Category: People

  • Saro Gugliotta

    Saro Gugliotta

    Saro Gugliotta is President of Slow Food Sicily. In July 2015 he is leading a delegation to London to promote Slow Food ‘Presidia’ products. He will be speaking at the ‘Sicilians at the Table’ event at the Italian Cultural Institute on 14 July.

    http://www.italoeuropeo.com/the-chef-recipes/1991-slowfood-s-presidia-products-from-sicily-on-the-menu-of-italian-restaurants-in-the-uk

    When did you first become interested in food?

    My interest in food began about 20 years ago, when work took me around Sicily which introduced me to many different traditions and cultures. I noticed that the traditions were very different if I was in the east of the island, which had a more Greek influence, or in the west where there was more of an Arabic influence in food; what they had in common was that they were all Sicilian. Over the last 20 years my knowledge of Sicilian food traditions have deepened and been enhanced further.

    When did you first hear of the Slow Food movement?

    The first time was at a working dinner with a colleague from another region who was responsible for a Slow Food convivium there and he made me more curious about food. I was encouraged to think not only of the dish on the table, but how it was produced and who the producers were. This sensitivity and depth impressed me a lot. Then on another occasion I met Carlo Petrini and I was inspired by him. Today I am hopelessly infected by the Slow Food virus, from which I think I will never recover – and I’m happy about that!.

    You are from Messina. What are Messina’s most important food traditions?

    At Messina there are two types of food traditions, both linked to the world of work. At a time when work required great physical energy, the traditional dish was stockfish cooked with potatoes and tomatoes; in Messina it is called “.“Piscistoccu a ghiotta”. The dish was very economical and nutritious, seasoned with plenty of olive oil and accompanied by bread. It was a dish that gave the energy you needed for manual labour at that time. For some decades there has been less manual work and people prefer street food, in particular two kinds; firstly, focaccia and the second a ‘calzone’ both topped with tomato, vegetables, and cheese and a piece of anchovy.

    For desserts pignolata, a pastry made with lemon or chocolate icing and coffee granita with cream and served with a brioche, which is the daily breakfast of Messina.

    How many Slow Food members are there in Sicily? Where are the strongholds?

    Membership of Slow Food in Sicily has increased in the last two years from 1,500 to 2,500, with a notable increase in some areas such as Messina, Palermo and Enna. The are areas where Slow Food has a strong presence, including in the big cities which is probably due to the large number of initiatives organised for members. In other areas, especially ones with good traditions of food production, such as the community of hazelnut producers in Nebrodi , or others with strong links to the territory, ranging from farmers to fishermen, craftsmen, bakers, administrators, or people involved in cultural work. Ultimately people love their territory and have made many collaborative projects to help sustainable economic recovery and development of the place in which they live.

    What difference has Slow Food made in Sicily?

    Sicily is a land rich in resources, but there are often are not valued in the right way. The main objective of Slow Food Sicily therefore, is to make you aware of these wonderful Sicilians indigenous resources and ensure that they become models for sustainable development around food which is ‘good, clean and fair’. Slow Food Sicily wants to create a barrier against the flow of globalized food, to rediscover in Sicily and beyond the age-old values of this ‘key’ island of the Mediterranean.

    In July in your role as President of Slow Food Sicily, you will lead a delegation to London to participate in ‘Sicilians at the Table’ at the Italian Cultural Institute as well as other initiatives. What is the purpose of this visit and what do you expect to achieve from it?

    The first objective of the visit of Slow Food Sicily to London is to raise awareness of the Slow Food Sicilian Presidia products in the UK and among the Italian restaurants. In fact presenting the Slow Food Presidia products has the value of being rooted in a real knowledge and understanding of the territory, as Slow Food Presidia provide historical links with the society and the area where they are produced. The “Taste of Sicily”, the theme which is to be adopted by some Italian restaurants in London, is intended to lead to an agreement between the restaurant owner and the producer so that at least two Slow Food Presidia are part of the menu. This will allow the restaurateur to explain the characteristics of the product and the area of ​​origin. In this way we hope to achieve two results, the first being an increase in the use of Sicilian presidia products in the UK and secondly to encourage more curiosity among people, so that they come to appreciate Sicilian products and meet producers directly, at the same time stimulating what we call sustainable tourism.

