceived as a symbol of the supreme, and the supreme in turn as a symbol of the lower The Spirit of mercury for its and ambiguous nature may represent the intricate chaos of the unconscious that reveals its aspect and saturnino appearance in the first phase of opus aichemica, namely the nigredo. In it the lumen naturae, divine fire and / or Aqua Permanens (both attributed to the spirit of mercury) are buried in the darkness of the matter where they release the destructive power. It is the leaden aspect of mercury that poisons not only the report of me with the unconscious complexes but also the communication with the outside world. It's the pain of deep emotional life that drags me into a slow dissolution in the psychic abyss. The Venom inoculated from the tarantula is due to the pharmakon which produces both harmful and healthy effects. It is linked to the sulphur, the darkness and the evil of the whole of the first matter, the all-consuming aspect of mercury - Saturn, but also constitutes a powerful antidote against this poison. The substance, in fact, once extracted from the darkness of matter, possesses the ability to make the bodies perfect, them by the lethargic state of Hades to a new form of existence. If we translate the symbolic language of alchemy into psychological terms, we may say that the deep component of unconscious psyche requires a laborious transformation that leads from the intricate tangle of emotional complexes to the Kosmos of self-knowledge, implemented in the detection process. All this indicates a different attitude of consciousness to the whole unconscious: at the moment when it relates to it, districandone the content, or at least riconoscendoli in their primary existence the dangerous solution, the venom of the spider mother turns into A new form of awareness from which a new vision of existence will emerge. This type of psychological transformation with regard to the phenomenon of tarantism occurs in the ritual of dance where each entity identifies itself with its inner tarantula, until the crisis resolution. Before I dwell on the ritual, I would like to draw attention to the image of the spider as a sort of scales intelligence, provided with a deliberate intention of the deep psyche prior to external factors. In order to understand the logos of the soul, it is necessary, as affet but Same himself, abandon the of conscious life and consider the aspect aspect, the kingdom of Hades, where the creativity and wealth of the unconscious, together with its torments. In such an inverted perspective, it is not possible to treat the heroic I that selects, analyses, catalogues by rational means, but we have to come down (in symbolic sense) in the depths where in the pain and apparent chaos of symptoms and pathology, perhaps we could see an invisible order that It tends to transform and renew the personality of the individual. The Alchemists sought in the depth and darkness of the first matter the lumen naturae, the divine spark capable of regenerating the spirit and body of those who were devoted to the "Laborum" of opus. " however, they were more or less aware of the fact that their intuition and their truth came from a divine source, not by Revelation, but by individual inspiration or by Lumen Naturae, i.e. by the sapientia Gods, hidden in the matter In the invisible world of the soul, the mother spider orders and weaves a different emotional warp that the individual consciousness but also the same collective consciousness denies and removes. The removal is not only the sexual drive but a mode of existence and understanding of the world that do not fall within the principle principle of salento culture which is logocentrica and patriarchal. The tarantula that each year returns to indicate a suffering of the erotic dimension of the female, which may have its epiphany at the time of the awakening of nature, thus maintaining the link with a very precise and determined cosmic ritual. It is worth the hypothesis of some studious about the connection of tarantism with the rituals of cosmic rebirth or initiation of maidens to adult life. But here I would like to point out, following the methodological lines, how the rite of dance can lead to the resolution, albeit temporarily, of the crisis through the identification with the image of the spider, in a kind of debut, which carries the body, with a Gesture, to express the abyss of mystery. The Rhythm of music, the same movements of the body, reveal a state of intoxication, excitement, possession that can be attributed to the rite ritual. " Dionysus means the abyss of the demented, passionate dissolution of every human peculiarity in what has divine and animal A fragment of heraclitus reported to the bacchanalia states: "and hades that they celebrate, raging" The unbridled rhythm of dance, up to psychophysical and psychophysical, leads to the God inside. In this way, the mother of spider comes to possess the consciousness that is in Hades, identify with the abyss. " Fantasy is the primal force of the soul that tends to restore everything in its primary condition, ritualizzando everything that happens, turning events into mitemi, fixing the trifles of every clinical case, in the precise details, apparently so irrelevant, of a Legend, constantly affabulando our lives in structures that we can neither understand with our mind nor govern with our will but we must love a love fates In the was, the poison acts as an intoxicating substance by taking cathartic value. It is comparable to " Aqua Permanens " of alchemists, " to live silver " to which the spiritual power, Creator and dispenser of new life is attributed. (C.G.Jung, psychology and alchemy, cit., p. 90.; 