Articles de revues sur le sujet « Italians – India – History »

Limiting the spread of coronavirus requires individual, social and international efforts. Even though the virus is highly contagious, simple measures like hand washing with Soap for 20 seconds or with alcohol-based Hand Sanitizer kills the virus. Masks act as a barrier to prevent inhalation of droplets. Similarly, gloves are also protective barriers, and these gears are called Personal Protective Equipment's (PPE). Though personal protection is essential, it is not enough. Hence, others measures are required like social distancing, quarantine facilities, prohibiting international as well as Local travelling, mandatory screening of suspected cases and screening those who have a recent travel history from a corona affected region. With the countries trying hard to recover the loss from the pandemic, The Schools, Colleges, Malls, Theatres, Religious places and all the places where mass gathering occurs are shut down. According to the 30th of June 2020, almost 10.1 million covid-19 cases are almost 50 thousand deaths. Indians are the Italians of Asia & vice versa & now it's among the countries leading with 2,15,239 cases of active & the number is still increasing. India adopted a multi prolonged surveillance strategy. Nowadays as unlock 1 is being proceeded in India commonly used in India is a Walk-Through disinfectant Tunnel for covid-19 prevention, it has 1% Sodium hypochlorite. From mask to gloves to PPE, all are protective barriers. Other measures: Quarantine, mandatory screening of recent travel history from a corona affected region, with the countries trying hard to recover the loss from the pandemic. Then recently WHO says that pandemic is from over as daily cases hit a record high with the countries trying hard to recover the loss from the pandemic & New Zealand ends and it's COVID free.

Abstract By analyzing the history of a photograph taken in a Bombay photo studio in 1885, this article explores notions of the production of knowledge on India and cultural dialogues, encounters, appropriations, and conflicts in colonial British India in the late nineteenth century. The photograph was taken after a Hindu religious ceremony in honour of the Italian Sanskritist Angelo de Gubernatis. Dressed as a Hindu Brahman, he is the only European photographed next to three Indian scholars, but what the image suggests of encounter and hybridity was challenged by the many written texts that reveal the conflicting dialogues that took place before and after the portrait was taken. Several factors were examined in order to decide who should and who should not be in the photograph: religion, cast, and even gender were successively discussed, before the category of “knowledge” became the bond that unified the four men who studied, taught, and wrote on India.

Nepal is one of few long-surviving nations in Asia. According to Pandit Bhagvanlal Indraji, a noted Indian historian, Nepal’s origin as a nation dates 12 years before the end of Dwapaayuga (approximately 1700 BC). The linguistic historian Bal Krishna Pokharel and Italian writer Guiseppe Tucci have narrated the historic succession of an empire with Sinja as its capital city including regions of Garwal, Kumaon, present Uttarakhand of India, and current Nepal’s capital city, the Kathmandu Valley. It is said that the powerful Nepal of that time had assisted Chandra Gupt Maurya to oust Dhana Nanda and establish the Mauryan Dynasty. These accounts plainly show Nepal’s antiquity as a nation with a history of glorious past, shaped by pearls of wisdom, serenity, and peace. Alongside, there are histories of mighty nations and civilizations both in the North and South where Nepal’s landscape and civilization always stand as a bridge between two mighty Empires ruled by several powerful dynasties and the world’s faveolus civilizations. However, from the beginning of the 19th century, Nepal lives in a turbulent time and series of turmoil. The genesis of chaos belongs to the British colonial occupation of India—as a fateful time in history. Nepal suffered from a British imperialist invasion beginning from 1814, ending at the loss of its larger part of the geography, namely Garwal and Kumaon, which now form the territory of independent India. Against this backdrop, this paper focuses on analyzing Indo-Nepal relations from a historical perspective. It assesses a winding history of Indo-Nepal relations followed by examining the 1950 Peace and Friendship Treaty, critically analyzing Indian claims and blames about China factor in Indo-Nepal relations, and explaining the role of geography and geopolitics in Indo-Nepal relations along with International Law and rules of International Relations incorporating the perspective of conspiracy theory. The paper claims that Indian foreign policy to Nepal has some faultiness and fault lines, therefore, she needs to correct her foreign policy towards Nepal based on equality in sovereignty and status. It adopts a qualitative method with descriptive, interpretative, and critical approaches. Lastly, it concludes that the trilateralism is the necessity of the economic boom of the region as a whole for the common gains and prosperity of all mankind of the South Asian region.

The general opinion of historians has been that the East India Company was opposed to the presence of Christian missionaries in India. It is generally held also that when the Charter Act of 813 left the Company with no option but to admit them, its governments in India maintained a fairly consistent posture of religious neutrality. These notions have recently been reinforced by Penelope Carson. But thisignores the Company's policies towards Roman Catholic missionaries. In the eighteenth century the Company welcomed Roman Catholic missionaries. It was at the nvitation of the Bombay government that Italian Carmelite missionaries settled there in 1718. It was at the invitation of the authorities of Fort St George that a French Capuchin mission was established in Madras in 1742. When the Company came into Kerala towards the end of the eighteenth century an Italian Carmelite mission was already established there, with a bishop and two priests. The mission was soon receiving material support from the Company.

The Mission in Madurai 1606-1656 was a unique episode in the history of Christianity in India. During these times changing religion to Christianity meant abandoning one’s culture. Roberto de Nobili, an Italian Jesuit and founder of the mission was the fi rst European to learn Sanskrit, study the scriptures of the Vedas and convert Brahmins. He allowed them to keep their social customs, which was seen as controversial by the church hierarchy. He followed these social rules himself, living the life of an Indian ascetic and thus gaining respect among higher castes. His way of separating Hinduism from Indian culture was, and still is, contentious but it was done for practical purposes. The controversies forced him to defend his arguments on many occasions. In his writings he described Indian traditions and explained his method of missionary work. There were not many followers of de Nobili’s method, who would be able to understand the need of accommodation, undertake studies of Hinduism and be prepared to embrace an ascetic lifestyle. It was not until the 20th century that interreligious dialogue emerged as a concept and some Catholic clergymen found inspiration in Hindu spirituality. The goal of this thesis is to show just how pioneering was the accommodation method used by de Nobili and how his infl uence can still be felt on attempts at interreligious dialogue in the modern era.

Abstract In Italy, over the last decades, both the Left and the Right have repeatedly employed American Indians as political icons. The Left and the Right, that is, both adopted and adapted certain real or often outright invented features of American Indian culture and history to promote their own ideas, values, and political campaigns. The essay explores how well-established stereotypes such as those of the ecological Indian, the Indian as victim, and the Indian as fearless warrior, have often surfaced in Italian political discourse. The “Indiani Metropolitani” student movement resorted to “Indian” imagery and concepts to rejuvenate the languages of the old socialist and communist left, whereas the Right has for the most part preferred to brandish the Indian as an image of a bygone past, threatened by modernization and, especially, by immigration. Indians are thus compared to contemporary Europeans, struggling to resist being invaded by “foreign” peoples. While both the Left and the Right reinvent American Indians for their own purposes, and could be said to practice a form of cultural imperialism, the essay argues that the Leftist appropriations of the image of the Indian were always marked by irony. Moreover, while the Right’s Indians can be seen as instances of what Walter Benjamin (1969) described as Fascism’s aestheticization of politics, groups like the Indiani Metropolitani tried to politicize the aesthetics.

Studies of the relations between the Tripartite powers have primarily been concentrated on the relations of Nazi Germany with Imperial Japan and Fascist Italy. This article, based on original documents from the Italian archives, offers an original insight on the Italian perspective about the naval relations between Italy and Japan before and during the early years of the Second World War. It analyses the strategic motivation that led Fascist Italy to seek naval cooperation with Japan and how their relationship evolved during the period between the Ethiopian War (1935–6) to the end of the Axis campaign in North Africa in 1943.

Cheetahs (Acinonyx jubatus) and caracals (Caracal caracal) have been used for hunting in the Near and the Middle East since antiquity. In Iran and India the caracal was mainly trained for hunting birds, but in Europe this practice was rare, and is documented only in southern Italy and Sicily by iconographic evidence as far back as the eleventh and twelfth centuries. However, no bone remains of the species have been found so far by the archaeozoological exploration of Italian medieval sites, nor are there any known literary references for the use of caracals for hunting.

Musicians have recognised distinct national styles of musical composition and performance for centuries, and even today our understanding of the development of musical style in virtually every period rests in large part on observations of the contact and melding of national idioms. From the suppression and absorption of Gallic chant by Roman plainsong during the time of Charlemagne, through the wedding of French, Italian and German styles accomplished by Bach, to the joining of north Indian classical musical elements with modern avant-garde music by Philip Glass and other minimalist composers, our telling of music history is in large part analysis of a continuing process of musical colonialisation.

The history of lymphatic system research goes back to ancient times. Lymph nodes were likely first mentioned in the hieroglyphs of ancient Egypt. Hippocrates (5th century BC) in the 5th century BC was one of the first to mention the lymphatic system. One of the first descriptions of what can be attributed to lymphatic vessels can be found in Aristotle. The Byzantine physician Pavlo Aeginsky was a famous surgeon who illustrated the tonsils and performed the first tonsillectomy, which allowed him to identify and describe infected cervical lymph nodes. Indian and Islamic medicine, especially Avicenna, gave interesting descriptions of lymphedema (elephant disease) due to frequent parasitic infections which are more common in eastern regions. Rufus of Ephesus, a Roman physician, discovered the axillary, inguinal, and mesenteric lymph nodes, as well as the thymus, in the 1st-2nd century AD. The first mention of lymphatic vessels was in the 3rd century BC by Herophilus, a Greek anatomist who lived in Alexandria. The Alexandrian school made significant contributions to the study of the lymphatic system stemming from the works of Galen. However, whether the structures described were lymphatic vessels is still debated. Erasistratus, during the dissection of a dairy lamb, showed that the abdominal arteries are filled with milk. Very likely, this is the first misinterpreted study of mesenteric lymphatic vessels. Based on the first observations made by the medieval Arab anatomist ibn Al-Nafis, the Spanish scientist and theologian Miguel Servetus, and the Italian anatomist Realdo Colombo, who described pulmonary circulation, and Andrea Cesalpino, who first introduced the term "circulation" in relation to the cardiovascular system, it was established basic regularities of the structure of the lymphatic system. In the middle of the 16th century, Gabriele Fallopio (researcher of fallopian tubes) described the vessels now known as "mammary glands". Based on all these discoveries, the Italian surgeon and anatomist Giovanni Guglielmo Riva was the first to present a graphic representation of the lymphatic system in two of his four oil paintings, which are now kept in the Academy of History "Arte Sanitaria" in Rome.

Abstract Studies on Gandharan art have not yet produced an unbiased interpretation of its participation in the wide phenomenon of ‘Hellenism’. This incertitude is mirrored by ambiguous and debatable definitions such as ‘Hellenised Orient’ or ‘Gréco-bouddhique’, which contain an implicit, though mostly unintentional, notion of civilising influence. The emphasis on Hellenistic forms may mislead our interpretative efforts, especially when, as in the case of India, art history is based on weak historical grounds. Indeed, in order to develop more effective analytical tools we have to draw upon methodical and scientific archaeology. The aim of the present work is to offer an overview of the most important achievements of the IsIAO’s Italian Archaeological Mission in Pakistan with regard to the vexata quaestio of the inception of Gandharan art and, implicitly, the inclusion of Hellenistic elements into the local figurative languages. In the course of over fifty years of field research the Italian Archaeological Mission has created a repository of data that enables us to bring vis-à-vis the single site and the regional environment, as well as the religious settlement and the lay world around, thus providing reliable grounds for a better understanding of the historical, political and social framework of Gandharan art and its Hellenistic components.

