Cover

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Half Title, Series Info, Title Page, Copyright, Dedication

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Contents

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pp. vii-viii

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Acknowledgments

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pp. ix-x

This project contains an ethnographic component, which was possible thanks to the generosity and patience of my interviewees as well as the practitioners and festivalgoers who took the time to talk to me and show me their work with tarantella and interest in the local festivals: in Campania—Raffaele Inserra, ...

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Introduction

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pp. 1-30

Honolulu, April 26, 2006—it is a late-spring afternoon, and the hot air in the non-air-conditioned dance classroom reserved for our tarantella workshop is an evident reminder that the long Hawaiian summer is behind the door. There are about fifty workshop attendees in the room, many of whom are young college students taking my and my colleagues’ Italian classes ...

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1. A Brief History of the Tarantella Revival: Exploring Tarantella through the “Southern Question” Debate

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pp. 31-58

As is often the case with folk-revival movements, the changes inaugurated by the post-1990s revival, the focus of my fieldwork research, have not only popularized the tarantella rhythms—especially the pizzica tradition from the Apulia region—but also created tensions, as each individual or group participating in this process holds a specific understanding of what these music ...

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2. Exporting Southern Italian Festivals from South to North: The Post-1990s Tammurriata Revival

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pp. 59-102

According to local musician, dancer, and cultural broker Giuseppe Dionisio, “attention, passion, and respect” (attenzione, passione, e rispetto) are the main principles to bear in mind when it comes to folk traditions.1 Commenting on his thirty-year engagement with the revitalization of tammurriata festivals in his hometown of Scafati (in the Salerno province of the Campania region), ...

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3. Images of the Italian South within and beyond World Music: Eugenio Bennato’s Taranta Power Movement

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pp. 103-138

The festival context discussed in the previous chapter offers direct testimony to the current changes in terms of dance choreographies, costumes, and festival dynamics while also confirming that many of the current debates surrounding tarantella focus on the notions of authenticity, tradition, and place. ...

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4. Tarantella for U.S., Italian American, and Cosmopolitan Markets: Alessandra Belloni’s Performance from New York City to Honolulu

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pp. 139-170

When the University of Hawai‘i’s French and Italian Division first hosted Alessandra Belloni’s tarantella music and dance workshop on April 26, 2006, I did not know what a “tarantella workshop” might look like. While the image of tarantella that most people in the United States are familiar with is the refined sixteenth-century Neapolitan tarantella, ...

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Final Thoughts

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pp. 171-178

The performances of Eugenio Bennato and Alessandra Belloni play with different representations of the Italian South in a constant negotiation between artistic impulse, sociopolitical concerns, audience motivations, and commercial opportunities. Furthermore, the complexity of Belloni’s project derives from her own artistic persona...

Notes

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pp. 179-188

Works Cited

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pp. 189-202

Index

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pp. 203-210

About the Author

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Further Series Titles

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