8 G. Packages,,, Milan 1996.; 9 J. Hilmann, // Myth, cit., PP. 198-199.) "live silver" comes in relation to the moon, as this announced the rise of light. The Sacred Fire, the sulphur that belongs to mercury, ignites the substances, releasing the sal, or milk milk, dew that purifies from the darkness of the darkness of Hades, and gives the bodies and souls new life. It is linked to the sapientia of women, to its spiritual nourishment, to its ability to regenerate its existence, transforming it from the depths. " the great goddess of the night as lady of the unconscious is not only the lady of poisons and intoxicating substances, but also of amazement and sleep. Its priestess is the primordial elargitrice of incubation (the sleep of healing, transformation and awakening). His speech is necessary everywhere the relationship with the powers is only possible to a soul released from the body in the dream and ecstasy " '°. The creative aspect of women is also manifested in the weaving, braiding, activities that give shape to the life and fate of each being. These activities belong to the mother goddesses which in different cultures are celebrated as those through spinning, decree the birth and death of beings and the entire universe. They are the secret plot of being, the cosmic order that sews the events of each of them in the alternation of existence, ensuring their own function, guaranteeing the universal sense of justice. The intelligence of the spider mother rules our life in harmony with that cosmic; and I would like to end her sharing, imagine her as she who holds the line of our love relationships without emotional cobwebs, real traps for us and others ..
the syntactic ritual of tarantheism, which have been obscured and finally deciphered in light of recent discoveries.Starting from the great lesson of Ernesto De Martino, the mysterious universe of the mythical "tarantula" is unveiled in all its many meanings through the events of Magnificent and even earlier Paleo-Mediterranean mythology, medieval debate on poisons, natural magic and of witchcraft, of iatromechanical medicine at the threshold of enlightenment, and finally of its new configurations in the age of postmodernity.An astonishing, wide and profound cultural breath emerges, inspired by archaic legacy and new contemporary mysticism, between esotericism and instances of rationality.Paolo Apolito, anthropologist at the University of Salerno, questions the current meaning of the tarantula rite - more memory and a sign of local identity - in a Mezzogiorno in full transformation and contradiction.Following a tireless excavation, passionate as the writing that expresses it, the author comes to understand the reasons why a phenomenon that remained latent for almost thirty years suddenly comes back to speak of itself.Gino Leonardo Di Mitri, historian and researcher of the "Diego Carpitella" Institute, reconsidering the ignored chapter of the sunset of Byzantine civilization in the Land of Otranto, comes to a definition of tarantism more complex and less anguish than what would be it was conceivable, in a counterpoint between ancient Mediterranean dances and clues of sincretic religiousness enclosed in an authentic sacramental drama.Bernardino Fantini, a medical historian and director of the prestigious "Louis Jeantet" Institute of the University of Geneva, traces the story of tarantism on the traces of Giorgio Baglivi, the protagonist of the first 'epistemological breakdown' in syndrome investigations.Theories and methods about the effectiveness of music against the spider bite, the chemical and mechanical interpretations of the disease, and the physical and fibrillary backgrounds of a complex and innovative clinical practice have finally been put to the screen.Vittorio Lanternari, dean of the La Sapienza University of Rome and founding father of contemporary ethnopsychiatry studies, establishes a stimulating comparison between the atavistic expectations of salvation and healing whose theater was tarantism and the new forms of Marian devotion of which is a paradigm illuminating the phenomenon of Lourdes.The 'metastoral' event of suffering and the consequent use of the 'pilgrimage' resource are examined in an impeccable lesson of social and cultural anthropology of wise comparative cuts.Gabriele Mina, a researcher at the University of Genoa, tries to read some of the aspects of the works by Epifanio Ferdinando, Athanasius Kircher and Giorgio Baglivi to reveal the rhetoric of an era such as the '600.A reflection that, although confined to the themes of the history of scientific thinking, can draw a fascinating picture of the dominant mentality in the 'golden age' of tarantula.Gianfranco Salvatore, musicologist and anthropologist of the University of Lecce, and director of the Diego Carpitella Institute, reviewing the copious literature produced on the subject of tarantism following the famous Earth of Remorse, compares the indisputable portraits of the Demartinian experience and the overwhelming instances of overcoming traditional research.This is a real document of the new season of studies on the phenomenon that was inaugurated in the '90s.Maria Rosaria Tamblé, an official of the State Archives of Lecce and a member of the Patria History Society for Puglia, brings to light two important process events of the seventeenth and eighteenth centuries against the tarantats and practicing the magic arts drawn from that rich mine that are the documentary funds of the Salento bishops.The 'night stories' by Catherine 'Grecian' and by Francesco da Casalnuovo, reflect the theme of tarantism within a context which has so far been regarded as strange to possessions and sorcery.