Recent scholarship has increasingly paid more attention to the game of chess as a central form of entertainment combined with a strong didactic component. Chess has a very long history, probably dating back to early medieval India, and was passed on to the Arabs and from them to the Europeans. Both kings such as Alfonso X el Sabio and theologians such as the Dominican Jacopo da Cessole were deeply involved in reflecting on this game and explaining it to their audiences, as is well documented in the volume Chess in the Middle Ages and Early Modern Age, ed. Daniel E. O’Sullivan (2012). Shortly after 1321, the Venetian Paolino da Venezia, papal penitentiary and apostolic nuncio, composed his own treatise on chess, his Tractatus de Ludo Scachorum, which Roberto Pesce here introduces, edits, and translates into modern Italian in an exemplary fashion.

Buddhist Monks and the Franciscan Poverty Controversy. How the East Asia Mission Influenced Late Medieval Latin Europe This article scrutinizes the 14th century’s controversy about the doctrine of Franciscan poverty. It considers an overlooked foundation of these debates: the encounters between Franciscan missionaries and Buddhist monasticism in Southern, Central and Eastern Asia since the mid-13th century. By taking a global perspective on a controversy traditionally understood as endemic to Europe, the article shows that European travellers’ experiences in Asia shaped the Latin Church in a deep and consequential way. Instead of looking eastwards to the success (or failure) of the missionary work in India and China, this study argues that we must pay attention to the use and effect of narratives about Buddhism by missionaries who returned to Latin Europe. This enables us to better understand some of the canonical sources that are central to such debates, such as Dante Alighieri, John of Montecorvino, and the Italian version of Nicolaus Minorita. In making this argument, this study brings multiple scholarly discourses into conversation with one another for the first time.

Det “Chinesiske” Examens-Væsen[The “Chinese’’examination system]By K. E. BuggeGrundtvig's assaults on the educational practices of his time include attacks on “the Chinese examination system”. This surprising figure of speech is encountered in the initial sections of the third volume of his World History (1842), in which he deals inter alia with the first European sea-voyages to China in the early 16th century. In this context he describes the ponderous and exaggerated thoroughness in which the Chinese officials “examined” the Portuguese ships on their way to the harbour of Canton. Grundtvig, however, does not reveal any knowledge of the educational systems of China.According to Grundtvig’s footnotes his account is based on a comprehensive Portuguese publication, the Italian translation of which was accessible to him at the Royal Library in Copenhagen. The book is Fernando Lopes di Castagneda, Historia dell’ Indie Orientali (Venezia 1578). In this way we learn that Grundtvig was able to read Italian, a competence that of course was based on his supreme mastery of Latin.

AbstractOne of the challenges of global history is to bridge the particularities of individual lives and trajectories with the macro-historical patterns that develop over space and time. Italian micro-history, particularly popular in the 1980s–1990s, has excavated the lives of small communities or individuals to test the findings of serial history and macro-historical approaches. Micro-history in the Anglophone world has instead focused more on narrative itself, and has shown, with some exceptions, less interest for ampler historiographical conclusions.Sino-Western interactions in the early modern period offer a particularly fruitful field of investigation, ripe for a synthesis of the global and the micro-historical. Cultural, social, and economic phenomena can be traced in economic and statistical series, unpublished correspondence, and other non-institutional sources, in part thanks to the survival of detailed records of the activities of East India companies and missionary agencies in China. Recent scholarship has started to offer new conclusions, based on such Western records and matching records in the Chinese historical archive.In this article, I offer a methodological reflection on ‘global micro-history’, followed by four micro-historical ‘vignettes’ that focus on the economic and socio-religious activities of the Roman Catholic mission in Beijing in the long eighteenth century. These fragments uncover unexplored facets of Chinese life in global contexts from the point of view of European missionaries and Chinese Christians in the Qing capital—‘end users’ of the local and global networks of commerce and religion bridging Europe, Asia, Africa, and South and Central America.

Italian philosopher Antonio Gramsci first coined the term “hegemony” and also elaborated on cultural hegemony. It is a common perception that cultural powers and organisations are hegemonic-centred, resulting in a network of invisible powers. Hegemonic power processes are an integral part of daily social and cultural practices that help to perpetuate power relations. The repercussions of hegemony can be seen in various aspects of society, such as caste, class, ethnicity, occupation, gender, tradition, etc. This paper enlightens on the gendered hegemonic cultural practice of prostitution (sex work) as a traditional institution in the Bedia community. The intensive fieldwork in Habla hamlet, a sub-village of Luhari village (village assembly) of the Bedia community in Sagar district in Madhya Pradesh, India, was conducted to reveal the hegemonic practices in the community. Forty people aged between 50 to 60 years have been interviewed for this study. Twenty females and twenty males were selected for data collection, and observations had been made in the hamlet to understand hegemony through social institutions. Moreover, we have found that the male members are alert to the preservation of the purity and chastity of their wives but compelled their sisters and daughters, with the support of social institutions, to remain unmarried and take up prostitution (sex work). In particular, Bedias' hegemonic traditional cultural behaviour plays an essential role in the continuation of discrimination against Bedia women. Additionally, we explore the mechanism of this hegemonic power through the role of gender, patriarchy, false consciousness, emotions, power of common sense, ideology, and history, which have been responsible for the victimisation of Bedia women for a long time.

From the beginning of the 20th century the crisis of world religions caused to the search for autochthonous spiritual alternatives. There is a steady trend towards the revival of ethnic religions in Europe for the whole century. In the article was considered the history and main conceptual foundations of The European Congress of Ethnic Religions (ECER) as an international forum for communication of European ethnoreligious communities, which revive authentic spiritual traditions and practices in their countries. In particular, a detailed ХVІ ECER (2018) report from the direct participant and Declaration XIV ECER (2014) were presented for illustration, as well as observations on the development of traditionalism in the Italian organization "Movimento Tradizionale Romano", which will have a scientific and applied value for religious studies. A conclusion was drawn about the historical patterns of ethnoreligious Renaissance. The Roman ethnic religion, whose development was interrupted by the expansion of Christianity in the 4th century, did not disappear suddenly after the decrees of the Emperor Theodosius I, but continued to exist in deeply veiled forms. Many literary sources of faith have been preserved, which gives the opportunity for Italian traditionalists to reliably revive their worldview, theological and ritual traditions. Now, the authentic Italian confession of the native faith is "Movimento Tradicionale Romano". The existence of common Indo-European sources of faith, such as the Vedas in India, the poems of Homer, the works of Hesiod, the orphan hymns in Greece, the works of ancient Greek and Roman philosophers, the German and Scandinavian epics, Slavic folklore, etc., provide an opportunity for scientific comparative methods to restore the ancient spiritual heritage of European nations with the aim of returning it in the living national environment.

ABSTRACTThis article argues that the restaurant offers a useful site for mapping patterns of transnational and global exchange within late Victorian and Edwardian London. The dramatic expansion of public eating in this period was met in part by foreign-born entrepreneurs, and wait and kitchen staff drawn from a genuinely international labour market. Londoners and visitors to the metropolis were exposed to a variety of new, often hybrid, culinary cultures, which call into question simplistic binaries between Britain and the world beyond. The simultaneous presence in London's restaurant scene of French menus, Indian dishes, Italian cooks, German waiters, and Chinese and American diners reveals the complexity of the relationship between populations and places. London's ‘gastro-cosmopolitan’ culture reveals not merely the extent to which Britain's imperial metropolis was exposed to transnational forces, but that these influences were genuinely global and not confined to Britain's formal empire. London's cosmopolitan dining culture suggests that historians might be advised to move beyond the tropes of danger and anxiety when discussing late nineteenth-century London, and do more to acknowledge a range of responses – attraction and pleasure included – which more accurately reflected the metropolitan experience.

AbstractGiovanni da Empoli's second voyage to Asia (1510–1514) was eventful and violent, characterised by the emergence of conflicting agendas among different groups of Portuguese. The Florentine merchant's long letter about the voyage is an extraordinary document, and provides insights in three important areas. First, it allows us to fill some of the gaps in the history of the early phases of Portuguese empire building, questioning the extent to which the Crown was pursuing a clear and coherent strategy that included the conquest of Malacca. Second, it problematises further our conception of “the Portuguese” by reporting episodes of Portuguese-on-Portuguese violence and opposing views on the objectives of Portuguese fleets in the Indian Ocean. Finally, Giovanni unequivocally expresses admiration for the international markets of Eastern city-ports and openly criticises the militarist attitude and lawless tactics of the Portuguese viceroy, Alfonso de Albuquerque, thereby inviting us to reconsider the chronology of a “cosmopolitan reaction” among Italian writers visiting South Asia.

Este libro revela una cautivadora colección fotográfica que se encontraba hasta hace poco resguardada en un pesado y viejo baúl de la familia Venturello. El libro, coeditado por la Universidad Nacional de Colombia y la Universidad de los Andes, hace parte de la colección especial Sublimis, la cual, tal y como su nombre lo indica, tiene como objetivo la publicación de obras eminentemente extraordinarias. Al abrir y pasar sus páginas, el lector atraviesa una galería etnográfica y al internarse en la lectura de los textos, poco a poco encuentra y comprende el trasfondo histórico en el que Battista Venturello obtuvo estos registros. Venturello nació en el cantón de Piamonte italiano en 1900 y a sus 22 años salió de Turín en búsqueda de las selvas africanas, pero un cambio de rumbo lo llevó a América. Allí, recorrió varias regiones colombianas durante la primera mitad del siglo xx y, finalmente, se radicó en la ciudad de Cali. En la década de 1960 fue el fundador, de la mano de sus hijos, de la primera industria de antenas de televisión en el país.

UNA NUOVA LETTURA DELL'ISCRIZIONE A MOSAICO NEL TEMPIO DI DIANA TIFATINAQuesto articolo propone un testo completamente rivisitato dell'iscrizione a mosaico localizzata nel pavimento del tempio di Diana Tifatina, che attualmente forma parte della basilica di Sant' Angelo in Formis (San Michele Arcangelo). Il tempio, situato appena a nord dell'antica Capua, era uno dei più importanti santuari della Campania in epoca romana, ed era conosciuto in tutto il mondo romano. L'iscrizione, che è gravemente danneggiata, era stata precedentemente datata al 74 a.C. e menziona, fra le altre cose, la ricostruzione del tempio da parte di un gruppo di magistri. La nuova lettura, oltre ad apportare importanti correzioni al testo per quanto riguarda i nomi degli individui e le attività per le quali questi erano responsabili, indica che il testo era stato erroneamente datato, e che in effetti appartiene ad un periodo alquanto diverso della storia italiana.