  • Leonardo Sciascia (1921-1989)

    Leonardo Sciascia (1921-1989)

     

    sciascia1Leonardo Sciascia was one of Italy’s greatest writers, but he will probably be best remembered for what he brought to an understanding of Sicily, where he was born and lived most of his life. It is his articulation of Sicilian identity and the Sicilian predicament, including the impact of the mafia, through his novels like Il Giornod ella Civetta (‘The Day of the Owl’) and Il Contesto (‘Equal Danger’) for which he is most revered. Born in the working class town of Racalmuto, in the province of Agrigento, most known for its sulphur mining, (his father worked as a clerk for the mines), the hopes and fears of his Sicilian neighbours were often foremost in his writing. These included one of his early novels Le Parrocchie di Regalpetra, (published in the English version as Salt in the Wound).Regalpetra was an imaginary town near his own Racalmuto. The novel allows him to discuss the history of his own land, ‘an island within an island’, and the impact political events have on the town.

    It was his interrogation of the mafia in his novels that gained him much early attention. One of the first writers to openly discuss and characterise mafia culture, he did so in a form which avoided happy endings or romanticism, yet in the character of his detectives and other characters kept the search for wider truth and justice foremost. As such the force of his writing helped produce a broader investigation of society, people and power in Italy.

    sciascia2

    His interrogation of power and its abuses prompted him to take a larger public role. Like many Italian writers, his early political commitments were to the Italian Communist Party (PCI) and he was once elected to represent them on Palermo city council. After their ‘historic compromise’ with the Christian Democrats in the late 1970s, he left the PCI and was later elected as an MEP for the Radical Party. The late 1970s were a period of tension and crisis in the Italian state with kidnappings and other acts of terrorism, against the background of an unaccountable political class. Following the kidnapping and murder of the former Prime Minister Aldo Moro, Sciascia completed a gripping analysis of the underlying political circumstances in L’affaire Moro (The Moro Affair) a further example of his concern for truth and justice.

    The public esteem held for the former Racalmuto schoolteacher was evident in the translation of his work into many languages and mutual respect between him and other Italian intellectuals, including his close friend Renato Guttuso, Pier Paolo Pasolini and others. His works, translations and correspondence are now kept in the Fondazione Sciascia in Racalmuto and well worth a visit. http://www.fondazioneleonardosciascia.it/

  • Giuseppe Tomasi di Lampedusa (1896-1957)

    Giuseppe Tomasi di Lampedusa (1896-1957)

    Tomasi_di_Lampedusa

    Everyone visiting Sicily for the first time should read Il Gattopardo (The Leopard), for what it says about Sicilian history and identity. The strength of Lampedusa’s novel, published only after his death, is the way in which wider themes are addressed in a beautifully crafted narrative. Set at the time of the Risorgimento, the pains and conflicts of a society undergoing change at different levels and a ruling order facing oblivion is told through the central characters and the weaving together of key moments, events and places.

    The_Leopard

    This compelling account addresses broader questions which have defined parts of the Sicilian predicament; of fractured class and status, the rise of the mafia, political corruption, scepticism towards the state, the centrality of the family and fatalism. Therefore, it remains not only a wonderfully enchanting novel but a reference point for many modern dilemmas, borne out perhaps most famously of all by Tancredi trying to influence his uncle Don Fabrizio to recognise the power shift underway and join Garibaldi; ‘If we want things to stay as they are, things will have to change’. This gattopardism is frequently used to explain political inertia in Italy, not only in Sicily. In fact, the novel supports Leonardo Sciascia’s later observation of ‘Sicily as metaphor for the modern world’.