Domènech Y Amaya (Don) Pedro Francisco Survey on a man bitten by tarantula An eighteenth-century pamphlet dedicated to the vicissitudes of evil caused by the tarantula bite. Translation of Livia Apa Loretta Fractal Introduction In 16∞;pages 120 Palermo, Sellerio, 1998 Euro 7,00 Limited availability, volume out of stock Domènech, a Catalan doctor, was an eyewitness and improvised therapist of a case of tarantolism in Estremadura in the summer of 1790, solved, according to tradition, with tarantella and guaracha.The meticulous description, veiled with dull irony, is a small gem of eighteenth-century prose. Pedro Francisco Domènech y Amaya, Catalan doctor, was born in 1755 and died in 1833.
Giuliano Valter Dogs, poets, pupa and tarante Meet with Witnesses of Popular Culture With musical CD Volume in 16 ° format (19 x 14 cm);188 pages;37 photos in b / w Rome, Imbalances, 2007 Euro 18,00 Availability: On sale
Hecker FK Justus Danzimania Edited by Giovanni di LeccePages 104 Nardò (LE), Besa, 2001 Euro 15,00 Limited availability, volume out of stock A brief but important essay by the illustrious German doctor of the nineteenth century, Justus FK Hecker, guides us through the reinterpretation of Tarantesimo of South Italy and of the other "Danzimanie" (San Vito Ball, San Giovanni Ball, African Tigretier) highlighting the rituals and healing of the European populations in their historical, environmental and social context, and inviting the reader to discover differences and analogies between the past and present, the North and the South of Europe, the dancing behaviors of yesterday and today's generations.Along with the book, a musical CD, edited by Giorgio Di Lecce, collects some of the arias (harmonic clauses) used since ancient times in treating the tarantas care that needed the right air - tarant-ella - for get the healing, along with the dance, the appropriate objects and colors.In addition to the arias transcribed in the musical scores recorded by Hecker in the appendix to his book (reported by Kircher in 1641), the tarantella of Foriano Pico was proposed by the end of 1500 (one of the first to have this name) and the last pinch- taranta of an old woman of Scorrano, collected in Galatina in the '90s.
Katner Wilhelm The Enigma of Tarantism Nardò (LE), Besa, 2002 Euro 15,00 Availability: On the market Wilhelm Katner's 1956 essay, published here for the first time in Italian translation, is one of the classics of the twentieth-century study of tarantism.In particular, by focusing on the zoological classification of the poisoned bite of the animal and on the many symptomatic readings, his medical analysis highlights a precise dialectic with the historical sources.It follows an aptic interpretation proposition that - a few years later - Ernesto De Martino would be confronted, thanks also to the direct knowledge of the two scholars.
Inchingolo Ruggiero Luigi Stifani and the taranted pinch Studies on musical instruments, 'numerical' music and on music performed by Luigi Stifani's group. Description: Volume in 8 ° format (23 x 15 cm);188 pages. Place, Publisher, date: Nardò, Besa Necklace: Entropie 48 ISBN: 9788849709308 978-88-497-0930-8 Price: Euro 16,00 Availability: On the market
Materials 1 - Ernesto de Martino monograph. Semiannual periodical. With the works of: Cantillo;Di Gianni;Esposito;Faeta;Iaccio;Lombardi Satriani;Merico;Mingozzi;Musi;Vuoso. Publication by CEIC (Centro Entografico Campano). Pages 160 Calimera (LE), Kurumuny, 2007 Euro 12,00 Availability: On the market The reinassance of a magazine is in itself an extraordinary event, but it is even more so in the case of a publication that as "Materials", is generated in the field of demoentnoanthropological scientific-cultural periodicals, notably a field characterized by a small number of headsets. Today, as we are today, we consecrate the monographic part of the magazine to Ernesto de Martino (of which the centenary of the birth falls in 2008), in the belief that the great scholar is still exemplary and critically present, vivid in his relation to the deep dynamics of the crisis of contemporary- . "Romanticists," wrote Martino, "returned to ancient national memories, customs, traditions, costumes and popular songs, but they did not return for simple curiosity, and we, today, why should we return?"One of Martino's answers was: To participate "not from stateless but from Italians to the general humanist movement", deepening the cultural tradition to renew it, dividing "well-founded in our things and moving them to the world."The staging of folklore, which fills the gaps left by the progressive folklore, has in the meantime loaded the demo-anthropological research of further theoretical and methodological problems, new programs and fields of inquiry by promoting the multiplicity of glances to which the present world, he has several different stairs, he can not and must not escape. In the awareness that much remains to be done, the new editorial series of "Materials" starts up in the world. Since the introduction of Ugo Vuoso.