Abstract This study examines the ways by which Hadramis played pivotal roles in the economic, political, religious, urban and intellectual history of Eritrea in the nineteenth and twenäeth centuries. Hadrami commercial entrepreneurs and laborers moved and settled in Eritrea and prospered under Egyptian (1865-1885) and Italian rule (1885-1941) in import-export, wholesale, retail, urban construction, real-estate, transportation, light-industrial and agricultural enterprises and businesses. They also played central roles as leaders in municipal and commercial institutions, and generously supported the establishment and running of mosques and Islamic educational institutions. Hadramis also contributed to shape the Eritrean political sphere, where as some of the foremost leaders of the Muslim League, activuts of Hadrami origins articulated political discourses that were influenced by Islamic modernist thought, global nationalst trends as well as ideologies concerned with social reform, education and ’progress’. Yet by the middle of the twentieth century sectarian nationals politics, the stricter control of international currency flows, and the curbing of movement across new national borders heavily affected Hadramis and their networks throughout the Indian Ocean. In Eritrea, growing anti-Arab campaigns between the 1940s and 1960s and the nationalization and confiscation of their properties in the 1970s led many Hadramis to leave the country and seek their fortunes elsewhere.

TESTA E CLIBANI: LE TEGLIE DA FORNO NELL'ITALIA CLASSICAIn questo articolo si esaminano nel dettaglio due elementi di grande importanza nell'utensileria da cucina di epoca romana, il “testum” ed il “clibanus”. Le testimonianze letterarie suggeriscono per i termini “testum” e “clibanus” una forte sovrapposizione, tanto da far pensare. che essi definiscano in realtà il medesimo oggetto — la teglia da forno.Attingendo a recenti dati archeologici si può tentare di caratterizzare tipologicamente le teglie da forno in terracotta, ponendo in rilievo la loro forma estremamente tipica. Questo facilita l'identificazione di esempi da altri siti, spesso raggiunta attraverso il riordino del vasellame, ed indica il vastissimo uso delle teglie da forno in gran parte della penisola italiana, in tutti i contesti socioeconomici. Si propone qui una tipologia provvisoria fornita di riferimenti cronologici.Cambiamenti nelle forme e nelle dimensioni di questo tipo di vasellame sono posti in evidenza e discussi, così come si nota l'apparente declino che esso sembra aver subito, a partire dalla fine del I sec. d.C, in alcune aree geografiche. Il declino sembrerebbe almeno in parte essere stato causato da un accresciuto uso di oggetti di questo tipo in ceramica maggiormente raffinata.Si ricorda infine che nell'articolo vengono enumerati diversi potenziali terreni di applicazione dello studio delle teglie da forno.

This article aims to re-examine the frescoes in the Selvascura hermitage in Bassiano, one of the medieval pictorial contexts created in caves in Lower Lazio, both from an iconographic and stylistic point of view. In the past, the paintings aroused some attention from local connoisseurs, but they collected a barely timid interest in critical publications. The carried out research revealed the existence of a link between the iconographic choices made in the cave paintings and the Greek theological literature, especially the Heavenly Ladder of St. John Climacus, known by the Franciscan Spirituals thanks to the translations by Angelo Clareno. Therefore, it is possible to suggest a new iconological interpretation of the frescoes on the right side of the cave and to overcome the traditional approach that considered the decoration of this hermitage as a mere juxtaposition of votive panels. Furthermore, an unpublished painting inspired by one of the apologues told by Barlaam to the Indian prince Josaphat has been identified and it can be added to the small list of monumental works with this theme related to the Italian Middle Age. This paper explains also all the documents from the current archives of the Soprintendenza concerning these frescoes and their preservative history from the 70s to the 90s of the XX century. Finally, an accurate analysis of the stylistic features and the comparison with other pictorial and mosaic works from Rome and the rest of Lazio allow to date back the paintings to the period between the end of the 13th and the beginning of the 14th century and to recognize the style of unknown artists trained in the school of Cavallini, very close to the Magister Conxolus’s lesson.

The relevance of the study. Considering the music festivals of modern Italy, it is important to identify their functionality and influence on the development of the cultural life of the country as a whole. This issue has been little studied, although, in our opinion, it is important and relevant for characterizing the festival movement in Italy. Main objectives of the study is to describe the International Opera Festival “Rossini Opera Festival: ROF”, its main functions. The methodology is based on the use of the inductive method, which, to characterize the festival process in the cultural life of Italy, involves the study of individual festival projects and provides for the use of a set of complementary research methods — historical-analytical, empirical and sociocultural. The historical-analytical method contributed to the understanding of the logic of the formation and development of the festival, the appeal to empirical and sociocultural methods made it possible to consider the features of the organization of the festival in the context of social relations in the system of music life in modern Italy. Results and conclusions. As an instrument of dialogue between civilizations, music is still today a fundamental lever of economic growth, able to interact with all other values: artistic heritage, cultural and tourism industry, environment and landscape. Through an integrated plan of structural interventions, services for citizens and businesses of the city, music in Pesaro becomes an engine of development, creative enrichment of cultural heritage and synergy between culture, tourism, society and education. The "Rossini Opera Festival: ROF" is a truly local indie phenomenon that draws a prepared and interested audience to Pesaro. Music as a means of dialogue between civilizations today contributes to economic growth, interaction with all other values of the region: historical and artistic heritage, cultural, tourism industry, landscape. Impressive is not only the scale of the project, but also the effectiveness of cooperation between cultural, financial, state institutions participating in its organization. Together they have developed a formula for holding Italian festivals, which provides a high result — the revival of the cultural and economic development of the region thanks to tourist flows, changing the image of cities (creating new infrastructure), interaction between public and private institutions, local authorities, professionals and art lovers. As an inseparable component of human culture, music always, in all its manifestations, acts as its memory, as a memory of history, a reminder of past events and their participants.

Introduction. Modern economical challenges demand to find new ways of profitability increasing. Animal breeding is not an exception. The most widely used method is animal production increasing. Rather frequently such increasing is fulfilled through crossing of indigenous breeds with commercial breeds: the adaptation of latter goes easier and the production of the first one become higher. This method became rather popular during last decades, despite of some scientists’ warnings on impossibility of arithmetic counting of blood shares at biologic objects. Aim of the work was a try to prove the benefits of indigenous breeds of Ukraine from different points of view: cultural, ecological, health protective and others. Materials and methods. Analytical, axiomatic, hypothesis-deductive, empirical, synthetic, elementary-theoretical, of induction, summarizing and of isolated abstraction methods. Results. Valuable traits were sorted due to possibility of satisfaction of modern society’s major challenges. Tasty food. There are a lot of different proofs, concerning special qualities of local breeds products. In Ukraine it concerns, first of all, tasty broth from Grey Ukrainian breed meat. There was trial, in which Grey Ukrainian amongst outstanding French, Italian, English beef breeds took part (24 samples totally). Experts preferred Grey Ukrainian broth (blind trial). Milk of these cows is tasty and fatty too. Safe food. It is clear, that milk and meat of ill animals contains pathogenic bacteria. Unconditional guarantee of safe milk could be done only at the case of local breeds use, which are resistant to main antropozoonosis (common for humans and animals). Quality food. Higher quality of local breeds products is undeniable, as producers, trying to make production each time more profitable with different methods (especially in pig-breeding) often use biosimulators (probiotics, antibiotics, hormonal, tissue preparations, ferments, microelements, vitamins), which allow to strength physiological, including metabolic, processes in organism, to increase growth energy, production output, to improve food conversion. But pigs, which get such additives, do not have enough time to form completely till slaughter (muscle and adipose tissue). It resulted in reduction of meat quality and economical efficiency of its processing. Unique genes. We should remember, that loss of genes, which code valuable traits, particularly, disease-resistance, can lead to future loss of huge animal massive. Let’s remember case with BSE break in England in 1994: English slaughtered 5 mln. of adult cattle and 1 mln. of calves. Scientists suppose, that people ate products from about 700 th. of animals, which had hidden form of disease (first signs can manifest themselves in 8-10 years after contamination). Only in England up to 80 th. of people fall ill. Indigenous breeds are resistant to this disease (especially Grey Hungarian and Grey Ukrainian). Unpredictability of future demands. Now consumer needs diversified food with different tastes and there are a lot of signs, that this demand will be increasing. Availability of such products will be excluded at the case of mono-breed existence. Ecological component. Last time there are a lot of information on turning of ecosystems to destruction or complete altering after withdrawing from it one or other breed or species. Example of such harmonious interaction is met in India. In marshlands of island Chilka there is widespread buffalo Chilka. Its dung and urine support zooplankton, which feeds fish in lakes, which feed people and animals near lakes. Buffaloes Murrah and crossbreds Murrah-Chilka are less adapted to wet conditions and absence of unsalted water for drinking, that causes their inability to adapt at the system. One more example of organic interaction of unprofitable breeds and environment is Ronaldsey sheep with its high ability to adsorb copper and salt tolerance, which caused its exclusive ability to eat seaweed and is important factor of balance supporting at the place of its growth. World’s farm animals (especially of unprofitable breeds) are rather widely used for ecological services. Particularly, some of Podolic group breed, to which Grey Ukrainian belongs, is succefully used for pasture balance supporting, grazing perennial bushes (f.e. eleagnus species). Animals with more demandable feed intake can ignore plants, which can suppress other useful plants growth under lack of control conditions. In The State of World’s Animal Genetic Resources for Food and Agriculture, FAO (2007) is marked, that in Cote d’Ivoire domestic cattle using at open areas reduces application of herbicides. Slovenia reports, that small livestock, which is grazing at overgrown shrub land, clears this land and in such way reduces the possibility of fire outbreaks (Holstein will not be grazing at shrub land). Esthetic pleasure. It seems, that esthetic pleasure can not be viewed on importance in one row with genetic factors and food quality, but it is rather important economic constituent. P.Hoyt revealed, that only in 1998 about 9 mln. people watched whales, spending for this $9 billions. When creating parks with Grey Ukrainian one shouldn’t doubt, that there would be a lot of willing ones to look at noble animals with lyra-shaped horns and red calves from grey parents. Pale-grey Lebedyn cows with long lashes and calm sight could be popular as well. It should be said, that in Korea Republic Burien goats was not popular only because of their appearance (they were not black), though they had higher gains. Only after black Australian goats importing situation was changed. Country heritage. That is very important component if the country would like to be special and prosperous. Reduction of production expenses. This point is rather important under market conditions. Local breeds gravely reduce expenses, taking into account their stress- and disease- resistance and undemanding nature. Rather high level of variability, despite of long time breeding at limited space conditions. The highest variability level is found in local breeds. Despite of prolonged breeding in closed and rather limited in number populations, they saved high variability, unlike Holstein, which is rather inbreeded, despite of wide use in the world. Hidden genetic load. Comparative evaluation of hidden genetic load level was done and it found, that genetic load in gene pool of Ukrainian dairy and beef cattle is approximately 3-5 %, while in gene pool of commercial breeds of western selection it ranges from 10 to15 %. The most affecting example of intensive spreading of molecular diseases in the gene pool of commercial breeds and their forcing elimination is the example of lethal gene (BLAD) immigration into gene pool of different breeds. That’s only one of several examples-consequences of unsuccessful not-checked crossing with imported breeds. One more example of unsuccessful dissemination of genes at the populations is the case with Poni Farm Arlinda Cheef, which is considered to be one of the most prolific bull in all history of Holstein breeding. Chromosomes of legendary bull, born in 1962 counts for almost 14 percent in the genome of current Holstein population of USA. Genetic mutation, which traces to this bull is considered to be responsible for 500,000 spontaneous aborts of Holstein cattle worldwide. Conclusions. Indigenous breeds bear considerable variability reserve, high cultural, esthetic and ecological value and at least that’s why they uniquely should be stored for future generations.