    As the son of the Prince of Lampedusa and the Duke of Palma di Montechiaro, Lampedusa is able to draw on his own family history in characterisation and the places featured in the novel. Now, we have the chance to explore in more depth the influence of his family background on his work, as well as his wider interests and influences with the publication in English ofChildhood Memories and Other Stories (including his fable ‘The Siren), published by Alma in 2013, and his travel observations inLetters from London and Europe, also published by Alma Books in 2011.

    Perfect holiday reading…

    lampedusa_books

  • Mimmo Pintacuda – The Real ‘Alfredo’*

    Mimmo Pintacuda – The Real ‘Alfredo’*

    Arriving in Bagheria, a small town 20 km from Palermo, later than expected, I set off in what I thought was the direction of my hotel, only to find that in pitch darkness I had completed a full circle. Exasperated, I inquired at a nearby petrol station where I was told by the attendant that not only did he know the hotel, but as it was run by his uncle (‘mio zio’) I was indeed fortunate to have come across him. If I was to wait ten minutes or so his ‘uncle’ would himself drop by to give me a lift.

    Shortly after his uncle arrived on a scooter, helmetless naturally, and in good spirits. With my suitcase between his legs at the front and me holding on at the back, we set off on what turned out to be a very enlightening tour of the town. I was introduced to some of the main streets, piazzas and building which featured in Giuseppe Tornatore’s film Baaria,(Sicilian for Bagheria), which tells the story of a left wing activist battling over decades against the mafia, poverty and conservative values. It captures much of the essence of 20th century Sicilian life.

    It was another of Tornatore’s films, however, that brought me to Bagheria, the film director’s hometown. Nuovo Cinema Paradiso has achieved widespread acclaim for its portrayal of the influence of a much-loved projectionist Alfredo (played by Philippe Noiret) on the work of a film director. It is a moving, humorous and engaging movie, which through the medium of cinema depicts aspects of the changing history and culture of Sicily.

    Mimmo Pintacuda
    Mimmo Pintacuda

    Here, there has been an even more moving real life story of the early formative influence on Tornatore’s career, that of local photographer and projectionist Mimmo Pintacuda, who died in December 2013. Pintacuda, who worked as a projectionist for Capitol Cinema in Bagheria, had another vocation as a photographer, and spent fifty years taking photographs of his fellow citizens of Bagheria.

    ‘Craftsman’: Mimmo Pintacuda at work
    ‘Craftsman’: Mimmo Pintacuda at work

    As Tornatore says of Pintacuda:
    ‘He studied every gesture of his fellow townsmen. And while he distracted them from the dramas of daily life by showing them westerns, police stories and exotic adventures, without realising it he was taking away their existence. He captured it with the same agility as the hunter, and transformed it into photographs’.
    He goes on:
    ‘I had the privilege of learning from Mimmo the art of projection and that of photography. I could not say which of the two has been more important for my career in the cinema, but I am grateful to him for having taught me through each of them that telling stories is simply a craft, and the person that tells them is a craftsman, nothing more’.
    Mimmo Pintacuda 50 anni di fotografie (Eugenio Maria Falcone Editore 2005 pp 3-4

    Mimmo Pintacuda offers a gripping and evocative photographic social history, a ‘history from below’; parts of which can be viewed at the Museo Guttuso in the town. It is a rich collection and sits well with the cinematic versions of Bagheria, notably Baaria, with which he collaborated. Now, his son Paolo has made a documentary film of his work, which will shed more light on his life.

    * Francesca Marchese’s groundbreaking Guardian article on Mimmo Pintacuda is here: http://www.theguardian.com/film/2013/dec/23/cinema-paradiso-alfredo-mimmo-pintacuda-dies

    Paolo Pintacuda
    Paolo Pintacuda