Mighali Giuseppe Zimba - voices, sounds rhythms of Aradeo. by L. Chiriatti;M.Nocera;S.Torsello. Enclosed audio CD containing 23 tracks. Page 80 Calimera (LE), Kurumuny 2004 Euro 12,00 Availability: In the market The book with attached CD containing 23 songs recorded between 1976 and 1978, collects the history of Zimba family, extraordinary players of tambourine Aradeo. Through this instrument the Zimba exorcise life and its evils. They are at the same time tarantati and tarantati players. The Zimba represent a social and political voice "against". In their songs it tells the story of tobacco workers of Aradeo and political events that sees them engaged in the front line. The CD contains 23 pieces, some already 'published or known, others completely new and ends with the singing of San Lazzaro made at Easter 2004 by Pino Zimba and his sisters, at the event "Songs of Passion." Pino Zimba; (Giuseppe Mighali), is the natural heir of this tradition.
Mina Gabriele (eds) The bite of the difference. Anthology of the debate on tarantismo between the fourteenth and sixteenth centuries. Pages 153 Nardo (LE), Besa. EUR 13.00 Availability: In trade the historical image of the Mediterranean tarantismo, thanks to contemporary literature, is handed down from important witnesses seventeenth century; However, in the previous three centuries it develops a debate on diverse than ever, so far virtually ignored. The cultural look that over that period describe and assess the phenomenon is mediated by a plurality 'of categories: among them stands out the one of "melancholy", capable of guiding interpretive keys (the fixing and alteration fantastic, the variety' of symptoms , physiology poisoning) but that at the same time brings out the relationships this complex interplay between the authors, the matter of their representation and the reader. A particular horizon of words and bodies that here we wanted to re-cross between clues and fiction writing, in an introductory essay on "construction melancholy" of tarantism and in a choice of documents (proposed in the original Latin and in translation): rare books, treatises de venenis, medical dissertations on the spider bite, notes of famous authors such as Marsilio Ficino and Tommaso Campanella.
Mina Gabriele Torsello Sergio Infinite canvas Bibliography of studies on the Mediterranean tarantismo. Pages 196. Nardo (Le); Besa, 2000 Euro 15,00 Availability: In trade From 1945 to May 2004, some 800 items of literature on the Mediterranean ritual of tarantism organized into an annotated bibliography and literature in a diachronic, with appendices on the video documentation, sound materials, resources on the Web. Since the season demartiniana to ethnomusicology studies, anthropology and psychiatry, the myth, the debate on identity 'premises, from Salento to Sardinia to the Spanish rituals, journals, dissertations ... an essential critical tool for searching, collecting, the discussion.