“We have made Italy, now we must make Italians,” in the (probably apocryphal) words of the Prime Minister, sometime after the unification of the nation in 1860. Perhaps in French, if it was said at all. (The quotation is typically attributed to Massimo D’Azeglio, the prime minister of Piedmont and predecessor of the first Italian prime minister Camillo Cavour. Many have suggested that the phrase was misquoted and misunderstood (see Doyle.) D’Azeglio spoke in Italian when he addressed the newly-formed Italian parliament, but my reference to French is meant to indicate the fragility of the national language in early Italy where much of the ruling class spoke French while the majority of the people in the peninsula still spoke regional dialects.) It was television – more than print media or even radio – that would have the biggest impact in terms of ‘making Italians.’ Writing about Italy in the 1950s, a well-known media critic suggested that television, a game show actually, “was able to succeed where The Divine Comedy failed … it gave Italy a national language” (qtd. in Foot). But these are yesterday’s problems. We have Italy and Italians. Moreover, the emergence of global ways of being and belonging are evidence of the ways in which the present transcends forms of belonging rooted in the old practices and older institutions of the nation-state. But, then again, maybe not. “A country that allows you to vote in its elections must be able to provide you with information about those elections” (Magliaro). This was 2002. The country is still Italy, but this time the Italians are anywhere but Italy. The speaker is referring to the extension of the vote to Italian citizens abroad, represented directly by 18 members of parliament, and the right to information guaranteed the newly enfranchised electorate. What, then, is the relationship between citizenship, the state and global television today? What are the modalities of involvement and participation involved in these transformations of the nation-state into a globally-articulated network of institutions? I want to think through these questions in relation to two ways that RAI International, the ‘global’ network of the Italian public broadcaster, has viewed Italians around the world at different moments in its history: mega-events and return information. Mega-Events Eighteen months after its creation in 1995, RAI International was re-launched. This decision was partially due to a change in government (which also meant a change in the executive and staff), but it was also a response to the perceived failure of RAI International to garner an adequate international audience (Morrione, Testimony [1997]). This re-launch involved a re-conceptualisation of the network’s mandate to include both information services for Italians abroad (the traditional ‘public service’ mandate for Italy’s international broadcasting) as well as programming that would increase the profile of Italian media in the global market. The mandate outlined for Roberto Morrione – appointed president as part of the re-launch – read: The necessity of strategic and operative certainties in the international positioning of the company, both with regard to programming for our co-nationals abroad and for other markets…are at the centre of the new role of RAI International. This involves bringing together in the best way the informative function of the public service, which is oriented to our community in the world in order to enrich its cultural patrimony and national identity, with an active presence in evolving markets. (Morrione, Testimony [1998]) The most significant change in the executive of the network was the appointment of Renzo Arbore, a well-known singer and bandleader, to the position of artistic director. At the time of Arbore’s appointment, the responsibilities of the artistic director at the network were ill defined, but he very quickly transformed the position into the ‘face’ of RAI International. In an interview from 1998, Arbore explained his role at the network as follows: “I’m the artistic director, which means I’m in charge of the programs that have any kind of artistic content. Also, I’m the so called “testimonial”, which is to say I do propaganda for the network, I’m the soul of RAI International” (Affatato). The most often discussed aspect of the programming on RAI International during Arbore’s tenure as artistic director was the energy and resources dedicated to events that put the spotlight on the global reach of the service itself and the possibilities that satellite distribution gave for simultaneous exchange between locations around the world. It was these ‘mega-events’ (Garofalo), in spite of constituting only a small portion of the programming schedule, that were often seen as defining RAI’s “new way” of creating international programming (Milana). La Giostra [The Merry Go Round], broadcast live on New Year’s Eve 1996, is often cited as the launch of the network’s new approach to its mission. Lasting 20 hours in total, the program was hosted by Arbore. As Morrione described it recently, The ‘mother of live shows’ was the Giostra of New Year’s ’97 where Arbore was live in the studio for 20 consecutive hours, with many guests and segments from the Pole, Peking, Moscow, Berlin, Jerusalem, San Paolo, Buenos Aires, New York and Los Angeles. It was a memorable enterprise without precedent and never to be duplicated. (Morrione, RAI International) The presentation of television as a global medium in La Giostra draws upon the relationship between live broadcasting, satellite television and conceptions of globality that has developed since the 1960s as part of what Lisa Parks describes as ‘global presence’ (Parks). However, in keeping with the dual mandate of RAI International, the audience that La Giostra is intended to constitute was not entirely homogenous in nature. The lines between the ‘national’ audience, which is to say Italians abroad, and the international audience involving a broader spectrum of viewers are often blurred, but still apparent. This can be seen in the locations to which La Giostra travelled, locations that might be seen as a mirror of the places to which the broadcast might be received. On the one hand, there are segments from a series of location that speak to a global audience, many of which are framed by the symbols of the cold war and the ensuing triumph of global capitalism. The South Pole, Moscow, Beijing and a reunified Berlin can be seen as representing this understanding of the globe. These cities highlighted the scope of the network, reaching cities previously cut off from Italy behind the iron curtain (or, in the case of the Pole, the extreme of geographic isolation.) The presence of Jerusalem contributed to this mapping of the planet with an ecclesiastical, but ecumenical accent to this theme. On the other hand, Sao Paolo, Buenos Aires, and Melbourne (not mentioned by Morrione, but the first international segment in the program) also mapped the world of Italian communities around the world. The map of the globe offered by La Giostra is similar to the description of the prospective audience for RAI International that Morrione gave in November 1996 upon his appointment as director. After having outlined the network’s reception in the Americas and Australia, where there are large communities of Italians who need to be served, he goes on to note the importance of Asia: “China, India, Japan, and Korea, where there aren’t large communities of Italians, but where “made in Italy,” the image of Italy, the culture and art that separate us from others, are highly respected resources” (Morrione, “Gli Italiani”). La Giostra served as a container that held together a vision of the globe that is centered around Italy (particularly Rome, caput mundi) through the presentation on screen of the various geopolitical alliances as well as the economic and migratory connections which link Italy to the world. These two mappings of the globe brought together within the frame of the 20-hour broadcast and statements about the network’s prospective audiences suggest that two different ways of watching RAI International were often overlaid over each other. On the one hand, the segments spanning the planet stood as a sign of RAI International’s ability to produce programs at a global scale. On the other hand, there was an attempt to speak directly to communities of Italians abroad. The first vision of the planet offered by the program suggests a mode of watching more common among disinterested, cosmopolitan viewers belonging to a relatively homogenous global media market. While the second vision of the planet was explicitly rooted in the international family of Italians constituted through the broadcast. La Giostra, like the ‘dual mandate’ of the network, can be seen as an attempt to bring together the national mission of network with its attempts to improve its position in global media markets. It was an attempt to unify what seemed two very different kinds of audiences: Italians abroad and non-Italians, those who spoke some Italian and those who speak no Italian at all. It was also an attempt to unify two very different ways of understanding global broadcasting: public service on the one hand and the profit-oriented goals of building a global brand. Given this orientation in the network’s programming philosophy, it is not surprising that Arbore, speaking of his activities as Artistic director, stated that his goals were to produce shows that would be accessible both to those that spoke very little Italian as well as those that were highly cultured (Arbore). In its attempt to bring these divergent practices and imagined audiences together, La Giostra can be seen as part of vision of globalisation rooted in the euphoria of the early nineties in which distance and cultural differences were reconciled through communications technology and “virtuous” transformation of ethnicity into niche markets. However, this approach to programming started to fracture and fail after a short period. The particular balance between the ethnic and the economically ecumenical mappings of the globe present in La Giostra proved to be as short lived as the ‘dual mandate’ at RAI International that underwrote its conception. Return Information The mega-events that Arbore organised came under increasing criticism from the parliamentary committees overseeing RAI’s activities as well as the RAI executive who saw them both extremely expensive to produce and of questionable value in the fulfillment of RAI’s mission as a public broadcaster (GRTV). They were sometimes described as misfatti televisivi [broadcasting misdeeds] (Arbore). The model of the televisual mega-event was increasingly targeted towards speaking to Italians abroad, dropping broader notions of the audience. This was not an overnight change, but part of a process through which the goals of the network were refocused towards ‘public service.’ Morrione, speaking before the parliamentary committee overseeing RAI’s activities, describes an evening dedicated to a celebration of the Italian flag which exemplifies this trend: The minister of Foreign Affairs asked us to prepare a Tricolore (the Italian flag) evening – that would go on air in the month of January – that we would call White, Red and Green (not the most imaginative name, but effective enough.) It would include international connections with Argentina, where there exists one of the oldest case d’italiani [Italian community centers], built shortly after the events of our Risorgimento and where they have an ancient Tricolore. We would also connect with Reggio Emilia, where the Tricolore was born and where they are celebrating the anniversary this year. Segments would also take us to the Vittoriano Museum in Rome for a series of testimonies. (Morrione, Testimony [1997]) Similar to La Giostra, the global reach of RAI International was used to create a sense of simultaneity among the dispersed communities of Italians around the world (including the population of Italy itself). The festival of the Italian flag was similarly deeply implicated in the rituals and patterns that bring together an audience and, at another level, a people. However, in the celebration of the Italian flag, the notion that such a spectacle might be of interest to those outside of a global “Italian” community has disappeared. Like La Giostra, programs of this kind are intended to be constitutive of an audience, a collectivity that would not exist were it not for the common space provided through television spectatorship. The celebration of the Italian flag is part of an attempt to produce a sense of global community organised by a shared sense of ethnic identity as expressed through the common temporality of a live broadcast. Italians around the world were part of the same Italian community not because of their shared history (even when this was the stated subject of the program as was the case with Red, White and Green), but because they co-existed by means of their experience of the mediated event. Through these events, the shared national history is produced out of the simultaneity of the common present and not, as the discourse around Italian identity presented in these programs would have it (for example, the narratives around the origin around the flag), the other way around. However, this connection between the global television event that was broadcast live and national belonging raised questions about the kind of participation they facilitated. This became a particularly salient issue with the election of the second Berlusconi government and the successful campaign to grant Italians citizens living abroad the vote, a campaign that was lead by formerly fascist (but centre-moving) Alleanza Nazionale. With the appoint of Massimo Magliaro, a longtime member of Alleanza Nazionale, to the head of the network in 2000, the concept of informazione di ritorno [return information] became increasingly prominent in descriptions of the service. The phrase was frequently used, along with tv di ritorno (Tremaglia), by the Minister for Italiani nel Mondo during the second Berlusconi administration, Mirko Tremaglia, and became a central theme in the projects envisioned for the service. (The concept had circulated previously, but it was not given the same emphasis that it would gain after Magliaro’s appointment. In an interview from 1996, Morrione is asked about his commitment to the policy of “so-called” return information. He answers the question by commenting in support of producing a ‘return image’ (immagine di ritorno), but never uses the phrase (Morrione, “Gli Italiani”). Similarly, Arbore, in an interview from 1998, is also asked about ‘so-called’ return information, but also never uses the term himself (Affatato). This suggests that its circulation was limited up until the late 1990s.) The concept of ‘return information’ – not quite a neologism in Italian, but certainly an uncommon expression – was a two-pronged, and never fully implemented, initiative. Primarily it was a policy that sought to further integrate RAI International into the system of RAI’s national television networks. This involved both improving the ability of RAI International to distribute information about Italy to communities of Italians abroad as well as developing strategies for the eventual use of programming produced by RAI International on the main national networks as a way of raising the awareness of Italians in Italy about the lives and beliefs of Italians abroad. (The programming produced by RAI International was never successfully integrated into the schedules of the other national networks. This issue remained an issue that had yet to be resolved as recently as the negotiations between the Prime Minister’s office and RAI to establish a new agreement governing RAI’s international service in 2007.) This is not to say that there was a dramatic shift in the kind of programming on the network. There had always been elements of these new goals in the programming produced exclusively for RAI International. The longest running program on the network, Sportello Italia [Information Desk Italy], provided information to Italians abroad about changes in Italian law that effected Italians abroad as well as changes in bureaucratic practice generally. It often focused on issues such as the voting rights of Italians abroad, questions about receiving pensions and similar issues. It was joined by a series of in-house productions that primarily consisted of news and information programming whose roots were in the new division in charge of radio and television broadcasts since the sixties. The primary change was the elimination of large-scale programs, aside from those relating to the Italian national soccer team and the Pope, due to budget restrictions. This was part of a larger shift in the way that the service was envisioned and its repositioning as the primary conduit between Italy and Italians abroad. Speaking in 2000, Magliaro explained this as a change in the network’s priorities from ‘entertainment’ to ‘information’: There will be a larger dose of information and less space for entertainment. Informational programming will be the privileged product in which we will invest the majority of our financial and human resources, both on radio and on television. Providing information means both telling Italians abroad about Italy and allowing public opinion in our country to find out about Italians around the world. (Morgia) Magliaro’s statement suggests that there is a direct connection between the changing way of conceiving of ‘global’ Italian television and the mandate of RAI International. The spectacles of the mid-nineties, implicitly characterised by Magliaro as ‘entertainment,’ were as much about gaining the attention of those who did not speak Italian or watch Italian television as speaking to Italians abroad. The kind of participation in the nation that these events solicited were limited in that they did not move beyond a relatively passive experience of that nation as community brought together through the diffuse and distracted experience of ‘entertainment’. The rise of informazione di ritorno was a discourse that offered a particular conception of Italians abroad who were more directly involved in the affairs of the nation. However, this was more than an increased interest in the participation of audiences. Return information as developed under Magliaro’s watch posited a different kind of viewer, a viewer whose actions were explicitly and intimately linked to their rights as citizens. It is not surprising that Magliaro prefaced his comments about the transformation of RAI’s mandate and programming priorities by acknowledging that the extension of the vote to Italians abroad demands a different kind of broadcaster. The new editorial policy of RAI International is motivated from the incontrovertible fact that Italians abroad will have the right to vote in a few months … . In terms of the product that we are developing, aimed at adequately responding to the new demands created by the vote… (Morgia) The granting of the vote to Italians abroad meant that the forms of symbolic communion that produced through the mega-events needed to be supplanted by a policy that allowed for a more direct link between the ritual aspects of global media to the institutions of the Italian state. The evolution of RAI International cannot be separated from the articulation of an increasingly ethno-centric conception of citizenship and the transformation of the Italian state over the course of the 1990s and early 2000s towards. The transition between these two approaches to global television in Italy is important for understanding the events that unfolded around RAI International’s role in the development of a global Italian citizenry. A development that should not be separated from the development of increasingly stern immigration policies whose effect is to identify and export undesirable outsiders. The electoral defeat of Berlusconi in 2006 and the ongoing political instability surrounding the centre-left government in power since then has meant that the future development of RAI International and the long-term effects of the right-wing government on the cultural and political fabric of Italy remain unclear at present. The current need for a reformed electoral system and talk about the need for greater efficiency from the new executive at RAI make the evolution of the global Italian citizenry an important context for understanding the role of media in the globalised nation-state in the years to come. References Affatato, M. “I ‘Segreti’ di RAI International.” GRTV.it, 17 Feb. 1998. Arbore, R. “‘Il mio sogno? Un Programma con gli italiani all’estero.’” GRTV.it, 18 June 1999. Foot, J. Milan since the Miracle: City, Culture, and Identity. Oxford: Berg, 2001. Garofalo, R. “Understanding Mega-Events: If We Are the World, Then How Do We Change It? In C. Penley and A. Ross, eds., Technoculture. Minneapolis, University of Minnesota Press, 1991. 247-270. Magliaro, M. “Speech to Second Annual Conference.” Comites Canada, 2002. Milana, A. RAI International: 40 anni, una storia. Rome: RAI, 2003. Morgia, G. La Rai del Duemila per gli italiani nel mondo: Intervista con Massimo Magliaro. 2001. Morrione, R. “Gli Italiani all’estero ‘azionisti di riferimento.’” Interview with Roberto Morrione. GRTV.it, 15 Nov. 1996. Morrione, R. Testimony of Roberto Morrione to Commitato Bicamerale per la Vigilanza RAI, 12 December 1997. Rome, 1997. 824-841. Morrione, R. Testimony of Roberto Morrione to Commitato Bicamerale per la Vigilanza RAI, 17 November 1998. Rome, 1998. 1307-1316. Morrione, R. “Tre anni memorabili.” RAI International: 40 anni, una storia. Rome: RAI, 2003. 129-137. Parks, L. Cultures in Orbit: Satellites and the Televisual. Durham, NC: Duke UP, 2005. Citation reference for this article MLA Style Hayward, Mark. "Two Ways of Being Italian on Global Television." M/C Journal 10.6/11.1 (2008). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0804/05-hayward.php>. APA Style Hayward, M. (Apr. 2008) "Two Ways of Being Italian on Global Television," M/C Journal, 10(6)/11(1). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0804/05-hayward.php>.

