By Karen Lüdtke
With its roots in a single of the main popular and long-lasting therapeutic rituals to be present in Europe, the tarantula s song and dance has lower back to the limelight. for hundreds of years, the ceremony of the tarantula was once the single treatment for these bitten or possessed by way of the mythic Apulian spider. Its sufferers needed to dance to the pizzica pizzica (the neighborhood tarantella) for days on finish. this day, the pizzica has develop into a well-liked tune and dance craze. This publication explores how and why it has boomed within the Salento, growing repercussions on a countrywide and overseas point. the writer asks even if this present reputation has whatever to do with the historical ritual of tarantism and no matter if the goal of improving health nonetheless comes into play. whereas own tales and reviews make certain this, an important shift looks within the Salento: from the war of words of existence crises to the colourful advertising and get together of an area feel of identification and big name.
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Additional resources for Dances With Spiders: Crisis, Celebrity and Celebration in Southern Italy
Dances at Galatina: a Crossroads of Old and New Tarantati Ever since the Catholic Church began to clamp down on dance rituals in the eighteenth century, Paul, protector against poisonous animals, spouse and saviour of the tarantate, has attracted the tarantula’s victims to Galatina in their attempts to gain relief. The chapel of St Paul at Galatina has proven to be their most resilient public performance platform. Paul’s followers draw their faith from the Bible’s account in the New Testament (Acts 28: 3–5), which documents his immunity to a snakebite following a shipwreck on Malta (Montinaro 1996; Ligori et al.
Go away! ) The angry shouts of Matteo ring out from where he is sitting between two young women in hippy attire on a doorstep opposite the chapel. Interestingly, his antagonism evokes a prevailing image of southern Italy as defined by what it historically lacked in relation to an ideal model of northern Italian cities: namely, a bourgeoisie, among other factors (Gribaudi 1996). Matteo’s voice is directed towards a small group, among whom I recognize the face of a university professor who is also studying the contemporary buzz around the tarantula.
1981); Mingozzi (1982); Durante (1989); Winspeare (1989, 1994, 2000); Santoro and Durante (1993); Gallone (2006). This list cannot claim to be complete, nor does it account for numerous videos and DVDs produced on this topic. 23. Links emerge between the pizzica di cuore and other dances of lure, coax and escape, such as the Cuban and Puerto Rican guagnanco, an Afro-Cuban form of rumba (Friedman 1978). Inevitable connections to the flamenco come to mind: another seductive dance in the Mediterranean context on the cusp of Europe, on the silk trade route, connected with North and West Africa through trade and conquest and with Gypsies on the move between Eastern and Western Europe, thereby combining Muslim, Gypsy, Indian and African influences (Comerford Peters and Schreiner 1990; Washabaugh 1996).
Dances With Spiders: Crisis, Celebrity and Celebration in Southern Italy by Karen Lüdtke