Mingozzi Gianfranco La Taranta. Book + DVD The first film document on tarantism. Original Music recorded by Diego Carpitella; Photography by Ugo Piccone; Consulting Ernesto de Martino; Comment by Salvatore Quasimodo. 8th edition format (21 x 14.5 cm); 112 pages; many illustrations in b / n in the text. Dvd: The Taranta, 1962, b / n; 35 mm; duration: 20 ' Galatina (LE), Kurumuny, Necklace: Frames. No. 05 ISBN: 8895161372 978 Euro 15.00 Availability: In trade The book recounts the experiences of a passionate filmmaker anthropology, Gianfranco Mingozzi, around tarantismo. For over twenty years Mingozzi has traveled the lands of Salento documenting the first - in 1961 - with the short film The tarantula and an episode of the film The Italian and love (White Widow), this phenomenon then known only by scholars. Then returned in 1977 on this topic with the dramatic TV report South and magic, in memory of Ernesto de Martino (ethnologist who had studied and analyzed tarantismo in several books), still has testified in 1982 with a recent documentary, The land of remorse, the end of this ancient medieval heritage. The book is divided into three parts, corresponding to the different experiences of Mingozzi field: The tarantula and The White Window displays with dozens of photos taken from the frames of the respective film, accompanied by commentary by Salvatore Quasimodo and by the music of Ernesto de Martino , by the criticism and all the documents about the shoot, as well as a diary kept by the director at the time. On land of remorse contains - along with the text of the documentary - the articles that accompanied the release of the South and Magic program on TV with the red-hot controversy of big names (Sanguineti, Siciliano, Rossi, Scabia etc.) On "The reality ' its representation. " And this to give a vision, the most 'complete, the phenomenon of "tarantism" more and more' at the center of the mass media, musicians, scholars.
Montinaro Brizio Dancing with spider with accompanying CD Pages 140 Lecce, Argo, 2008 Euro 18,00 Availability: In trade From the stage show Dancing with the Spider, starring Brizio Montinaro with Ensemble Terra d'Otranto, the book offers a fascinating journey through literature and music from the fifteenth century to the present they have marked the important stages of one of the traditions most mysterious of the Mediterranean. The looks on tarantism of clergymen, doctors, philosophers, travelers, storytellers, anthropologists. From time to time poisonous, wise, amazed, ironic, aware. The ancient music all certified by witnesses as truly perform music for the dance of tarantate: languid, melancholy or variously punctuated those of the past, triggered until the tragic climax those of today. Líiconografia the tarantula of past centuries and recent photos 'stolen' in Galatina from Brizio Montinaro during the rite of tarantism now in full decay and decline. Sources with the original notes scores, rare and unheard of Italian and Spanish music used in the exorcism of the tarantula. The CD with a complete recording of the show Dancing with the spider.
Mora George Apulian bad Subtitle: Ethno-psychiatry historical tarantismo By Gino L. Di Mitri Description: Volume size 8 °; 100 pages. Place, Publisher, date: Lecce, Besa, February 2017 Series: Reflections 58 ISBN: 9788862802031 978-88-6280-203-1 Price: Euro 13,00 Availability: In trade
Nacci Anna (ed) Tarantismo and Neotarantismo. Music, dance, trance. Proceedings of the Conference. Rome February 13, 2001 Nardo (LE), Besa. € 12.00 Availability: In trade Neotarantismo, a neologism coined by observing a phenomenon that involves large groups of people spread throughout the Italian territory (and not only). A movement that expresses the need music "other", for new communication and interpersonal relationships, a question cathartic dance usable beyond its historical connotations linked to suffering and shame. The need, detectable in every age, of liberation from daily worries and oppression of various kinds still expressed through and through music and dance. Against globalization, the cultural leveling and the attempt to erase the diversity 'implemented by the media reaches a strong response from below. And here is thick masses of young and old, who flock squares, community centers, pubs, theaters and any other structure that proposes popular music concerts, including tweaks that triggers uncontrollable collective dance moments.
Pacoda Pierfrancesco Tarantapatia Subtitle:The long nights of the tarantula Illustrations by Lucio Montinaro Description: Volume size 8 ° (19 cm x 13); 136 pages. Place, Publisher, date: Galatina (LE), Kurumuny, 2012 Necklace: necklace Out ISBN: 9788895161907 Price: € 12.00 Availability: In trade
Panico Fernando white dress. Ethno-anthropological research on Apulian tarantism. 8th edition format (21 x 15 cm); 95 pages. Calimera (LE), Kurumuny, 2009 ISBN: 8895161174 978 Euro 10.00 Availability: In trade
Pizzicata. Edoardo Winspeare. DVD A Edoardo Winspeare with Cosimo Cinieri, Fabio Frascaro, Chiara Torelli. Italy, 1996. duration: 91 '. Availability: No From "Il Morandini 2008 - movies Dictionary": In 1943, on the eve of the Allied landings in southern Italy, the pilot of a US scout Tony Marciano (F. Frascaro), shot down by German flak over the Salento, find shelter in the farmer's family Carmine Pantaleo (C. Cinieri), he rediscovers his roots, falls in love with Cosima (C. Torelli), one of three daughters of Carmine, sparking jealousy of her future husband, the wealthy Pasquale ( P. Massafra). 1st feature film cosmopolitan Winspeare E. (1965), born and raised in Depressed (Lecce). Except C. Cinieri, all non-professional interpreters, selected in Salento; all components of technical cast from the film schools of Monaco, Rome, Paris. Remarkable for the ability 'to build a history of feelings based upon a ethnic and anthropological research. Pizzicata - or pinch tarantata - is a peasant dance that mimics the love between man and woman, the duel with the dagger, the frantic pace that trance music brings women bitten by the tarantula. Jérôme Harley Music. Distributed by the Academy without success. 1st prize Citadel Fuji-1997 to the Arezzo Festival of Italian independent cinema.