“We have made Italy, now we must make Italians,” in the (probably apocryphal) words of the Prime Minister, sometime after the unification of the nation in 1860. Perhaps in French, if it was said at all. (The quotation is typically attributed to Massimo D’Azeglio, the prime minister of Piedmont and predecessor of the first Italian prime minister Camillo Cavour. Many have suggested that the phrase was misquoted and misunderstood (see Doyle.) D’Azeglio spoke in Italian when he addressed the newly-formed Italian parliament, but my reference to French is meant to indicate the fragility of the national language in early Italy where much of the ruling class spoke French while the majority of the people in the peninsula still spoke regional dialects.) It was television – more than print media or even radio – that would have the biggest impact in terms of ‘making Italians.’ Writing about Italy in the 1950s, a well-known media critic suggested that television, a game show actually, “was able to succeed where The Divine Comedy failed … it gave Italy a national language” (qtd. in Foot). But these are yesterday’s problems. We have Italy and Italians. Moreover, the emergence of global ways of being and belonging are evidence of the ways in which the present transcends forms of belonging rooted in the old practices and older institutions of the nation-state. But, then again, maybe not. “A country that allows you to vote in its elections must be able to provide you with information about those elections” (Magliaro). This was 2002. The country is still Italy, but this time the Italians are anywhere but Italy. The speaker is referring to the extension of the vote to Italian citizens abroad, represented directly by 18 members of parliament, and the right to information guaranteed the newly enfranchised electorate. What, then, is the relationship between citizenship, the state and global television today? What are the modalities of involvement and participation involved in these transformations of the nation-state into a globally-articulated network of institutions? I want to think through these questions in relation to two ways that RAI International, the ‘global’ network of the Italian public broadcaster, has viewed Italians around the world at different moments in its history: mega-events and return information. Mega-Events Eighteen months after its creation in 1995, RAI International was re-launched. This decision was partially due to a change in government (which also meant a change in the executive and staff), but it was also a response to the perceived failure of RAI International to garner an adequate international audience (Morrione, Testimony [1997]). This re-launch involved a re-conceptualisation of the network’s mandate to include both information services for Italians abroad (the traditional ‘public service’ mandate for Italy’s international broadcasting) as well as programming that would increase the profile of Italian media in the global market. The mandate outlined for Roberto Morrione – appointed president as part of the re-launch – read: The necessity of strategic and operative certainties in the international positioning of the company, both with regard to programming for our co-nationals abroad and for other markets…are at the centre of the new role of RAI International. This involves bringing together in the best way the informative function of the public service, which is oriented to our community in the world in order to enrich its cultural patrimony and national identity, with an active presence in evolving markets. (Morrione, Testimony [1998]) The most significant change in the executive of the network was the appointment of Renzo Arbore, a well-known singer and bandleader, to the position of artistic director. At the time of Arbore’s appointment, the responsibilities of the artistic director at the network were ill defined, but he very quickly transformed the position into the ‘face’ of RAI International. In an interview from 1998, Arbore explained his role at the network as follows: “I’m the artistic director, which means I’m in charge of the programs that have any kind of artistic content. Also, I’m the so called “testimonial”, which is to say I do propaganda for the network, I’m the soul of RAI International” (Affatato). The most often discussed aspect of the programming on RAI International during Arbore’s tenure as artistic director was the energy and resources dedicated to events that put the spotlight on the global reach of the service itself and the possibilities that satellite distribution gave for simultaneous exchange between locations around the world. It was these ‘mega-events’ (Garofalo), in spite of constituting only a small portion of the programming schedule, that were often seen as defining RAI’s “new way” of creating international programming (Milana). La Giostra [The Merry Go Round], broadcast live on New Year’s Eve 1996, is often cited as the launch of the network’s new approach to its mission. Lasting 20 hours in total, the program was hosted by Arbore. As Morrione described it recently, The ‘mother of live shows’ was the Giostra of New Year’s ’97 where Arbore was live in the studio for 20 consecutive hours, with many guests and segments from the Pole, Peking, Moscow, Berlin, Jerusalem, San Paolo, Buenos Aires, New York and Los Angeles. It was a memorable enterprise without precedent and never to be duplicated. (Morrione, RAI International) The presentation of television as a global medium in La Giostra draws upon the relationship between live broadcasting, satellite television and conceptions of globality that has developed since the 1960s as part of what Lisa Parks describes as ‘global presence’ (Parks). However, in keeping with the dual mandate of RAI International, the audience that La Giostra is intended to constitute was not entirely homogenous in nature. The lines between the ‘national’ audience, which is to say Italians abroad, and the international audience involving a broader spectrum of viewers are often blurred, but still apparent. This can be seen in the locations to which La Giostra travelled, locations that might be seen as a mirror of the places to which the broadcast might be received. On the one hand, there are segments from a series of location that speak to a global audience, many of which are framed by the symbols of the cold war and the ensuing triumph of global capitalism. The South Pole, Moscow, Beijing and a reunified Berlin can be seen as representing this understanding of the globe. These cities highlighted the scope of the network, reaching cities previously cut off from Italy behind the iron curtain (or, in the case of the Pole, the extreme of geographic isolation.) The presence of Jerusalem contributed to this mapping of the planet with an ecclesiastical, but ecumenical accent to this theme. On the other hand, Sao Paolo, Buenos Aires, and Melbourne (not mentioned by Morrione, but the first international segment in the program) also mapped the world of Italian communities around the world. The map of the globe offered by La Giostra is similar to the description of the prospective audience for RAI International that Morrione gave in November 1996 upon his appointment as director. After having outlined the network’s reception in the Americas and Australia, where there are large communities of Italians who need to be served, he goes on to note the importance of Asia: “China, India, Japan, and Korea, where there aren’t large communities of Italians, but where “made in Italy,” the image of Italy, the culture and art that separate us from others, are highly respected resources” (Morrione, “Gli Italiani”). La Giostra served as a container that held together a vision of the globe that is centered around Italy (particularly Rome, caput mundi) through the presentation on screen of the various geopolitical alliances as well as the economic and migratory connections which link Italy to the world. These two mappings of the globe brought together within the frame of the 20-hour broadcast and statements about the network’s prospective audiences suggest that two different ways of watching RAI International were often overlaid over each other. On the one hand, the segments spanning the planet stood as a sign of RAI International’s ability to produce programs at a global scale. On the other hand, there was an attempt to speak directly to communities of Italians abroad. The first vision of the planet offered by the program suggests a mode of watching more common among disinterested, cosmopolitan viewers belonging to a relatively homogenous global media market. While the second vision of the planet was explicitly rooted in the international family of Italians constituted through the broadcast. La Giostra, like the ‘dual mandate’ of the network, can be seen as an attempt to bring together the national mission of network with its attempts to improve its position in global media markets. It was an attempt to unify what seemed two very different kinds of audiences: Italians abroad and non-Italians, those who spoke some Italian and those who speak no Italian at all. It was also an attempt to unify two very different ways of understanding global broadcasting: public service on the one hand and the profit-oriented goals of building a global brand. Given this orientation in the network’s programming philosophy, it is not surprising that Arbore, speaking of his activities as Artistic director, stated that his goals were to produce shows that would be accessible both to those that spoke very little Italian as well as those that were highly cultured (Arbore). In its attempt to bring these divergent practices and imagined audiences together, La Giostra can be seen as part of vision of globalisation rooted in the euphoria of the early nineties in which distance and cultural differences were reconciled through communications technology and “virtuous” transformation of ethnicity into niche markets. However, this approach to programming started to fracture and fail after a short period. The particular balance between the ethnic and the economically ecumenical mappings of the globe present in La Giostra proved to be as short lived as the ‘dual mandate’ at RAI International that underwrote its conception. Return Information The mega-events that Arbore organised came under increasing criticism from the parliamentary committees overseeing RAI’s activities as well as the RAI executive who saw them both extremely expensive to produce and of questionable value in the fulfillment of RAI’s mission as a public broadcaster (GRTV). They were sometimes described as misfatti televisivi [broadcasting misdeeds] (Arbore). The model of the televisual mega-event was increasingly targeted towards speaking to Italians abroad, dropping broader notions of the audience. This was not an overnight change, but part of a process through which the goals of the network were refocused towards ‘public service.’ Morrione, speaking before the parliamentary committee overseeing RAI’s activities, describes an evening dedicated to a celebration of the Italian flag which exemplifies this trend: The minister of Foreign Affairs asked us to prepare a Tricolore (the Italian flag) evening – that would go on air in the month of January – that we would call White, Red and Green (not the most imaginative name, but effective enough.) It would include international connections with Argentina, where there exists one of the oldest case d’italiani [Italian community centers], built shortly after the events of our Risorgimento and where they have an ancient Tricolore. We would also connect with Reggio Emilia, where the Tricolore was born and where they are celebrating the anniversary this year. Segments would also take us to the Vittoriano Museum in Rome for a series of testimonies. (Morrione, Testimony [1997]) Similar to La Giostra, the global reach of RAI International was used to create a sense of simultaneity among the dispersed communities of Italians around the world (including the population of Italy itself). The festival of the Italian flag was similarly deeply implicated in the rituals and patterns that bring together an audience and, at another level, a people. However, in the celebration of the Italian flag, the notion that such a spectacle might be of interest to those outside of a global “Italian” community has disappeared. Like La Giostra, programs of this kind are intended to be constitutive of an audience, a collectivity that would not exist were it not for the common space provided through television spectatorship. The celebration of the Italian flag is part of an attempt to produce a sense of global community organised by a shared sense of ethnic identity as expressed through the common temporality of a live broadcast. Italians around the world were part of the same Italian community not because of their shared history (even when this was the stated subject of the program as was the case with Red, White and Green), but because they co-existed by means of their experience of the mediated event. Through these events, the shared national history is produced out of the simultaneity of the common present and not, as the discourse around Italian identity presented in these programs would have it (for example, the narratives around the origin around the flag), the other way around. However, this connection between the global television event that was broadcast live and national belonging raised questions about the kind of participation they facilitated. This became a particularly salient issue with the election of the second Berlusconi government and the successful campaign to grant Italians citizens living abroad the vote, a campaign that was lead by formerly fascist (but centre-moving) Alleanza Nazionale. With the appoint of Massimo Magliaro, a longtime member of Alleanza Nazionale, to the head of the network in 2000, the concept of informazione di ritorno [return information] became increasingly prominent in descriptions of the service. The phrase was frequently used, along with tv di ritorno (Tremaglia), by the Minister for Italiani nel Mondo during the second Berlusconi administration, Mirko Tremaglia, and became a central theme in the projects envisioned for the service. (The concept had circulated previously, but it was not given the same emphasis that it would gain after Magliaro’s appointment. In an interview from 1996, Morrione is asked about his commitment to the policy of “so-called” return information. He answers the question by commenting in support of producing a ‘return image’ (immagine di ritorno), but never uses the phrase (Morrione, “Gli Italiani”). Similarly, Arbore, in an interview from 1998, is also asked about ‘so-called’ return information, but also never uses the term himself (Affatato). This suggests that its circulation was limited up until the late 1990s.) The concept of ‘return information’ – not quite a neologism in Italian, but certainly an uncommon expression – was a two-pronged, and never fully implemented, initiative. Primarily it was a policy that sought to further integrate RAI International into the system of RAI’s national television networks. This involved both improving the ability of RAI International to distribute information about Italy to communities of Italians abroad as well as developing strategies for the eventual use of programming produced by RAI International on the main national networks as a way of raising the awareness of Italians in Italy about the lives and beliefs of Italians abroad. (The programming produced by RAI International was never successfully integrated into the schedules of the other national networks. This issue remained an issue that had yet to be resolved as recently as the negotiations between the Prime Minister’s office and RAI to establish a new agreement governing RAI’s international service in 2007.) This is not to say that there was a dramatic shift in the kind of programming on the network. There had always been elements of these new goals in the programming produced exclusively for RAI International. The longest running program on the network, Sportello Italia [Information Desk Italy], provided information to Italians abroad about changes in Italian law that effected Italians abroad as well as changes in bureaucratic practice generally. It often focused on issues such as the voting rights of Italians abroad, questions about receiving pensions and similar issues. It was joined by a series of in-house productions that primarily consisted of news and information programming whose roots were in the new division in charge of radio and television broadcasts since the sixties. The primary change was the elimination of large-scale programs, aside from those relating to the Italian national soccer team and the Pope, due to budget restrictions. This was part of a larger shift in the way that the service was envisioned and its repositioning as the primary conduit between Italy and Italians abroad. Speaking in 2000, Magliaro explained this as a change in the network’s priorities from ‘entertainment’ to ‘information’: There will be a larger dose of information and less space for entertainment. Informational programming will be the privileged product in which we will invest the majority of our financial and human resources, both on radio and on television. Providing information means both telling Italians abroad about Italy and allowing public opinion in our country to find out about Italians around the world. (Morgia) Magliaro’s statement suggests that there is a direct connection between the changing way of conceiving of ‘global’ Italian television and the mandate of RAI International. The spectacles of the mid-nineties, implicitly characterised by Magliaro as ‘entertainment,’ were as much about gaining the attention of those who did not speak Italian or watch Italian television as speaking to Italians abroad. The kind of participation in the nation that these events solicited were limited in that they did not move beyond a relatively passive experience of that nation as community brought together through the diffuse and distracted experience of ‘entertainment’. The rise of informazione di ritorno was a discourse that offered a particular conception of Italians abroad who were more directly involved in the affairs of the nation. However, this was more than an increased interest in the participation of audiences. Return information as developed under Magliaro’s watch posited a different kind of viewer, a viewer whose actions were explicitly and intimately linked to their rights as citizens. It is not surprising that Magliaro prefaced his comments about the transformation of RAI’s mandate and programming priorities by acknowledging that the extension of the vote to Italians abroad demands a different kind of broadcaster. The new editorial policy of RAI International is motivated from the incontrovertible fact that Italians abroad will have the right to vote in a few months … . In terms of the product that we are developing, aimed at adequately responding to the new demands created by the vote… (Morgia) The granting of the vote to Italians abroad meant that the forms of symbolic communion that produced through the mega-events needed to be supplanted by a policy that allowed for a more direct link between the ritual aspects of global media to the institutions of the Italian state. The evolution of RAI International cannot be separated from the articulation of an increasingly ethno-centric conception of citizenship and the transformation of the Italian state over the course of the 1990s and early 2000s towards. The transition between these two approaches to global television in Italy is important for understanding the events that unfolded around RAI International’s role in the development of a global Italian citizenry. A development that should not be separated from the development of increasingly stern immigration policies whose effect is to identify and export undesirable outsiders. The electoral defeat of Berlusconi in 2006 and the ongoing political instability surrounding the centre-left government in power since then has meant that the future development of RAI International and the long-term effects of the right-wing government on the cultural and political fabric of Italy remain unclear at present. The current need for a reformed electoral system and talk about the need for greater efficiency from the new executive at RAI make the evolution of the global Italian citizenry an important context for understanding the role of media in the globalised nation-state in the years to come. References Affatato, M. “I ‘Segreti’ di RAI International.” GRTV.it, 17 Feb. 1998. Arbore, R. “‘Il mio sogno? Un Programma con gli italiani all’estero.’” GRTV.it, 18 June 1999. Foot, J. Milan since the Miracle: City, Culture, and Identity. Oxford: Berg, 2001. Garofalo, R. “Understanding Mega-Events: If We Are the World, Then How Do We Change It? In C. Penley and A. Ross, eds., Technoculture. Minneapolis, University of Minnesota Press, 1991. 247-270. Magliaro, M. “Speech to Second Annual Conference.” Comites Canada, 2002. Milana, A. RAI International: 40 anni, una storia. Rome: RAI, 2003. Morgia, G. La Rai del Duemila per gli italiani nel mondo: Intervista con Massimo Magliaro. 2001. Morrione, R. “Gli Italiani all’estero ‘azionisti di riferimento.’” Interview with Roberto Morrione. GRTV.it, 15 Nov. 1996. Morrione, R. Testimony of Roberto Morrione to Commitato Bicamerale per la Vigilanza RAI, 12 December 1997. Rome, 1997. 824-841. Morrione, R. 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AbstractThis article discusses the nineteenth-century debate between German and British Indologists on ancient Indian commentators, shedding light on how Italian Indologists received and responded to this discussion. It reveals why Italian scholars, although trained under the most eminent German philologists, often disagreed on the status of native commentaries, sometimes viewing them as an unreliable guide to interpreting the Vedas and other texts. Moreover, Italian criticisms of the German approach to ancient Indian texts reflected differences in the ideological concerns underpinning the hegemonic discourses between Europe and India. Because of both transnational reception and nation-building concerns, the history of Italian Indological studies represents a unique perspective in the context of European approaches to the subcontinent.