Romanazzi Andrea The return of the dancing god cults and rites of tarantolismo in Italy Discovering folk music and traditions behind the "Night of the Taranta" with foreword by Teresa De Sio format 13 x 20 cm; pages 180 Roma, Venexia Editrice, 2006 Euro 16,00 Availability: In trade Folk traditions related to tarantolismo generated cults and rites that have created some of the most 'vital music and folk dances: tammurriate, tarantella and pizziche, whose renewed interest among young people is attracting strong international appeal. The author analyzes the evolution of such traditions, including the venues and festivals, fairs and events related to the cult of Taranta. The preface is an interview with Teresa De Sio, great protagonist and scholar of popular music. Tarantism rooted in the atavistic fears of man Ancient God who sees the vegetation, which had become immanent in the plant, to perish by his own hand and therefore is afraid that the same deity ', offended and misused, take vengeance with all its power. It is the time when you generate the mystical human crisis, it is the farmer himself actually 'cause of death mowed God and therefore of his own despair ending the plant life and so' bowing to God's punishment. The only solution is to search for a scapegoat, the sacred animal who, like novello agnello, can wash from ancestral sins and hide the crime disguising and transforming the man murdered in murderess. Sara 'so' that over the pages of the book we will encounter between ancient gods' and many totemic animals, the wolf, the bull, goat, rabbit, expressions themselves immanence of the divine and equally guilty of death executors god. Sara 'during this excursion that will arrive in the presence dell'aracnide, the mystique Taranta from dual aspect: expression of god that must be killed but also temibil scapegoat on which to pour the ancestral faults. This is the essence of the spider and its lewd and luscious bite. It returns to the moment of human crisis, the only real original sin of Eve's offspring, the collection of the forbidden fruit, the "messengers of God" that is so 'killed to give the knowledge to himself and to his descendants. It is the crisis that generates the expulsion from Eden, the departure from the woods that made for man, is the appearance of the primordial shame, uman terror that lurks between the coils of the serpent tempter, the tarantula hidden in the branches Primigenia not for groped and condemn, but to seduce and show off her sensual bite, symbol of transience 'human, the illusory domination by man over nature which is Divinity'. At the obsessive and repetitive rhythm of the tarantella pizziche here is that music and dance are become through the numinous world, the changing way that leads man to ecstasy mystical dancing around the Tree of the primordial Sabbath. It is here that one of the eternal serpent coils, the Old God from the skipped step continues to offer the fruit to her children that the fearful grasp. Every year, from here to eternity ', all'ondeggiare of ears of corn in the wind, the man will see' the return of the "god dancing" and he will dance 'til you will disappear when the pale light of the moon will have' finally completed the grueling night of Taranta.