Fifteenth-century Italian travel narratives on India by Nicolò dei Conti and Gerolamo di Santo Stefano present a detailed account of the India they visited, following the narrative tradition of the Italian Marco Polo. These narratives of the Renaissance were published as descriptive authorial texts of travellers to the East. Their importance was due to the authors’ detailed first-hand experiences of the societies and cultures that they encountered, as well as the various trade centres of the period. These narratives were utilised by merchants, explorers, and Jesuits for a variety of purposes. The narratives of Nicolò dei Conti and Gerolamo di Santo Stefano thus became indispensable tools that were later distorted through numerous translations to suit the politics of Orientalism for the emerging colonial enterprises. In my paper, I have attempted a re-reading of the particular texts to identify how Italy saw India, while illustrating through their history of publication the transformation that these narratives underwent later in order to objectify India in the West through the lens of Orientalism in their manner of representation.

Sobre la base del proceso de revisión historiográfica introducido por la Historia Global, la presente intervención quiere proponer una reflexión sobre la oportunidad científica y metodológica de comparar directamente los dominios italianos con los territorios indianos de la Monarquía católica. Para llevar a cabo este objetivo, después de un largo apartado metodológico, se analizará sumariamente la acción de gobierno de Francisco Fernández de la Cueva, IV duque de Alburquerque, que ejerció en sucesión el cargo de virrey de Nueva España (1653-1660) y de Sicilia (1667-1670). De hecho, es claro que el caso de estudio propuesto no puede ser profundizado exhaustivamente en este artículo y servirá solamente para poner a la luz un hecho demasiadas veces olvidados por los historiadores: en las dos periferias imperiales, bajo la dominación de los Habsburgo de España, es posible identificar las mismas dinámicas sociales, políticas e institucionales. ABSTRACT Basing on the process of historiographical revision, introduced by the Global History, this lecture is going to offer a speculation on the scientific and methodological opportunity of a direct comparison between Italian domains and Indian territories of the catholic Monarchy. To reach this goal, after a long methodological apparatus, we will briefly examine the governmental actions of Francisco Fernandez de la Cueva, IV, the Duke of Alburquerque, who held the office of the viceroy of New Spain (1653-1660) and of Sicily (1667-1670). In fact, suggested case study cannot be explored to an exhaustive manner herein, and will only serve to highlight a fact too often left behind by historians: it is possible to trace the same social, political and institutional dynamics in two imperial outskirts during the domination of Habsburgs in Spain.

The objective of this article is to understand how the YouTube hit Galinha Pintadinha (Lottie Dottie Chicken), a naïve Brazilian animation aimed at preschool children, defies the power of big media companies and offers new ways of audiovisual enjoyment. I will describe the emergence of the animation and its YouTube channel called Galinha Pintadinha, which initially had only the Brazilian preschool audience as a target, and then I will analyze its internationalization process that has been developing on YouTube. I have paid attention to the uploaded video strategies of the seven international YouTube channels of Galinha Pintadinha (American, British, French, Italian, Indian, Japanese, and Spanish) considering the number of subscribers to each channel, the number of views, and the growth of the channels. The success reached by Galinha Pintadinha around the world is a result of the audiovisual reconfiguration processes considering the Brazilian audiovisual history in the global flow of media content.

Abstract The transnational campaign against the Italian invasion of the Ethiopian Empire (1936–36) has been widely acknowledged as a turning point for antiracist and anticolonial political organizing in the African continent and diaspora. This article seeks to reconstruct the South Asian participation in the Hands Off Ethiopia protests, to expand historical knowledge of the early-twentieth-century development of Afro-Asian solidarity ties as well as the intersection of anti-Fascist and anticolonial struggles. It examines the institutional responses to the invasion on the part of the Indian Legislative Assembly, and a series of demonstrations, local meetings and boycotts whose implications reverberated in the local and international press as well as in the concerns of British colonial authorities. As will be argued, this mobilization was fueled by feelings of racial solidarity, anti-imperialist analyses, anti-caste critiques, scriptural interpretations and religious universalisms.

This article tries to understand the travels of Ippolito Desideri to Tibet in the context of the recent work by Alison Gopnik. The central claim of Alison Gopnik is that the western philosopher David Hume’s works were significantly influenced by Tibetan Buddhism. Gopnik focuses on one aspect: the absence of a creator in Tibetan Buddhism that the Italian friar and traveller to Tibet, Ippolito Desideri, writes about, which she says was picked up by David Hume. Gopnik’s claim is based on the possibility that Desideri’s work was part of a Jesuit library in La Fleche, France. Hume frequented this library, which was part of a Jesuit knowledge network. In this article, some aspects of Desideri’s travels are analysed in the broader context of knowledge transfer from Tibet to Europe. Beginning with a description of the isolated context of Tibet and the larger context of knowledge flows that show some examples of ideas travelling from Asia and Africa to the West, the article then proceeds to examine selected aspects of the travels of Desideri. In his travels, we see that not only has Desideri acquired an intimate knowledge of Tibetan Buddhism but also documented in detail many minute aspects of Tibetan life. Further, his treatment of the religious practices of the Tibetans and their denial of a Creator is sufficient proof of the Tibetan source of this idea. This material has the potential to provide an elaborate base for a paradigm shift in the western world’s understanding of David Hume’s contribution. As Desideri travelled through different regions of the Indian subcontinent, his writings on Tibet remain uninfluenced by these biases. The article concludes by saying that there is a strong possibility that Tibetan ideas could have reached the West through Ippolito Desideri’s works.

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All history of this area and the general talk and all of that is that 1973 was a turning point and the Aquarius Festival is credited with having turned this region around in so many ways, but I think that is a myth ... and I have to honour the truth; and the truth is that old Dicke Donelly came and did a Welcome to Country the night before the festival. (Joseph in Joseph and Hanley)In 1973 the Australian Union of Students (AUS) held the Aquarius Arts and Lifestyle Festival in a small, rural New South Wales town called Nimbin. The festival was seen as the peak expression of Australian counterculture and is attributed to creating the “Rainbow Region”, an area with a concentration of alternative life stylers in Northern NSW (Derrett 28). While the Aquarius Festival is recognised as a founding historical and countercultural event, the unique and important relationships established with Indigenous people at this time are generally less well known. This article investigates claims that the 1973 Aquarius Festival was “the first event in Australian history that sought permission for the use of the land from the Traditional Owners” (Joseph and Hanley). The diverse international, national and local conditions that coalesced at the Aquarius Festival suggest a fertile environment was created for reconciliatory bonds to develop. Often dismissed as a “tree hugging, soap dodging movement,” the counterculture was radically politicised having sprung from the 1960s social revolutions when the world witnessed mass demonstrations that confronted war, racism, sexism and capitalism. Primarily a youth movement, it was characterised by flamboyant dress, music, drugs and mass gatherings with universities forming the epicentre and white, middle class youth leading the charge. As their ideals of changing the world were frustrated by lack of systematic change, many decided to disengage and a migration to rural settings occurred (Jacob; Munro-Clarke; Newton). In the search for alternatives, the counterculture assimilated many spiritual practices, such as Eastern traditions and mysticism, which were previously obscure to the Western world. This practice of spiritual syncretism can be represented as a direct resistance to the hegemony of the dominant Western culture (Stell). As the new counterculture developed, its progression from urban to rural settings was driven by philosophies imbued with a desire to reconnect with and protect the natural world while simultaneously rejecting the dominant conservative order. A recurring feature of this countercultural ‘back to the land’ migration was not only an empathetic awareness of the injustices of colonial past, but also a genuine desire to learn from the Indigenous people of the land. Indigenous people were generally perceived as genuine opposers of Westernisation, inherently spiritual, ecological, tribal and communal, thus encompassing the primary values to which the counterculture was aspiring (Smith). Cultures converged. One, a youth culture rebelling from its parent culture; the other, ancient cultures reeling from the historical conquest by the youths’ own ancestors. Such cultural intersections are rich with complex scenarios and politics. As a result, often naïve, but well-intended relations were established with Native Americans, various South American Indigenous peoples, New Zealand Maori and, as this article demonstrates, the Original People of Australia (Smith; Newton; Barr-Melej; Zolov). The 1960s protest era fostered the formation of groups aiming to address a variety of issues, and at times many supported each other. Jennifer Clarke says it was the Civil Rights movement that provided the first models of dissent by formulating a “method, ideology and language of protest” as African Americans stood up and shouted prior to other movements (2). The issue of racial empowerment was not lost on Australia’s Indigenous population. Clarke writes that during the 1960s, encouraged by events overseas and buoyed by national organisation, Aborigines “slowly embarked on a political awakening, demanded freedom from the trappings of colonialism and responded to the effects of oppression at worst and neglect at best” (4). Activism of the 1960s had the “profoundly productive effect of providing Aborigines with the confidence to assert their racial identity” (159). Many Indigenous youth were compelled by the zeitgeist to address their people’s issues, fulfilling Charlie Perkins’s intentions of inspiring in Indigenous peoples a will to resist (Perkins). Enjoying new freedoms of movement out of missions, due to the 1967 Constitutional change and the practical implementation of the assimilation policy, up to 32,000 Indigenous youth moved to Redfern, Sydney between 1967 and 1972 (Foley, “An Evening With”). Gary Foley reports that a dynamic new Black Power Movement emerged but the important difference between this new younger group and the older Indigenous leaders of the day was the diverse range of contemporary influences. Taking its mantra from the Black Panther movement in America, though having more in common with the equivalent Native American Red Power movement, the Black Power Movement acknowledged many other international struggles for independence as equally inspiring (Foley, “An Evening”). People joined together for grassroots resistance, formed anti-hierarchical collectives and established solidarities between varied groups who previously would have had little to do with each other. The 1973 Aquarius Festival was directly aligned with “back to the land” philosophies. The intention was to provide a place and a reason for gathering to “facilitate exchanges on survival techniques” and to experience “living in harmony with the natural environment.” without being destructive to the land (Dunstan, “A Survival Festival”). Early documents in the archives, however, reveal no apparent interest in Australia’s Indigenous people, referring more to “silken Arabian tents, mediaeval banners, circus, jugglers and clowns, peace pipes, maypole and magic circles” (Dunstan, “A Survival Festival”). Obliterated from the social landscape and minimally referred to in the Australian education system, Indigenous people were “off the radar” to the majority mindset, and the Australian counterculture similarly was slow to appreciate Indigenous culture. Like mainstream Australia, the local counterculture movement largely perceived the “race” issue as something occurring in other countries, igniting the phrase “in your own backyard” which became a catchcry of Indigenous activists (Foley, “Whiteness and Blackness”) With no mention of any Indigenous interest, it seems likely that the decision to engage grew from the emerging climate of Indigenous activism in Australia. Frustrated by student protestors who seemed oblivious to local racial issues, focusing instead on popular international injustices, Indigenous activists accused them of hypocrisy. Aquarius Festival directors, found themselves open to similar accusations when public announcements elicited a range of responses. Once committed to the location of Nimbin, directors Graeme Dunstan and Johnny Allen began a tour of Australian universities to promote the upcoming event. While at the annual conference of AUS in January 1973 at Monash University, Dunstan met Indigenous activist Gary Foley: Gary witnessed the presentation of Johnny Allen and myself at the Aquarius Foundation session and our jubilation that we had agreement from the village residents to not only allow, but also to collaborate in the production of the Festival. After our presentation which won unanimous support, it was Gary who confronted me with the question “have you asked permission from local Aboriginal folk?” This threw me into confusion because we had seen no Aboriginals in Nimbin. (Dunstan, e-mail) Such a challenge came at a time when the historical climate was etched with political activism, not only within the student movement, but more importantly with Indigenous activists’ recent demonstrations, such as the installation in 1972 of the Tent Embassy in Canberra. As representatives of the counterculture movement, which was characterised by its inclinations towards consciousness-raising, AUS organisers were ethically obliged to respond appropriately to the questions about Indigenous permission and involvement in the Aquarius Festival at Nimbin. In addition to this political pressure, organisers in Nimbin began hearing stories of the area being cursed or taboo for women. This most likely originated from the tradition of Nimbin Rocks, a rocky outcrop one kilometre from Nimbin, as a place where only certain men could go. Jennifer Hoff explains that many major rock formations were immensely sacred places and were treated with great caution and respect. Only a few Elders and custodians could visit these places and many such locations were also forbidden for women. Ceremonies were conducted at places like Nimbin Rocks to ensure the wellbeing of all tribespeople. Stories of the Nimbin curse began to spread and most likely captivated a counterculture interested in mysticism. As organisers had hoped that news of the festival would spread on the “lips of the counterculture,” they were alarmed to hear how “fast the bad news of this curse was travelling” (Dunstan, e-mail). A diplomatic issue escalated with further challenges from the Black Power community when organisers discovered that word had spread to Sydney’s Indigenous community in Redfern. Organisers faced a hostile reaction to their alleged cultural insensitivity and were plagued by negative publicity with accusations the AUS were “violating sacred ground” (Janice Newton 62). Faced with such bad press, Dunstan was determined to repair what was becoming a public relations disaster. It seemed once prompted to the path, a sense of moral responsibility prevailed amongst the organisers and they took the unprecedented step of reaching out to Australia’s Indigenous people. Dunstan claimed that an expedition was made to the local Woodenbong mission to consult with Elder, Uncle Lyle Roberts. To connect with local people required crossing the great social divide present in that era of Australia’s history. Amy Nethery described how from the nineteenth century to the 1960s, a “system of reserves, missions and other institutions isolated, confined and controlled Aboriginal people” (9). She explains that the people were incarcerated as a solution to perceived social problems. For Foley, “the widespread genocidal activity of early “settlement” gave way to a policy of containment” (Foley, “Australia and the Holocaust”). Conditions on missions were notoriously bad with alcoholism, extreme poverty, violence, serious health issues and depression common. Of particular concern to mission administrators was the perceived need to keep Indigenous people separate from the non-indigenous population. Dunstan described the mission he visited as having “bad vibes.” He found it difficult to communicate with the elderly man, and was not sure if he understood Dunstan’s quest, as his “responses came as disjointed raves about Jesus and saving grace” (Dunstan, e-mail). Uncle Lyle, he claimed, did not respond affirmatively or negatively to the suggestion that Nimbin was cursed, and so Dunstan left assuming it was not true. Other organisers began to believe the curse and worried that female festival goers might get sick or worse, die. This interpretation reflected, as Vanessa Bible argues, a general Eurocentric misunderstanding of the relationship of Indigenous peoples with the land. Paul Joseph admits they were naïve whites coming into a place with very little understanding, “we didn’t know if we needed a witch doctor or what we needed but we knew we needed something from the Aborigines to lift the spell!”