Rossi Annabella And the world became yellow. Tarantism in Campania. With essays by Patrizia Ciambelli, Aurora Milillo and Elizabeth Di Marino. Introduction by Luigi M. Lombardi Satriani. In 8 ° format;pp.239. Vibo Valentia (VV), Qualecultura, 1992 Availability: No
Rossi Annabella Letters from a tarantata New edition by Paolo Apolito With a language known by Tullio De Mauro Description: Volume size 8 ° (21 x 15 cm); 185 pages. Place, Publisher, date: Rome, Imbalances, 2015 Series: Studies and Tools. No. 2 ISBN: 9788886211208 Price: 18,00 EUR Availability: In trade
Rota Daniela Jesuits and Tarantulas Volume in size 8 ° (24 cm x 17); 136 pages Place, Publisher, date: Lucca, LIM, 2012 Series: Music Library Lim - Essays ISBN: 978 870 966 800 Price: Euro 30,00 Availability: In trade
Santoro Vincenzo Torsello Sergio (ed) The Rhythm Meridian pinches and identity 'dance of Salento Interventions Franco Cassano, Maurizio Merico, Giovanni Pizza, Alessandro Portelli, Luigi Piccioni, Roberto Raheli, Joseph M. Gala, Clara Gallini, Edoardo Winspeare, Sergio Blasi Pages 206. Euro 14,50 Availability: In trade " the meridian "rhythm is an attempt at social and anthropological interpretation of" Salento movement of rediscovery of traditional music and pinches through the contributions of intellectuals, artists and cultural workers. the approach given to the book by the two curators, Vincenzo Santoro Sergio Torsello, try to ask, more 'than to resolve fundamental questions of analysis and interpretation, with opinions often not aligned, then determine a ricost interruption rich but heterogeneous. Franco Cassano, saw there an attempt to reconfigure the relationship between modernity 'and tradition; the anthropological gaze of Gianni Pizza, intervention in the refined form of letters, pointing instead to organize the phenomenon in a global context, focusing on the mechanisms and ideologies of cultural production. Maurizio Merico, meanwhile, tries to read the femonemo using interpretive categories of Franco Cassano (the identity 'meridian) and Ernesto de Martino (the concept of "cultural home"), while Gigi Piccioni instead raises the question about the risk that the rediscovery of identity 'local brings summed nell'lternativa between identity' to live or identity 'to sell. Alessandro Portelli photographer with extraordinary vividness, contradictions and paradoxes inherent to the "Pizzica" movement; Roberto also Raheli, the revived musician and publisher and Pino Gala, etnocoreologo, wonder about the distance between tradition and new interpretations and / or processing, respectively, of music and traditional dance than what successive generations. The masterful interview Clara Gallini finally analyzes the mechanisms of construction of the idea of "ethnicity '". The volume ends with the testimony of Edoardo Winspeare, director of "Pizzicata" and "Sangue Vivo", and Sergio Blasi, mayor of Melpignano and organizer of the "Notte della Taranta", the most 'popular Salentine events. The book is enriched by the photos of Puce and Claudio Raffaele Longo.
Santoro Vincenzo The return of the tarantula History of the rebirth of Salento folk music with music CDs Volume in 16th format (19 x 14 cm); 272 pages; 50 illustrations in b / n Rome, Imbalances, 2009 Euro 27,00 Availability ': In business
Sanz Pilar Leon Spanish tarantula. Empiricism and tradition in the eighteenth century. Pages 228. Nardo (Le), Besa, 2008 Euro 15,00 Availability: In trade more one delves into the history of tarantism, the more clear the need to overcome the domicile endemic, South Italy and Salento in particular, to land on Mediterranean routes. On this track was born the desire and conviction to conduct research in a very little known territory, led by doctors who, in the land of Spain in the eighteenth century, s'interrogavano on sound therapy and dance in front of men bitten by the spider. This volume presents a considerable body of unpublished historical sources or little known to the Italian public. In the hope that the path of the tarantula can continue in the Mediterranean network, then return the endemic "land of remorse", the more enriched and informed.
Schneider Marius The sword dance and the tarantella Wise musicology, etnogrtafico and archaeological on medicine rites By Pierpaolo De Giorgi Pages 242 Availability: No Created almost as an appendix of another famous work by Marius Schneider (The symbolic animals and their musical origins in mythology and in ancient sculpture), the sword dance and the tarantella is actually 'the first comprehensive project that has dared to enroll in a large and complex categorical scheme, all the elements involved in tarantismo. Piu 'known in Italy thanks to a brisk stroncatura demartiniana ( "a personal mythmaking and unfounded") than through a direct approach, the Alsatian scholar research is definitely a milestone in the difficult path followed by the men of science for groped to understand a mysterious and elusive phenomenon. The generous attempt schneideriano winds through a articolatissimo confrontation between ethnic music, folk and primitive music systems and theories, plastic and visual arts, religious texts and various documents: the outcome is the fresco of a symbolic thought that springs from civilization ' megalithic and which assigns to music an essential ontological meaning, a real archetypal principle of all reality '. Even for those who the author deems final landing de Land of remorse, read or reread today the sword dance and to approach this fascinating world view in which man feels in close relationship with an animal, a plant, a constellation, a musical instrument, a mythological construction, it is still an extraordinary cultural adventure.