(Joseph and Hanley). Joseph, one of the first “hippies” who moved to the area, had joined forces with AUS organisers. He said, “it just felt right” to get Indigenous involvement and recounted how organisers made another trip to Woodenbong Mission to find Dickee (Richard) Donnelly, a Song Man, who was very happy to be invited. Whether the curse was valid or not it proved to be productive in further instigating respectful action. Perhaps feeling out of their depth, the organisers initiated another strategy to engage with Australian Indigenous people. A call out was sent through the AUS network to diversify the cultural input and it was recommended they engage the services of South African artist, Bauxhau Stone. Timing aligned well as in 1972 Australia had voted in a new Prime Minister, Gough Whitlam. Whitlam brought about significant political changes, many in response to socialist protests that left a buoyancy in the air for the counterculturalist movement. He made prodigious political changes in support of Indigenous people, including creating the Aboriginal Arts Board as part of the Australian Council of the Arts (ACA). As the ACA were already funding activities for the Aquarius Festival, organisers were successful in gaining two additional grants specifically for Indigenous participation (Farnham). As a result We were able to hire […] representatives, a couple of Kalahari bushmen. ‘Cause we were so dumb, we didn’t think we could speak to the black people, you know what I mean, we thought we would be rejected, or whatever, so for us to really reach out, we needed somebody black to go and talk to them, or so we thought, and it was remarkable. This one Bau, a remarkable fellow really, great artist, great character, he went all over Australia. He went to Pitjantjatjara, Yirrkala and we arranged buses and tents when they got here. We had a very large contingent of Aboriginal people come to the Aquarius Festival, thanks to Whitlam. (Joseph in Joseph and Henley) It was under the aegis of these government grants that Bauxhau Stone conducted his work. Stone embodied a nexus of contemporary issues. Acutely aware of the international movement for racial equality and its relevance to Australia, where conditions were “really appalling”, Stone set out to transform Australian race relations by engaging with the alternative arts movement (Stone). While his white Australian contemporaries may have been unaccustomed to dealing with the Indigenous racial issue, Stone was actively engaged and thus well suited to act as a cultural envoy for the Aquarius Festival. He visited several local missions, inviting people to attend and notifying them of ceremonies being conducted by respected Elders. Nimbin was then the site of the Aquarius Lifestyle and Celebration Festival, a two week gathering of alternative cultures, technologies and youth. It innovatively demonstrated its diversity of influences, attracted people from all over the world and was the first time that the general public really witnessed Australia’s counterculture (Derrett 224). As markers of cultural life, counterculture festivals of the 1960s and 1970s were as iconic as the era itself and many around the world drew on the unique Indigenous heritage of their settings in some form or another (Partridge; Perone; Broadley and Jones; Zolov). The social phenomenon of coming together to experience, celebrate and foster a sense of unity was triggered by protests, music and a simple, yet deep desire to reconnect with each other. Festivals provided an environment where the negative social pressures of race, gender, class and mores (such as clothes) were suspended and held the potential “for personal and social transformation” (St John 167). With the expressed intent to “take matters into our own hands” and try to develop alternative, innovative ways of doing things with collective participation, the Aquarius Festival thus became an optimal space for reinvigorating ancient and Indigenous ways (Dunstan, “A Survival Festival”). With philosophies that venerated collectivism, tribalism, connecting with the earth, and the use of ritual, the Indigenous presence at the Aquarius Festival gave attendees the opportunity to experience these values. To connect authentically with Nimbin’s landscape, forming bonds with the Traditional Owners was essential. Participants were very fortunate to have the presence of the last known initiated men of the area, Uncle Lyle Roberts and Uncle Dickee Donnely. These Elders represented the last vestiges of an ancient culture and conducted innovative ceremonies, song, teachings and created a sacred fire for the new youth they encountered in their land. They welcomed the young people and were very happy for their presence, believing it represented a revolutionary shift (Wedd; King; John Roberts; Cecil Roberts). Images 1 and 2: Ceremony and talks conducted at the Aquarius Festival (people unknown). Photographs reproduced by permission of photographer and festival attendee Paul White. The festival thus provided an important platform for the regeneration of cultural and spiritual practices. John Roberts, nephew of Uncle Lyle, recalled being surprised by the reaction of festival participants to his uncle: “He was happy and then he started to sing. And my God … I couldn’t get near him! There was this big ring of hippies around him. They were about twenty deep!” Sharing to an enthusiastic, captive audience had a positive effect and gave the non-indigenous a direct Indigenous encounter (Cecil Roberts; King; Oshlak). Estimates of the number of Indigenous people in attendance vary, with the main organisers suggesting 800 to 1000 and participants suggesting 200 to 400 (Stone; Wedd; Oshlak: Joseph; King; Cecil Roberts). As the Festival lasted over a two week period, many came and left within that time and estimates are at best reliant on memory, engagement and perspectives. With an estimated total attendance at the Festival between 5000 and 10,000, either number of Indigenous attendees is symbolic and a significant symbolic statistic for Indigenous and non-indigenous to be together on mutual ground in Australia in 1973. Images 3-5: Performers from Yirrkala Dance Group, brought to the festival by Stone with funding from the Federal Government. Photographs reproduced by permission of photographer and festival attendee Dr Ian Cameron. For Indigenous people, the event provided an important occasion to reconnect with their own people, to share their culture with enthusiastic recipients, as well as the chance to experience diverse aspects of the counterculture. Though the northern NSW region has a history of diverse cultural migration of Italian and Indian families, the majority of non-indigenous and Indigenous people had limited interaction with cosmopolitan influences (Kijas 20). Thus Nimbin was a conservative region and many Christianised Indigenous people were also conservative in their outlook. The Aquarius Festival changed that as the Indigenous people experienced the wide-ranging cultural elements of the alternative movement. The festival epitomised countercultural tendencies towards flamboyant fashion and hairstyles, architectural design, fantastical art, circus performance, Asian clothes and religious products, vegetarian food and nudity. Exposure to this bohemian culture would have surely led to “mind expansion and consciousness raising,” explicit aims adhered to by the movement (Roszak). Performers and participants from Africa, America and India also gave attending Indigenous Australians the opportunity to interact with non-European cultures. Many people interviewed for this paper indicated that Indigenous people’s reception of this festival experience was joyous. For Australia’s early counterculture, interest in Indigenous Australia was limited and for organisers of the AUS Aquarius Festival, it was not originally on the agenda. The counterculture in the USA and New Zealand had already started to engage with their Indigenous people some years earlier. However due to the Aquarius Festival’s origins in the student movement and its solidarities with the international Indigenous activist movement, they were forced to shift their priorities. The coincidental selection of a significant spiritual location at Nimbin to hold the festival brought up additional challenges and countercultural intrigue with mystical powers and a desire to connect authentically to the land, further prompted action. Essentially, it was the voices of empowered Indigenous activists, like Gary Foley, which in fact triggered the reaching out to Indigenous involvement. While the counterculture organisers were ultimately receptive and did act with unprecedented respect, credit must be given to Indigenous activists. The activist’s role is to trigger action and challenge thinking and in this case, it was ultimately productive. Therefore the Indigenous people were not merely passive recipients of beneficiary goodwill, but active instigators of appropriate cultural exchange. After the 1973 festival many attendees decided to stay in Nimbin to purchase land collectively and a community was born. Relationships established with local Indigenous people developed further. Upon visiting Nimbin now, one will see a vibrant visual display of Indigenous and psychedelic themed art, a central park with an open fire tended by local custodians and other Indigenous community members, an Aboriginal Centre whose rent is paid for by local shopkeepers, and various expressions of a fusion of counterculture and Indigenous art, music and dance. While it appears that reconciliation became the aspiration for mainstream society in the 1990s, Nimbin’s early counterculture history had Indigenous reconciliation at its very foundation. The efforts made by organisers of the 1973 Aquarius Festival stand as one of very few examples in Australian history where non-indigenous Australians have respectfully sought to learn from Indigenous people and to assimilate their cultural practices. It also stands as an example for the world, of reconciliation, based on hippie ideals of peace and love. 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