Serao Francesco Della Tarantola or both falangio di Puglia. By Gino L. Di Mitri Pages 256 Nardo (LE), Besa, 2006 Euro 16,00 Availability: In trade FRANCESCO SERAO (1702-1783) was a physician and professor of great reputation in the Kingdom of Naples. Trained at the thought of Descartes and the tradition of the Academy Investiganti, resent 'teaching of Niccolò Cirillo, the influence of the doctrines of Giovanni Alfonso Borelli and Lorenzo Bellini treated. He wrote several works: volcanology, zoology and translated - and introduced - in the scientific world Italian medical works of John Pringle. But he remained famous for his academic lectures "Of tarantula or both falangio di Puglia" that in 1742, in a climate of growing and widespread skepticism about the real responsibility 'of spiders in causing the syndrome of tarantism and complying with the observations of Tommaso Cornelio, they gave the final blow to magnetistiche iatromeccaniche and theories that had raged until then. In a learned and passionate critical review of the scientific literature to him earlier, Serao dismounted piece by piece the building tarantismo built on fragile foundations gullibility 'and founded the first convincing theory of a disease does not generated by actual poisons but rather' from melancholy up to become a real "school of the nation". The work of Serao constitutes a gash opened on society 'whole of southern Italy on the eve of the Neapolitan Revolution of 1799: a surprisingly modern fresco from which transpire, in vivid colors, stabbing, the features of a world poised between the more' refined modernity 'intellectual and more' frightening backwardness of mentality ', including unprecedented environmental violence and deeper humanity' collective, between European impulse to the progress and constraints tough to feudalism '.
Sigerist Henry Ernest Short History of tarantism. Pages 80 Nardo (Le), Besa, 2010 Euro 12,00 Availability: In the market remained unpublished Inexplicably in its Italian translation for little more than half a century, A Brief History of tarantism is a small but important text for those who want to learn more on 'enigma of tarantula. The paper has the advantage of being very strict in dealing with the seventeenth and eighteenth-century literature without losing the lively and popular character typical of Anglo-Saxon writers. Unfairly died of Ernesto De Martino in the famous Land of Remorse, the study of Sigerist is of paramount importance as it demonstrates conclusively that tarantism is not an extravagant manifestation of folklore, but a wise form of musical culture and dance which, under the guise of an original therapeutic procedure, practiced for centuries the southern populations to conceal the ancient pagan mysteries and not be persecuted by the Church.
Staiti Domenico, Boccadoro Brenno, Rouget Gilbert, L. Di Mitri Tarantismo, Trance, Possession, Music. Pages 128 Nardo (LE), Besa, 2001 Euro 14,00 Availability: In trade Four major scholars in ethnomusicology and musicology explore the mysterious universe of the tarantula in an authentic counterpoint between antiquity 'Greek, classical tradition Renaissance-Baroque, cathartic-religious syncretism . What emerges is an amazing picture, in which music therapy endeavored for centuries as a remedy for the famous spider bite reveals a legacy of great dignity 'cultural, artistic and spiritual. Domenico Staiti, Professor of History of Musical Instruments at Dams University 'Bologna, through the reading of the Apulian vase painting of age' classic, investigates the possible antecedents of tarantism in mystery rituals of Dionysus, with all their worn with symbolism, evocations and ideas that relate to the drum and sull'aulòs such vehicles teléstica mania. Brenno Boccadoro, professor of musicology at the University 'of Geneva, retraces the path of civilization' European literary antiquity 'classical age' of the Enlightenment in search of the most 'fascinating themes that unite tarantismo other ways used by humans to apply the psychological power of music to the recomposition of the passions and to recapture lost dell'harmonia. Gilbert Rouget, already 'director of the music section of the prestigious Musée de l'Homme in Paris and author of a fundamental monograph La musique et trance, review, not without critical insights, the theory of' 'exorcism choral-music "made in his time by Diego Carpitella reaching the hypothesis of a real "possession of the theater" with its liturgical canon. Luisa So, Professor of History of Music at the Conservatory "Tito Schipa" of Lecce, identifies numerous points of rhythmic-melodic-harmonic connection existing between the tarantella seventeenth century and some forms of popularizing tradition of the late Renaissance and Baroque (foil, Moorish, salad ...), then projecting the analysis within the musical experience learned throughout the seventeenth century with remarkable proposal to little known or unpublished own musical scores identified in major libraries in Europe.